AN EDITORIAL- JER’S TURN: REMEMBERING DIRECTOR TONY SCOTT (1944- 2012)

“The biggest edge I live on is directing. That's the most scary, dangerous thing you can do in your life.”- Tony Scott

JER: The date was August 19, 2012 when reports swarmed the Los Angeles Police Department just shortly after 12:30pm about an apparent suicide that took place off the Vincent Thomas Bridge. The location is a suspension bridge that connects San Pedro and Terminal Island in California. An identified man had been reported to have taken a 185- foot fall from the bridge to the waters of the Los Angeles Harbor below. Witnesses could only describe the jumper as a middle- aged man wearing sporty orange and gray attire with shorts… some onlookers believed that he was performing an extreme- sports stunt, but appeared nervous before climbing the fence and finally throwing himself off the top. The body was recovered later that Sunday evening by divers for the Los Angeles Port Police and later identified by the coroner’s office that evening…the unidentified man was 68- year old Director Tony Scott.

The Vincent Thomas bridge



At the time of his death, Scott was said to had suffered from an inoperable brain tumor, that rumor was later announced to be “absolutely false” by his widow. Investigations are still on- going at the time of this posting.

Born Anthony David Scott on June 21, 1944, he was the youngest of three sons and immediately found himself following in the footsteps of his eldest brother, Director Ridley Scott. Showing an early love and talent for art and painting, Scott attended various schools including Leeds College of Art and Design and received a degree at the School of Art at the University of Sutherland. He struggled financially with work as a painter and decided to forge a partnership within brother Ridley’s advertising establishment, appropriately titled Ridley Scott Associates… it is there that Tony began shooting commercials.

1983 marked his first feature debut with the vampire cult film THE HUNGER starring David Bowie (LABYRINTH), Catherine Deneuve (THE LAST METRO) and Susan Sarandon (DEAD MAN WALKING). Although not a box- office success, it definitely caught Hollywood’s attention with what would be known as a signature visual presentation and style of photography that had not been seen before. Atmospheres appear murky and moody with the use of filters and shadows. The film primarily takes place in England and a constant lack of direct sunlight is apparent in both the topic of the film and the director’s intent to cast bright light on any specific details. Scott allows the actors, all respectfully great in their own ways, to really (excuse the term) ‘flesh- out’ their roles in the story telling. The photography aspect would apparently be a similar trademark for older brother Ridley Scott’s earlier films including ALIEN and BLADE RUNNER as well.

Opening sequence from THE HUNGER...A must see! (contains brief nudity)

Paramount Pictures’ head producing moguls Don Simpson and Jerry Bruckheimer approached Tony to direct their next film entitled TOP GUN (1986) with established up and comer Tom Cruise to star. The collaboration of the great production team, actor and director created one of Paramount’s all- time biggest films grossing over $344 million worldwide. Scott was given the chance to work with real Top Gun men and women as well as actual training facilities. Shot primarily at the Miramar Flight School located near San Diego, CA. Scott also spent many hours in the air, shooting various dogfight and action sequences would continue his working relationship with Paramount on his next film as well.

1987 would have Tony Scott directing the sequel to a highly- successful film for Paramount as well as work with one of its popular and lucrative actors as well. BEVERLY HILLS COP II, starring Eddie Murphy, for another blockbuster hit for the studio and director… grossing $300 million. The sequel played with a more gloss appeal and presentation than did its original, which was a lot grittier looking. Scott spoke for a generation, as MTV was huge and the look of music videos as it presented more shine and used the technology of video replay to its advantage. Nonetheless, the timing couldn’t have been any better in the marriage of Scott’s visual presentation and the new generation of video watchers! Another great add- on that soon became the staple of the Scott brothers was the use of filtered lenses, which were used primarily to extenuate the appearance of outdoor lighting or scenery. As an example, a sun could be coming over a mountain view and a colored filter gave the scene a look of color being drowned over by the light of the sun with highlights or yellows, oranges and reds blending like a prism. The upper- crust of Beverly Hills, Rodeo Drive and other hotspots are shown with that ‘larger than life’ appeal that only Hollywood can create. Murphy is given an opportunity to show off his credits…as a comedian, an actor and having the ability to ad- lib when appropriate and be the actor when called upon as well.

Scott would not always be as successful as with his two back- to- back Paramount hits, but he would still bring his sense of style and trademark maverick direction all of his upcoming projects. 1990 marked the start of a new decade and Scott would now try a hand at working with Columbia Pictures on the heavy- hitting REVENGE starring Kevin Costner (THE UNTOUCHABLES) and Madeline Stowe (THE LAST OF THE MOHICANS). The film performed poorly in the box office… lacking from a powerful soundtrack, unlike TOP GUN and BEVERLY HILLS COP II and it definitely didn’t take on the appearance of a feel- good Summer flick, either. The direction was new for Scott, as a sense of drabness took over the polished- up look of his previous two films, reflecting back to the style presented in his first feature, THE HUNGER. Colored filters were beautifully used in some of the desert scenes around the outskirts of Mexico, giving a nice wash- out of colors to the desert landscape. The title alone gave you a hint of what subject the storyline would take. The film, over the course of the years, has found an audience that appreciates what it set out to do and many various ‘cuts’ of the film have been released. Colombia Pictures finally settled with a “Director’s Cut” and have released it as their definitive DVD and Blu- Ray release.

