Reviews by Mary Markham and Steven Lewis

DARKMAN

What the Batman movies SHOULD have been like

Darkman came out the summer after the first Tim Burton Batman movie, and I remember thinking “If only. . .” That is, if only Sam Raimi – the genius behind Darkman – had been handed the reins to the Batman franchise. Oh, it could have been AWESOME! Burton’s Batman had a great look and production design, but Darkman’s got everything else: a brooding and truly tragic hero, whose heroism is greatened by the fact that he is a mere mortal and must rise above huge physical and psychological scars. And yet he’s also crafty and ingenious, continually thwarting the villains with brains and quick thinking moreso than with his fists (although he does that too). Also, the villain here – played by Larry Drake of L.A Law fame (or infamy, as the case may be) – is one of the greatest villains of all time. Not because he’s so humorous and enjoyable, but because he so resolutely ISN’T. The notion of the villain as jokester and entertainer is beginning to get a bit tired in modern movies, particularly in the Batman series where the bad guys are always the real stars. And yet, how threatening is that to an audience? If the bad guy is such a damn hoot, why should we root for the hero? Darkman doesn’t make this mistake: Durant (as played by Drake) is one of the most sinister, sadistic, and purely evil creations to come out of a comic-book styled movie. No mad cackling or over the top hamminess for him – just pure, cold-eyed evil. And yet not crazy, but rather crafty; in other words, a formidable opponent – and so the overall struggle is one with tremendous rooting interest for the audience.

And the way this picture is shot! It is truly a marvel to look at. There is a real understanding here of how a comic book works visually, as well as thematically. The camera is often tilted at odd angles for sinister – or sometimes just amusing – effect. The violence and action sequences are all portrayed in broad, gaudy strokes (faces flying into the camera, loud explosions, and above all speed Speed SPEED!) and yet use their cartoonishness to soften, rather than deny, the inherent pain and sadism involved. Many have objected to the violence in this movie, but there’s really no more here than there is in an average action film – and considerably less than in recent Jerry Bruckheimer garbage like The Rock and Con Air. The reason Darkman SEEMS so much more violent is that it refuses to soft-peddle it; when characters here get hurt, you FEEL it, in a very visceral way, rather than watching mindless explosions which make no attempt to connect them to any real pain or suffering. This, I believe, actually makes Darkman a much more humane movie than most of its counterparts: it displays just how sick and ugly criminal violence is, instead of glamorizing it by making it seem “cool” or “hip” (are you listening out there, Quentin?). Because Peyton Westlake/Darkman is a victim of this type of brutality, we root for him and feel for him in a deeper way than we would an ordinary crime fighter or superhero, and this lends the film a powerful undertow of tragedy which disallows us the simple knee-jerk euphoria at the bad guys being defeated. No matter what happens, we are clearly told, Peyton’s life is irreparably damaged, and he will be forced to “wear” the scars of sadistic villainy until the day he dies. In other words, for all the goofy pop-art fun and sheer adrenaline kick of the movie, there’s no “happy ending” here; how many other popcorn action films would be so brave?

Visually and thematically, then, this is one of the greatest pictures ever made – certainly within the action/superhero genre. Actually, along with Robocop (a movie which shares a similar cartoonishness and bleakness of tone) I think it’s the best “comic book” movie ever. Interesting how both those films deal with characters invented specifically for the screen – yet who APPEAR to be straight out of the pages of a graphic novel. Maybe Hollywood is best when it’s coming up with its own superheroes, instead of just plundering the DC and Marvel universes. Or perhaps it all comes down to the director; most of them don’t seem to understand what makes comic books special and interesting, and so therefore can communicate none of their zip to an audience. However, with Sam Raimi set to direct the new Spiderman movie, this trend might be about to change in a major way.

Stay tuned. . .
-SL

WILD AT HEART

This whole world’s wild at heart and weird on top.

When I try to choose my favorite Lynch film, it is impossible. Each one of them represents something unique and exquisite about David Lynch’s vision and his innate ability to dissect the human condition in a way no other director can. I can honestly say that “Wild at Heart” may be my favorite of Lynch’s and is quite possibly his most linear and romantic film. It is beautiful heartbreak on every level possible. Never have two screen characters been as captivating and convincing in their plight of the heart as Lula and Sailor. Lynch’s love for them beats strongly throughout the entire film and makes sure you never quite forget their spirit.

