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Posts from the ‘1982’ Category

48 Hrs.

Some people credit Walter Hill’s 48 Hrs. for being the first of the buddy cop genre. I’m not sure whether that’s true or not, but it is a sharp, funny action comedy that certainly seems to have influenced quite a pile of other movies. The 1982 picture was originally meant to be a vehicle for Clint Eastwood, with Richard Pryor getting the role Eddie Murphy wound up with. Of course, casting difficulties plagued the project and Pryor and Eastwood did other things. It would’ve been a hell of a flick, though.

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Friday the 13th Part III

All the suspense built up from Friday the 13th Part 2 is gone by the time Friday the 13th Part III gets underway. A gimmicky, cheesy, dumb horror movie with few redeeming qualities, the third instalment in the series was originally released in 3D – and it shows with each gaudy frame. Now sure, this movie is the one where Jason Vorhees (Richard Brooker) gets his trademark hockey mask, but that’s really about it.

Steve Miner shot the movie in 3D and made use of the gimmick by having various characters hold objects in strange ways to have them “leap out” at audiences. A kid holds a baseball bat for a useless eternity, for instance, and a number of pitchfork handles poke out. In one hysterical moment, an eyeball is squeezed out of someone’s head and flies at us. Not kidding.
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The Thing

When John Carpenter’s The Thing was released in theatres, it was up against a kinder, gentler sort of extra-terrestrial tale in Spielberg’s E.T. Subsequently, Carpenter’s gorefest didn’t do all that well at the box office against Drew Barrymore and Co. Luckily home video was kind to The Thing and it started to gain cult status, with fans revelling in the fantastic gore and cornball effects that still manage, perhaps despite all odds, to provide chills and thrills.

Part of the reason The Thing works out so well is the factor of isolation. 30 Days of Night used this concept well too and that was an effective thriller. In Carpenter’s case, the isolation of the Antarctic research station is an excellent backdrop to whatever the hell is out there. The empty, dark, snowy expanse becomes a character in and of itself and you have to think that it, too, has a role to play in just how off the rails things get in this movie.

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The Dark Crystal

I’ve always been an admirer of Jim Henson’s work. The artistic substance of his material is often enchanting and his vision and creativity are immense. But I’ve never called myself a fan of Jim Henson. While I do have admiration for the aesthetic he is able to create and envision, the bigger picture and the whole product he turns out is often less than enthralling. Perhaps there is no greater example of this than with 1982’s The Dark Crystal.

Artistically, The Dark Crystal is a spectacle. Through the use of groundbreaking animatronics and puppetry, Henson’s world of Thra comes to life. There are no human beings visible on screen during the film and the settings, creatures, and special effects are quite impressive considering the time. In fact, at the time of the movie’s release it was dubbed as the first live-action film without any human beings on screen.

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Poltergeist

Steven Spielberg co-produced and co-wrote Poltergeist, the 1982 horror classic directed by Tobe Hooper. Hooper, who directed The Texas Chainsaw Massacre and Salem’s Lot, and Spielberg had an interesting creative relationship during the making of Poltergeist. A clause in Spielberg’s contract with Universal Studios prevented Spielberg from directing any other film during the preparation for E.T.: The Extra-Terrestrial. The summer of 1982 was dubbed “The Summer of Spielberg” and media outlets began to question Spielberg’s actual role on Poltergeist after comments surfaced from the writer-producer that seemed to denote his involvement was significantly more hands-on than expected. As recently as 2007 during an interview with “Ain’t It Cool News”, Zelda Rubinstein explained that Hooper “wasn’t all there” during shooting and that Spielberg shot most of the film.

Regardless of this, it is Tobe Hooper who received the acknowledgements and the credit as director of Poltergeist, even after a Director’s Guild investigation. According to Douglas Brode’s book The Films of Steven Spielberg, Spielberg was the “creative force” of the film and designed every storyboard. Hooper was the director, according to co-producer Frank Marshall, and was on set each day. According to Douglas’s book, Hooper claimed he did half of the storyboards. Whatever the truth was, it’s safe to say that the energies swirling around behind-the-scenes during the filming of Poltergeist and the subsequent “Poltergeist Curse” were certainly contributory to the ominous ambience.

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