Documentary for REVENGE with Tony Scott discussing sex & violence

Tony Scott with Tom Cruise on the set of DAYS OF THUNDER

The question that the powerhouse producing duo of Simpson and Bruckheimer asked was: could lightning strike twice in the same place? Paramount Pictures was willing to find out for themselves! With a screenplay by the highly- respected Robert Towne (CHINATOWN), DAYS OF THUNDER (1990) would invite Tom Cruise to bring his love for race car driving to the silver screen. Tony Scott as director would complete the fold for those responsible for the success of TOP GUN. There was a huge undertaking in filming a NASCAR film, with the number of fans to please as well as the Tom Cruise elite. Race sequences are intense and strong while the camera work allows the audience the true feeling of what it is like to be in the pit and riding along with the driver. Filters once again highlight some great moments and are used gingerly throughout the production. The action is screen- filled when needed and Scott still finds the right moments to apply a love interest for Cruise with co- star (and eventual wife) Nicole Kidman. Although it didn’t perform as well, it still brought in over $165 million dollars.

Producing titan, Joel Silver (THE MATRIX) also saw the talents of Tony Scott and felt he had the right film for him to helm as well. 1991’s THE LAST BOY SCOUT paired off the very popular Bruce Willis (DIE HARD) and funnyman Damon Wayans (TV’s In Living Color) playing off a wise- cracking and action- packed story and script by Shane Black (LETHAL WEAPON). The film grossed a cool $60 million dollars. The direction was very quirky and free- handed, giving both Willis and Wayans an opportunity to really show off their talents, respectfully. Wayans, in particular, was played off as a more serious version of Eddie Murphy’s Axel Foley from BEVERLY HILLS COP II, but still allowed him rein for ad- lib, when necessary. Scott’s popularity kept escalating and his work was sought after by many producers and studios throughout Hollywood...

Success, as Tony Scott would prove, is not always in the box office dollars. Many of his films are recognized from its own stem of popularity that has been forged by real film- goers and fans of the genre alone. Take into account Scott’s next project, 1993’s TRUE ROMANCE. The film, box office- wise, performed under the actual budget of the film… yet, the film goes well detected and has formed quite the cult following along the way. Written by a then- unknown Quentin Tarantino and starring a cast of many talented actors including a strong supporting team including Christian Slater (HEATHERS), Patricia Arquette (ED WOOD) along with Dennis Hopper, Val Kilmer, Christopher Walken, Samuel L. Jackson, Gary Oldman, Brad Pitt and James Gandolfini! Returning, somewhat to the techniques used in BEVERLY HILLS COP II and melding that along with REVENGE, Scott was able to tell his tale of crime with a spark of excitement and intensity!

The action- packed 1993 trailer for TRUE ROMANCE

1995 would introduce director Tony Scott to an actor he would gain the respect of and acquire on his acting talents for many films to come. The actor: Denzel Washington and the film would be the underwater suspense drama, CRIMSON TIDE. Mixing it up with the ever- talented Gene Hackman (THE FRENCH CONNECTION), the film played off the emotions and fine- acting, as opposed to the actual action as seen in many of Scott’s earlier films. The ability to use limited spacing within the submarine and sill create a sense of tension and panic really works well for this type of film. The film’s storyline and high- profile actors were able to attract an audience to the box office creating a revenue of about $157 million dollars. The producing team of Don Simpson and Jerry Bruckheimer had since moved away from Paramount by this time and had Scott work for Touchstone Pictures, a division of Disney with the duo producing.

Scott Free Productions was a film production company brought forth by Ridley and Tony Scott and produced the 1996 sports thriller, THE FAN starring Robert DeNiro (RAGING BULL) and Wesley Snipes (BLADE). DeNiro plays an obsessed stalker to Snipes Pro- Baseball player and both actors bring the tension to its fullest. Again, Scott allows the actors to work off of each other and both do an excellent job in doing so. Not as much an action film as it is more of a taunt suspense thriller with plenty of un-nerving moments throughout the film. The tension is taken up to another degree with its high- impacting photography and original music score by famed composer Hans Zimmer (THE DARK KNIGHT). 

The original trailer for THE FAN... intense!

As the 90s quickly comes to a close, Scott cannot help but make a film that deals with the world of new digital technology and allows viewers to decide if we are headed into a world of “big brother” watching us too closely. ENEMY OF THE STATE was released in 1998 starring CRIMSOM TIDE’s Gene Hackman and brought forth the first (and final) collaboration with the highly profiled Will Smith, just coming off the successes of INDEPENDENCE DAY and MEN IN BLACK. After the very untimely death of co- producer and collaborator Don Simpson, Jerry Bruckheimer produced this on a solo basis for Disney and was pleased to work with Scott once again. The film dealt with espionage and shot most of the film using blue filtering to give the film a colder and industrial look to fit the premise of the storyline. The film grossed over $111 million worldwide.

A new decade and new century gave Scott a new look in some of his featured films, now using more composite digital shots to enhance the photographic look of the film…straying away from the film- like quality of a motion picture and joining the ranks of directors embracing the polished high- definition look. Case in point, 2004’s MAN ON FIRE proved to be an experiment in new technology in cinematography and editing for Scott. Starring CRIMSON TIDE’s Denzel Washington and the ever- popular presentation of the young Dakota Fanning, the film played with a number of eye- popping visual candy that had not been seen before. Scott was allowed to do many quick- edits, use filtered lenses and maneuver the look of film with digital effects as well as use some actual captions to help extenuate the dialog. The film was considered by some to be too quirky and out of place, while others accepted the new look as well as the taunt storytelling and nature of violence in the film. Tony Scott served as co- producer as well.