It has often been compared to the “Wizard of Oz” and there are many winks and nods to the film. Lula’s awful mother Marietta as the wicked witch, the red shoes that Lula wears, tapping them together at one point to send her home and Sheryl Lee as the good witch who speaks to Sailor about his destiny with Lula. These are the obvious similarities. Then there are more subtle ones such as Jack Nance’s quirky bit about his dog comparing him to Toto. Or the yellow dividing line that runs down the never ending road that Lula and Sailor are on. Not to mention the crazy characters they encounter along the way. But of course this is no child’s play. This is David Lynch. Therefore you can expect a much more twisted and deviant version. Sex, felonies, incest, murder, rape etc. That is what you will find on this yellow brick road.

The premise is simple. Sailor Ripley, accused of murdering a man with his bare hands in self-defense is placed in prison for attempted manslaughter. Meanwhile, his girl Lula waits patiently for her love to be sprung from the big house. Upon his release from prison, Lula and Sailor embark on a twisted journey trying to escape the devices of Marietta and ultimately to reach California. Now I could continue on with a play by play plot description but that seems senseless because I can only hope that you have seen this film. Therefore, let’s talk about some of the shining moments of strangeness in this film.

First of all, the cast is remarkable. The major players being Nicolas Cage as the moody Sailor Ripley, Diane Ladd in a horrifying performance as Lula’s sinister mother, Marietta Fortune and of course the luminous and brilliant Laura Dern as Lula Fortune. Let me say however that the secondary roles feature only the best: Isabella Rosselini, Crispin Glover (in one of my favorite vignettes), Harry Dean Stanton as Marietta’s chump and best on-screen crier, Johnnie Farragut, Jack Nance, John Lurie, Pruitt Taylor Vince, Grace Zabriskie as the disturbing and hypnotic Juana, Sherilyn Fenn, and, of course, Willem Dafoe as the unforgettable Bobby Peru. In every Lynch film there is that over the top, bizarre, horrific character that you never forget (i.e. Dennis Hopper in “Blue Velvet”, Robert Blake in “Lost Highway”) but Bobby Peru is an entirely different kind of monster in this film.

This movie is sewn together with so many delectable little pieces that every time I watch it I find something new. It’s almost epic that way. All of Lynch’s films are bent love stories that are never pure and simple but always deep and honest. “Wild at Heart”, I believe, is his heart. Laura Dern’s Lula is a character like none other. She is 100% out there and confident and unique and pure. Under all the lingerie, red lipstick and rebellion is a truly beautiful soul. Her love for Sail (as she calls him affectionately or desperately) is unrivaled. Her life up until him, although shiny on the outside, was full of truly horrible events, yet they never made her dysfunctional or jaded. She had the ability to look them in the eye, confront the demon and put it behind her. Like a stallion, she is free to experience life in all her glory. Laura Dern is a special actress and Lynch has a special place for her in his artistic vision. That is rare, and he has a knack for sniffing out that kind of talent.

During the roller coaster ride that is this film is a scene that to me is the climax, the defining moment and the definition of the way Lynch holds humanity as almost a sixth sense. It’s about halfway through the film. Lula and Sailor are driving at night on some lonely interstate where there is nothing around them and no other cars. To set the tone of the scene Chris Isaak’s “Wicked Game” plays softly in the background. Lula comments on the isolation of their surroundings while her blonde hair blows gently around her face. Sailor, harboring a deep secret, turns to her and tells her the truth. Prior to this moment, Lula’s love for Sailor is almost childlike and unconditional. But as the truth escapes his lips, you can actually see in her face that this has changed her life and her heart forever. “That’s some big secret you been keeping, Sail” are the words she utters as tears well up in her eyes. Because no matter what Lula has seen or been through, Sailor was always safe to her, and at that moment the naïve light in her eyes is snuffed ever so slightly. That scene is devastating to me. I cry every time I see it. Throughout all the madness, Lula’s belief in Sailor keeps her pure, almost untainted, and it’s painful to watch reality set in. The world is not a good place and now Lula knows.

It is this type of moment that places David Lynch at the top. His soul runs deep and he knows the truth about the world, but will always hold on to a little shred of optimism and share it with us reminding us that in the darkest of places there will always be love.
-MM