The original theatrical trailer for 2004's MAN ON FIRE

Where MAN OF FIRE might have began, 2005’s DOMINO only continued on with the frenzied photography pace and digital design of the film’s look. Starring Keira Knightley (PIRATES OF THE CARIBBEAN), the film was the recounting of Domino Harvey’s life story, turning away from the life of a model to become a bounty hunter. The story’s wild premise only gave more juice for Scott to fuel- up the screen with many visual shots and plenty of action and violence to spare. The film was dedicated to the real Domino Harvey who died of an accidental overdose of fentanyl on June 2005, months before the film’s release. Tony Scott attended her funeral.

DÉJÀ VU (2006) would mark the third collaboration with Denzel Washington in this high- tech action sci- fi thriller! Borrowing from the genre of time- travel, Scott devised the continued use of digital technology but pared- down on the use of the quirky photography/ editing that he had most recently became fond of using. The story was intense and Washington brings home his expected best in carrying the film through the tension and sophisticate storyline. Scott is again given the opportunity to work with producer Jerry Bruckheimer for a Buena Vista/ Disney release as well. The film’s science- fiction premise seemed a bit out of line for Tony and more the alley of brother Ridley’s, since his hits BLADE RUNNER and ALIEN were widely known and treasured. Still, Tony executed the challenge very well and proved to be a director ever- willing to accept new avenues to travel on.

Tony Scott’s last two films probably marked two different sides of what made him the director he will always be remembered for.

To begin with, 2009’s THE TAKING OF PELHAM 1 2 3 is a remake of the 1974 action thriller, this time starring John Travolta (PULP FICTION) and continued collaborator Denzel Washington. The film was somewhat flawed in the approach and Travolta was not detained from his over- the- top antics as the villain of the story. The film was not considered appealing by most and suffered in the box office.

The film. however, does not lack in its presentation with Scott paying close attention to photography. editing and smart direction. There is no shortage of suspense and plenty of intense moments to please the action fans.

2010’s UNSTOPPABLE proved to be more of the type of film Scott would be known for doing. His last film had long- time actor Denzel Washington return playing opposite newcomer Chris Pine (STAR TREK). The odd similarities between these two films are that Washington is in both and they deal with trains. Though PELHAM is more the crime thriller, UNSTOPPABLE lives up to its name as the action film Scott is synonymous for.

2010 interview with Tony Scott where he reveils "fear of creative failure"

JOHNNY CHAZZ: We can appreciate Tony Scott's quote - well, to a point at least. The primary concern I have is "What caliber of films" this Director involved himself in. Thus, I will make my response this week short and brief as this is Jer's focus and I do think he makes some strong points above.

Probably known best for 'Top Gun,' 'Crimson Tide,' 'Enemy of the State,' and 'Man on Fire,' Tony Scott did add something to Hollywood.

One might recall that I was a huge fan (no pun intended here) of the 1996 Tony Scott release of "The Fan" during our 'Sports' genre last posting.

As for his work in the 80's, "Top Gun" and "Beverly Hills Cop II" fans are still supporting his films as time marches on. As we moved into the 1990's, I can recommend "True Romance" as well as "Crimson"- which are probably worth about $2 to $3 at your local Wal-Mart DVD sale basket.

 Perhaps I feel as though Scott incorporated better "actors" as time marched on. We examine films such as "Crimson Tide" with the strong casting - and the latter may have the edge however Denzel and Hackman are indeed a formidable duo.

The original trailer for CRIMSON TIDE

In the past decade, "Deja Vu" and "Man on Fire" were fairly gripping but "Domino" was basically a disaster and synonymous with watching paint dry.

I am not a fan of "action" films for a variety of counts. However, I do respect the words of Jer this week and his tribute to a Director who did "get it right" with regards to this genre.

We never like to see a director "leave us" and it is certainly a sad day for Hollywood and the movie industry with this loss.

JER: Like his films, Scott was unstoppable. A statement by Pepperdine University film professor Craig Detweiler probably summed up the best definition of Tony Scott by referring to his taking his own life by jumping from the bridge as a “high- adrenaline ending, which matches his dramatic style.”

 

His trademark cigars and beaten- up red baseball cap will lay to rest as we can only be left with the memories of the man through his films. Scott was not a high- profile person, but his films will always be. Rest In Peace, Mr. Scott.

What reflections do you have in regards to the talented works of Tony Scott? Of the mentioned, were there any films that you claim to be your favorite(s) and why? As always, we welcome your comments and replies are always given back in a matter of days.

Please join us on Wednesday September 26th as JOHNNY CHAZZ makes his return with an exciting blog topic that only he can produce! Thank you for joining us!

Have you visited the official CINEMA: COUNTERPOINT page on YOUTUBE? Check out classic and contemporary trailers, scenes and other great trips down memory lane! Just click the link and check out the "Favorites" on our site! Enjoy!

http://www.youtube.com/user/cinemacounterpoint?feature=mhee

JOHNNY CHAZZ' TURN: "SPORTS AND FILM"

JOHNNY CHAZZ: Sports is a genre within itself when it comes to the movies, and what better time than now to discuss such a genre. With baseball in its peak, football on the horizon and the Olympics just ending in London, the “boys of summer” are alive and well. Let’s use this week on CINEMA: COUNTERPOINT to discuss some of those sports movies that have had the biggest impact on us over the years. Here is Johnny Chazz’s Top Ten:

#10. “61”: What a tremendous story and a film that so few people really ever talk about anymore. Babe Ruth had held the single-season home run record for quite some time until Mickey Mantle and Roger Maris battled it out in 1961. Whether you are a Yankee fan or not, any sports fan will instantly be enthralled with the content and the authenticity of this film. The performances are solid, the casting is specific and on target, and the plot thickens with every scene. The film was directed and produced by Billy Crystal.

#9. “SECRETARIAT”: Being a fan of horse racing, I am compelled to include this 2010 film on my list. With the underrated Diane Lane across John Malkovich, the casting cannot be sold short. Often times this genre can be a bit too “feel good” and “inspiring” for its’ own good, but “Secretariat” does a nice job through and through to tell one of the greatest sports stories of all-time. The final scene at the Belmont Stakes is riveting and the photography along with the musical score is just outstanding when it comes to a racing film. This one can and will bring tears to a racing fan’s eyes.

#8. “BRIAN’S SONG”: James Caan stars along with Billy Dee Williams at the peak of their acting careers in one of the most powerful sports flicks of all-time. Despite racial differences, both men become close friends. The coverage of Gayle Sayers running for the Chicago Bears is one of the top moments in the film. The soundtrack is excellent, the footage is real to life and the story is simply riveting. Consider this one of the top football films of all-time.

The original 1971 trailer for this made for TV film

#7. “MONEYBALL”: This film did indeed receive the credit it deserved, and believe it or not, “Moneyball” actually had an outside shot at the top award with the Academy last year. I recall actually being at Oakland Alameda Stadium the year that the A’s had such a turn-around season in 2002 and I recall a buzz in the crowd that was like no other I had ever experienced at other ballparks. Brad Pitt, Jonan Hill and Phillip Seymour Hoffman put on quite the performance in their roles on screen accompanying one of the best baseball stories of all time. The film was based upon the novel “The Art of Winning an Unfair Game” where manager Billy Beane (still managing today) put a team on the field simply based on statistical methods that were, in every sense – unorthodox. This film comes highly recommended for baseball fans.

#6. “HOOSIERS”: In 1986 this one came as a real surprise to audiences as it had been at least 6 or 7 years since a really solid sports movie had hit the screen. Gene Hackman and Barbara Hershey made a formidable ensemble here as the film takes us through the 1951 Indiana Hoosiers basketball season. Although Jack Nicholson was originally considered for the head-coaching role, Gene Hackman most likely proved to be the right choice. The film focuses on the great athleticism of the team as well as Indiana’s love for the sport. The film is motivating, well-casted, and nostalgic and could easily be considered the best basketball film of all-time. (Note to Jer: You will be pleased to see that my guilty pleasure of 1979’s “The Fish That Saved Pittsburgh” did not make the top-10 list”.)

#5. “MIRACLE”: Here’s a not only a film that has basically been forgotten, but a subject that is not nearly talked about enough. The film was inspired by the United States Hockey Team in the Winter Olympics during 1980. The fact that the “Cold War” was, in a sense being fought on the ice was pure motivation for the American team in this stunning upset as the United States proved victorious in the Gold Medal match over the USSR. Even if you are not a fan of Ice Hockey, it is a virtual guarantee that you will be on the edge of your seat throughout this film. Kurt Russell is outstanding in his role with Patricia Clarkson supporting. The film is a period piece, as well as being one that is quite emotionally impacting especially if you recall the day when the event took place. With the world watching the team rose to the occasion, prompting broadcaster Al Michaels' now famous question “Do you believe in miracles?”

#4. “A LEAGUE OF THEIR OWN”: I am not a Tom Hanks fan to say the least, but here is a film that must make my top-ten list. Released in 1992, audiences everywhere seemed to take to this film and Director Penny Marshall did not disappoint. During World War II, it was the “women” who created a league of their own to entertain baseball fans on the home front. The performances by all are actually quite convincing and the score for the film is appropriate for the time period. Geena Davis, Madonna and Rosie O’Donnell are well casted here and offer just enough “attitude” to actually make them seem as though they are real ball-players. It was the love of the game that brought all of the players together, and each characters is developed well-enough to tie the film together at the end. Tom Hanks as the team manager is humorous and offers a performance that is timely and charismatic. I recommend this one anyone who has yet to see it as it does stand the test of time.

#3. “EIGHT MEN OUT”: The makes my top three without any hesitation. The very fact that professional sports remains “under the microscope” even today is a testament to the message delivered in this film. The film centers around the true story of the 1919 Chicago White Sox (often referred to as the “Black Sox”) who were accused of throwing the world series in order to make money for themselves from underworld crime bosses and bookmakers. The ‘Sox were a virtually guarantee to win the series over the Reds, but since the odds were so high on the other side, the ‘Sox took a fall for the short money. Some people do not consider this film to be one of their favorite sports movies since it casts a poor light on how we actually “romanticize” baseball in the early years. Yet, we realize the impact of the statement by the young fan who states “Say it ain’t so Joe…..” (referring to “Shoeless” Joe Jackson). Based on the performances (John Cusack, D.B. Sweeney, Christopher Lloyd and Charlie Sheen), the musical score and the attention to detail, this must be considered one of my favorite baseball and sports films of all-time.

The original 1988 trailer for EIGHT MEN OUT

#2. “RAGING BULL”: This was perhaps one of Robert DeNiro’s best films and certainly ranks among his best “sports” roles considering there were only a couple. As a matter of fact, it probably ranks among one of Scorsese’s best with the same token. Still, this film must be in my top three considering the tremendous direction, score, plot and amazing performances throughout. Cathy Moriarty plays Jake a Motta's (DeNiro) wife and Joe Pesci is in the role of his brother Joey. The fight scenes are classic, the sound in the interiors is impeccable, the editing is bold and the scenes inside the ring are perhaps the best of any boxing movie ever. This is an absolute must-see for any sports fan.

#1. “THE HUSTLER”: There was never a doubt that this film would fall into my top slot. Paul Newman and Jackie Gleason star in this 1961 play-like film that is not only one of the top sports films of all-time, but easily ranks in my top-50 of all-time American films. The interior sets are genius as well as the script which was so, so smartly written. George C. Scott also puts on such an amazing and intense performance that he almost overshadows our main characters. Directed by Robert Rossen, the film has Oscar written all over it in so many different categories. The interior sets are classic and refined as well as the billiard action and the angles used by Rossen to create tension within a small space. Pool professional Willie Mosconi trained Paul Newman to shoot such a smart game for the role as the film moves towards the final match between Eddie (Paul Newman) and the “classy” and “refined” Minnesota Fats (Jackie Gleason).

The original 1961 trailer to THE HUSTLER!

So, this is Johnny Chazz’s take on the top-10 sports films of all-time. I realize that some of you may question why I left out films such as "Rollerball", "The Pride of the Yankees" and "The Natural" - and believe it or not, I almost included "The Fan" as I really loved the modern-day message it sent. Still, I had to narrow it down to ten, and that is easier said than done. Now, hit this one Jer as I toss the ball into your court.

JER: The ball is caught and served… great topic as we wheel away from the summer months and we work around the plates before sliding into home! I have always been a little more selective about my sports films and I realize that I am not as diverse in that world as you are, JC. Nonetheless, a great film is a great film- regardless of the genre or theme. With that said, I attempt to create my own Top Ten List of Sports Films:

#10. MAJOR LEAGUE: It’s comedy, it’s baseball and it had Charlie Sheen before he was a total ASS! (I mean that from my own personal experiences with Mr. Sheen!) Following the road of the disastrous Cleveland Indians through their epic fails, the team begins a new year under new management who will actually benefit from their losses. The team gets wind of this and turns their game around to bat- out a great season. The 1989 cast includes Tom Berenger (PLATOON), Rene Russo (LETHAL WEAPON 4) and Wesley Snipes (BLADE). Play Ball!!!

#9. BEND IT LIKE BECKHAM: 2002’s sleeper hit about an 18 year old Punjabi daughter (Parminder Nagra from Television’s E.R.) growing up under a strict Orthodox family, must hide her passion to play football (or American soccer) and befriends another 18 year old (Keira Knightly from THE PIRATES OF THE CARIBBEAN) who plays for the same league under their male coach (Jonathan Rhys Meyers from Television’s THE TUDORS). The film captures the life and times of West London from both a typical English family’s point of view as well as the traditional aspects of life for a London- raised Punjabi family while grasping onto their culture and traditions. The film is both funny and touching with real heart captured by its director/ writer Gurinder Chadha.

The entertaining trailer to BEND IT LIKE BECKHAM

#8. THE LAST BOY SCOUT: A bit far off the field, but an action- packed football film taking place in the heart of Los Angeles. Directed by the recently deceased Tony Scott (TOP GUN, UNSTOPPABLE) the film follows a washed- up detective (Bruce Willis) as he takes on the assignment of assisting an ex- quarterback (Damon Wayans) in cracking a murder case involving a pro football team and a politician. The 1991 film carries all the explosive elements needed for a great action film for its day: written by Shane Black (LETHAL WEAPON) and produced by the legendary Joel Silver (THE MATRIX, DIE HARD) collaborate to create a wallop of an adventurous flick! Did I mention that football was the premise of the story?

#7. CADDYSHACK: How could this classic 1980 comedy not be on anyone’s list? With an unforgettable cast of characters including Chevy Chase (VACATION), Rodney Dangerfield (BACK TO SCHOOL), Bill Murray (GHOSTBUSTERS) and Ted Knight (Television’s MARY TYLER MOORE SHOW and TOO CLOSE FOR COMFORT) on top of being directed by triple- threat writer/ director/ actor Harold Ramis (GHOSTBUSTERS, VACATION), CADDYSHACK introduced an entire generation to golf with screwball wit! Things aren’t as posh as they would seem within the greens of the exclusive Bushwood Country Club as golf caddies compete for the annual college scholarship amidst an unstoppable gopher who threatens to tear up the entire course while illegal gambling, drug use and insanity take over the course and destroy the prestige name of the Club along the way!

#6. FIELD OF DREAMS: 1989’s fantasy- baseball drama had only one message to deliver:” If you build it, they will come” and so the film discovers many different layers as what the meaning of that phrase takes on for many different characters and the subplots that the film covers. Kevin Costner (THE UNTOUCHABLES) leads the cast as an Iowa corn farmer who hears a haunting voice whisper the memorable phrase as a request to build a baseball diamond in his field to have the 1919 Chicago Black Sox players return for a game. The film focuses on the discovery (and rediscovery) of family, values and the love for America’s game. The fabulous cast also includes James Earl Jones (COMING TO AMERICA) and Ray Liotta (GOODFELLAS).

#5. ROCKY: The 1976 drama introduced America to its next great hero: Rocky Balboa, who was brought to life by its writer and creator- Sylvester Stallone. ROCKY symbolizes the American Dream to become somebody and to prove that anything is possible as long as the spirit to go the distance lives in the soul of the pursuer. Directed with a flare of realistic drama, John G. Avildsen (1984’s KARATE KID) helms the story of a small time boxer from Philadelphia who gets a once in a lifetime shot at fighting the heavyweight champion. Balboa trains for the match of his life for honor and self- respect. With memorable performances by Talia Shire (THE GODFATHER), Burgess Meredith (Television’s BATMAN) and Carl Weathers (PREDATOR), ROCKY has found its place with its fans as a film with heart and guts. 

#4. THE NATURAL: Although missing from JC’s list of favorites, it is one that happily finds a home on mine. Robert Redford plays a middle- aged batter who comes out of nowhere with his self- made bat taken from a tree that had been struck by lightning to help a 1930s losing baseball team to the top of the majors in this fantasy drama. Beautifully directed by Barry Levison (RAINMAN) THE NATURAL contains some breathtaking cinematography and inspiring music from composer Randy Newman (TOY STORY, RAGTIME).

The exhilerating trailer for 1984's THE NATURAL

#3. YOUNGBLOOD: This may not ring on the top of JC’s Top 1000 list, but it sure has a place on mine. 1986’s YOUNGBLOOD might have been a starring vehicle for its main star, Rob Lowe (ST. ELMO’S FIRE) but the film proved to be more than that. With Patrick Swayze as a mentor, Lowe plays a farm boy who wants to play real hockey, so he hops over the Canadian border to play. He has to; however, show that he can move about the ice and being able to hit the puck is just the start. The film features some great hockey sequences as well as a great 80s soundtrack to boot to make this film a fun little treasure for anyone who enjoys the game or the era.

#2. THE BAD NEWS BEARS: I am not talking about that piece of crap wannabe remake with Billy Bob Thorton, but thee original Bad News Bears of 1976! Walter Matthau turns in a memorable performance as the sloppy but loveable Coach Buttermaker who happens to be a down- on- his- luck ex minor leaguer who takes on a league of juvenile little- leaguers as they compete for the California league. With a fantastic cast of pint- sized unknowners, Tatum O’Neil (PAPER MOON) is the jewel on this scuffed tiara as the team’s secret weapon pitcher.

The original 1976 trailer for THE BAD NEWS BEARS!

#1. RAGING BULL: What more can be said of director Martin Scorsese’s true- story telling of the rough and rugged life of prize fighter Jake “The Raging Bull” LaMotta. Robert DeNiro’s portrayal of LaMotta earned him a much deserved Academy Award for Best Actor. The unique style of electing to shoot the film in black and white created an element different from any other film during its release year of 1980. Scorsese has a flair of selecting the right actors to interact with each other that continually add to the drama or tension of the story being told. Joe Pesci (GOODFELLAS) is a break- out star as Jake’s brother, Joey. Another interesting fact that Scorsese built into the production of the film: the fight sequences are recorded in full stereo so that you may hear every hit and jab thrown while the actual dialog or drama of the film is recorded in mono!

The classic opening sequence to RAGING BULL

Great films that deserve a moment of reflection and their enique way of capturing the spirit of the sport they represent... however, it is also understood that many films were overlooked. What do you feel were films that deserve to be recognized?

We always look forward to your comments and please check back as we always reply back to all!

PLEASE join us on Wednesday September 12th as CINEMA: COUNTERPOINT pays tribute to the loss of one of Hollywood's most recognizable and talented Directors: MR. TONY SCOTT (1944- 2012)

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JER'S TURN: JAWS- THE FILM AND THE IMPACT

JER: The summer of 1975… the thought brings me back to when I was a mere seven year old boy falling deeply in love with the movies and who viewed the world through innocent and naive eyes. Amongst the many that were released that summer, the more memorable were titles like ROLLERBALL starring James Caan, Barbra Streisand’s FUNNY LADY, MONTY PYTHON AND THE HOLY GRAIL, Walt Disney’s THE APPLE DUMPLING GANG with Bill Bixby, Don Knotts and Tim Conway, NASHVILLE (a JOHNNY CHAZZ favorite) and the long awaited FRENCH CONNECTION II with Gene Hackman. In the mix of the famous and not- so- famous of the films being released and anticipating release, one film did ‘emerge’ from the depths of a young director’s vision that would change film- watching and film- making all together. The date was June 20^th, 1975 and the phrase ‘blockbuster’ was coined from the display of box office dollars generated from a single film that had not been seen previously: It began with Steven Spielberg’s JAWS.

Fast- forward to the summer of 2012, or 37 years later, with yet another wave of excitement that is making its way back into the hearts (and fears) of film fans alike as JAWS is preparing to be released on blu- ray for the first time ever! Serious collectors and first-timers are bogging the internet with talks and conversations of high anticipation as the date draws nearer.

It is no secret that many have heard of the various plights JAWS was cursed with… some would even go as far as to down-play the film as ‘corny’ or ‘boring’ by today’s standards. Who could be afraid of a rubber shark in a world of computer- animation and high- tech graphics or be submitted to suspend reality for the briefest of moments to believe such nonsense? At the same token, how can one argue with the fact that JAWS has remained on the top of many prestigious film lists as ‘best’ in its categories and the respect it has garnered from fellow filmmakers alike?

The blu- ray trailer for JAWS (in HD)

In this posting, CINEMA: COUTNERPOINT would like to recall one of the greatest summer films of all time as well as the one film that may have created the phrase "blockbuster" and the many layers of enjoyment it has provided. So, grab your tanning oil and your beach blankets and let’s dive right into the world of JAWS.

ORGINS:

Benchley makes an appearance as a Reporter in JAWS

JAWS began in the imaginative mind of author Peter Benchley when his novel was published in 1973. Benchley was inspired by a number of true- life shark incidents including a string of attacks that occurred in New Jersey back in 1916. The results led to four deaths and occurred over a period of twelve days. After writing his book, film producers Richard D Zanuck and David Brown (DRIVING MISS DAISY, THE SOUND OF MUSIC) were able to obtain an unpublished copy for their reading. An offer was made by the duo for the film rights and Universal Studios was signed on to release the film. As the film grew closer to a production point, Benchley was asked to co- write the screenplay... he even makes an appearance in the film as a news reporter during the 4th of July festivities. The question now needing to be answered was who would direct the project? Many names were immediately brought forth, but the team of Zanuck & Brown was looking for someone who could visually tell the story and capture the spirit of the novel and what Benchley was trying to convey in character and events. Yes, who indeed…

28 year old director Steven Spielberg

A very young 28 year old Steven Spielberg was already a contracted director for Universal who was quickly creating a name and reputation for himself. Aside from being one of the youngest on the lot, he had already had the honor of directing various top- A actors on television shows that included the likes of Joan Crawford (NIGHT GALLERY) and Peter Falk (COLUMBO). A made- for television film starring Dennis Weaver called DUEL was released in 1971 on NBC and received rave reviews and ratings. His feature length film was made with 3 million dollars and starred a very dramatic Goldie Hawn in THE SUGARLAND EXPRESS (1974) which also received great critique and grossed over 12 million dollars worldwide. The film was produced by the team of Zanuck & Brown.

Having had a wonderful experience working with the new kid on the lot and proving himself ready to go to the next level, Zanuck & Brown decided to give Spielberg the project to direct. Everyone, including, Spielberg, knew the risks involved from the anticipation levels expected by the fans of the novel, since it remained the number one best seller for 44 weeks!

After selecting the quiet seaport town of Martha’s Vineyard as the perfect location for the fictitious town of Amity Island, Spielberg could now focus his attentions on selecting the three main actors to flesh- out the leads of the story. The perfect combination of Roy Scheider as Chief Martin Brody, Richard Dreyfuss as Matt Hooper and the ‘seadog’ portrayal of Quint by veteran actor Robert Shaw was finally drawn out from many other considerations which included Charlton Heston (Brody), Lee Marvin (Quint), Robert Duvall (Brody), Jeff Bridges (Hooper) and Jon Voight (Hooper). Peter Benchley’s dream cast: Paul Newman, Robert Redford and Steve McQueen!



Composer John Williams: circa 1975

 JOHN WILLIAMS- JAWS’ HEARTBEAT:

Undoubtedly, the soundtrack to JAWS is synonymous to the film and is easily one of the most recognizable pieces of contemporary classic music over the years. Composer John Williams had already begun what would be his longtime musical relationship with Spielberg by scoring THE SUGARLAND EXPRESS and JAWS would now mark their second collaboration. Williams was proving himself to be a successful and respected composer with scores like FIDDLER ON THE ROOF (1971), THE POSEIDEN ADVENTURE (1972), THE TOWERING INFERNO (1974) and EARTHQUAKE (1974) already adding to his credits. The most distinguished of the JAWS score is its theme. Probably one of the most satirized pieces as well; the theme consists of the memorable low notes provided by tubas and strings. Many wonderful themes are sprinkled throughout JAWS in various points of the film: some are to highlight the anticipation of suspense and others play with Amity’s beachfront scenery as the backdrop.

The theme from JAWS video with stills from the film

Cinematographer Bill Butler on the set of JAWS

A REVIEW- THE FILM:

This is a film that made an impressionable impact on a seven year old who wanted to go to the movies to see a film about a shark…and that was exactly what I got! Even at my age, the distinct sounds of Williams’ soundtrack making an appearance before we get the first shot of the ocean’s floor caused an entire theater to react with excitement. Director of Photography Bill Butler ingeniously used the camera as the shark’s point of view. Rumor has it that Spielberg was so frustrated with the huge percentage of the mechanical shark’s breakdowns, that he was succumbed to use the camera as the shark since the other one is inoperable! Nonetheless, the technique proved to be unique and effective as we were taken on a ride to see what its next victim would be.

Shaw, Scheider and Dreyfuss from JAWS

The arguable question has always been a counterpoint of theme to what JAWS is defined as: is it a horror film or not? An “eating machine” works as the protagonist of the film with one job to perform…eat human flesh. The other side of the spectrum resorts in its rating of PG with a clause appearing on its theatrical posters stating “may be too intense for small children.” The carnage in question is inserted at various moments throughout the film as dramatic moments are given equal time to help developing the personalities of the town’s inhabitants and the main characters. This is another point that makes this film stand out and carry a stamp of its generation. Time is actually spent developing characters and storylines instead of focusing on a total body count with an unlimited array of victims available for feeding and bloodletting. Would one automatically assume because of tension, blood and a shark thrown into a story or film that it could default to it being defined as ‘horror?’ I wouldn’t. Maybe at seven years old, the only vivid memories would be of the shark attacks and it would have definitely been defined as a horror film, but I see it very differently today.

JAWS, in this critic’s opinion, has always been a story of men and struggle…a claiming of grounds. Man versus beast, if you would, over territory. The territory, in the film, is Amity and its waters. A peaceful town that is brought up early on in the film when Brody makes it into the office that fateful morning in which his duties as a lawman is to deal with kids karate- chopping neighbor’s picket fences! How does a quiet little town deal with a bully or a menace? The shark is also a threat to the community… not only because of the fatal effects one would suffer if swimming near it, but also the economic expectancy of summer (more specifically, 4^th of July) dollars that the town needs to keep afloat. The town has to get together to try to resolve the problem (claiming their ground) and the solution arises in…the form of one man, Quint. Such similar stories have been told many times before but with different scenarios. The struggle of man and his surroundings is a tale as old as time and makes it more relatable because of our own personal experiences.

"Bruce" the shark and Steven Spielberg

Sadly, there are now at least two generations that never have or never will have experienced JAWS in an actual theater. In 1975’s presentation at my local movie house, the lights dimmed and the film immediately began! No trailers, no commercials, no cartoons, and no concession announcements…just straight to what you paid your price of admission for! There was a quiet hush that went over the entire auditorium yet there was a wave of whispered enthusiasm that made people strap in for the ride they paid to see.

In conclusion, JAWS still remains a very powerful and impactful film for me 37 years later. It works on so many levels: terror, biting humor, action, drama, suspense and tension. If one can look past the “rubber shark” theory, you find a fantastic and ageless storyline that speaks to each of us based on our own personal attitudes or emotional histories. I, for one, find myself waiting in high expectation for the August 14^th release date for the blu- ray having once owned the VHS tape and the DVD. If you have not experienced blu- ray and are either curious or intrigued by the comparisons, I was able to provide an example for your viewing pleasure.

JOHNNY CHAZZ: Right off, we must realize that the text (the novel) provides us with a storyline and characters that are much deeper than the film can offer. Still, doing justice to the film, novels are a longer "read" than films are as a "watch". Nonetheless, a sacrifice is almost always made when you take a novel and put it on screen - and so much of the creativity, characterization and imagination is lost ("The Da Vinci Code" would serve as a prime example).

The film won three (3) Ocscars and was probably deserving of that. Still, this was a year that provided us with the likes of "Dog Day Afternoon", "Barry Lyndon", "Nashville", "One Flew Over The Cuckoo's Nest", and Michelangelo Antonioni's "The Passenger" which was arguably the best film of that year.

Spielberg's work here almost reminds us of a "Hitchcock-like" film in the way it is filmed and shot. A quiet town is used and the characters are slightly flawed which adds to the hostility and rage. The characters are limited with plenty of extras in the background.The suspense is real - but timed beautifully and is never overwhelming. Even the play of tension between the three main characters in the film create a mood in a limited space which is drama to a "T". Robert Shaw undoubtably offers the most riveting and convincing performance in the movie.

Jer asked our readers if this was a "horror" film - and that can be debated. The truth is, Jaws appears to fall into the "Monster-Suspense" genre that we often see with "B" movies - and, not to diminish the film - in so many ways "Jaws" does remind us of what "B" movies were all about.

The original trailer for the 1975 release of JAWS

What is so powerful about "Jaws" is that it continues to stand the test of time. The story remains relevant today and upon re-visiting the film, your fear of going in the water re-surfaces all over again. It simply terrorized movie audiences 37 years ago, and continues to do so today.

"Jaws" is hardly a complex film, but the best moments of the film (to me) are when the shark is not present. The moments of floating endlessly and hopefully on the 'Orca' (the boat's name) with the John William's score and the sounds of the ocean water crashing against the boat create a real creepshow feeling. Referring to Jer's comment: It may well qualify as "the most recognizable pieces of contemporary classic music over the years". To add, the underwater cinematography is quite terrific and offers audiences the shark POV that tacks on to the terror.

"Jaws" is in no way one of Spielberg's best films as we must look at 3 or 4 others ("Schindler’s List" - 1993 & "Close Encounters Of The Third Kind", as well as "E.T.: The Extra- Terrestrial" and "Saving Private Ryan") before moving down the list to this cult-classic.Still, something special was certainly created here since focus on character was still a piece of the film that made it work. What we can say, and beyond a shadow of a doubt is that "Jaws" was the film that set the stage for Steven Spielberg, placing him on the map for years to come and re-defined the horror-suspense-monster genre for years to come in the world of cinema.

Robert Shaw (Quint) delivers the "Indianapolis"speech

JER: April 6th, 2011 was a date in which CINEMA: COUNTERPOINT posted a blog topic entitled: "THE TOP 25 SCREENPLAYS IN THE LAST 50 YEARS!" to which I listed JAWS as my number 10. To borrow a quote from that posting, here is what I wrote then about JAWS as a screenplay:

10. JAWS (1975) Like THE EXORCIST, what is mainly lacking in the capturing of an audience’s interest in any modern horror/ thriller is the lack of character and dialog. Peter Benchley’s best selling novel is reshaped into a building of characters on both a human and caring manner and how the lives of some change when confronted with an uncontrollable being. A highly recognized moment is placed on Robert Shaw’s “Indianapolis” speech delivered on the ‘Orca” to Richard Dreyfuss and Roy Scheider. Plus, who can forget the immortalized “You’re gonna need a bigger boat” line?

In summary, I go back to what JOHNNY CHAZZ said in regards to: "Jaws" is hardly a complex film, but the best moments of the film (to me) are when the shark is not present. I believe that moments like Quint's delivery of the incident on- board the 'Indianapolis' is one of the greatest moments of dialog assembled and captured on film. There are plenty of great sequences to confirm JC's quote as well. Moments within the Brody household, The various fisherman arguing before casting off the docks to try to win the reward money and the two fishermen who uses the wife's holiday roast as bait that fateful dusk eve. This and many other elements help with the actual telling of a story and not just focus on the carnage of a potential R- rated film.

Shaw, Sheider, Spielberg and Dreyfuss on the set of JAWS

It may be high time for a revisit or maybe the opportune moment to see it for the first time, in any repsects, JAWS is definitely a film to sink your teeth into!

As always, we look forward to your comments on the subject... what has been your JAWS experience? Were you able to see it in theaters or have you only seen it on a home- format?

Mark your calendars as JOHNNY CHAZZ will look into his crystal ball for the inspiration to kick- off his latest blog topic on WEDNESDAY AUGUST 22nd, 2012! Thanks again for visiting us!!!

Have you visited the official CINEMA: COUNTERPOINT page on YOUTUBE? Check out classic and contemporary trailers, scenes and other great trips down memory lane! Just click the link and check out the "Favorites" on our site! Enjoy!

http://www.youtube.com/user/cinemacounterpoint?feature=mhee