Since his 1979 debut, Return of the Secaucus Seven, the pioneering indie director John Sayles has never flagged in his sober commitment to exploring social issues. But he’s a realist; he knows audiences like stories. And after a handful of iffy box-office performers, Sayles cozies up to an out-and-out genre picture with Go for Sisters, which—perhaps not coincidentally—is also his best in over a decade.
For by-the-book Los Angeles parole officer Bernice (LisaGay Hamilton), life is uncharacteristically out of her control: Her adult son, a combat vet, is missing after getting mixed up in some dodgy border trouble. The only person who can help is her former high-school friend, Fontayne (Yolonda Ross), a recovering addict and ex-con.
The same year that An American Werewolf in London opened up the possibilities of the werewolf horror with a mix of black comedy and horrific transformations, Joe Dante went a different direction with The Howling (Shout Factory). Working on lower budget, Dante discarded the usual lone wolf route to frame the drama in terms of the wolf pack. His wolves weren’t mad dogs on the rampage, but a primal force balancing survival with primal urges.
Dee Wallace, just a year before making E.T., stars as an investigative TV reporter recovering from a brush with a serial killer in a retreat called “The Colony,” a mix of new age commune, primal therapy, and red meat culture run by psychiatrist Patrick Macnee. It also happens to be the hub of a werewolf pack that quickly adds her husband (Christopher Stone) to their ranks, transforming the easy-going vegetarian into an aggressive, meat-eating hunter in the process.
It’s more clever than compelling, to be fair, an interesting take with inventive effects (thanks to Rob Bottin), impressive moments of horror, an undercurrent of dark humor, and an earthy, feral sensibility. John Sayles (who previously wrote Piranha for Dante) came with Dante from the Corman movie factory and contributes a clever script (adapted from a novel by Gary Brandner) with some character nice touches in the supporting roles and a modicum of wit in the dialogue.
When Star Wars became the smash hit of 1977 by turning B-movie adventure into big-budget spectacle, drive-in mogul Roger Corman saw the writing across the stars. The producer and former director had made his share of drive-in science fiction and space adventures, but they had all been cobbled out of spare parts and imaginative art direction, with simple miniatures and animation providing the space ships. Now Hollywood was moving in on his brand of genre filmmaking and action fantasies with budgets he couldn’t match and he needed to raise his game to meet them.
Battle Beyond the Stars was Corman’s answer to the new Hollywood sci-fi blockbuster. The script is from John Sayles, whose screenwriting apprenticeship came from such Corman productions as Piranha and The Lady in Red, with a story credit shared with Anne Dyer, but the concept was from Corman himself: “The Seven Samurai in Space,” with a few hints of Star Wars tossed in around the edges. Richard Thomas, fresh off six seasons of the folksy family TV drama The Waltons, plays the film’s innocent, idealistic hero Shad. He’s Luke Skywalker by way of John-Boy, a farmboy on a peaceful agrarian planet that looks like a counter-culture commune in ancient Greek garb. When the vicious warlord Sador (John Saxon) brings soldiers and his answer to the Death Star to their planet and gives them seven days to surrender, Shad sets out in a talking space ship (in the tradition of referring to vessels in the feminine, this one quite literally has a voluptuous pair of breasts protruding from the bow) to hire a fighting force of mercenaries to defend themselves from the invasion.
After a detour at a nearly abandoned space hub, where he manages to recruit the only single girl (Darlanne Fluegel) his age in the region, he starts putting together his team: a drawling smuggler who goes by the handle Space Cowboy (George Peppard, offering the film’s answer to Han Solo), a lizard-like slaver with a grudge against Sador, a hive being of multiple clones in search of new sensations and experiences, a pair of heat-producing beings known as The Kelvin, a buxom Valkyrie warrior (Sybil Danning in a costume that barely covers her) in a mosquito of a fighting ship seeking battle glory, and in the film’s inspired casting coup, Robert Vaughn as a jaded bounty hunter who joins their fight in exchange for “a meal and a place to hide.” It’s the same role he played in The Magnificent Seven, the original western remake of The Seven Samurai. Corman also casts a pair of respected Hollywood greats in small roles: Oscar nominated actor Sam Jaffe as a mad scientist who has wired himself directly into his space station and legendary acting teacher and character actor Jeff Corey as the blind tribal elder.
Big Bad Mama / Big Bad Mama II Double Feature (Shout! Factory) Crazy Mama / The Lady In Red Double Feature (Shout! Factory)
One of the less recognized genres that director/producer/indie-exploitation movie mogul Roger Corman adopted as a minor specialty was the depression-era gangster movie. As a director he turned out Machine Gun Kelly (1958), The St. Valentine’s Day Massacre (1967) and (most importantly for the purposes of this piece) Bloody Mama (1970), his perversely Oedipal take on the Ma Barker story with Shelley Winters as the machine gun mama leading her sons through a bank-robbing spree and keeping them a little too close for comfort on their days off.
Jump ahead a few years and Corman, now retired from directing to run his own independent studio, turns back to the period gangster thriller with a femme-centric twist (which proved so effective in Boxcar Bertha, the 1972 feature he produced for AIP and with an up-and-coming young filmmaker at the helm taking first shot at directing a real Hollywood film: Martin Scorsese). Bloody Mama and Boxcar Bertha are the two godmothers of the four films featured in a pair of double features from Shout! Factory, including three that carried on the legacy of Corman’s gangster Mamas: all previously available but newly remastered for posterity presented at good prices.
Angie Dickinson takes the driver’s seat in the getaway car of Big Bad Mama (1974) and powers the low-rent Bonnie and Clyde as the feisty Wilma McClatchie, a sexy and strong-willed depression-era widow with two teenage daughters blossoming into sexual creatures. Angry, outspoken and determined to take back her share (and a little more) from the fat cats and corrupt authority figures that took everything from her, she puts a stop to her daughter’s wedding with a rabble-rousing speech about social injustice and then hits the road with a fun-loving bootlegger on the run from the Feds (one of them played by Corman familiar Dick Miller). It’s the just beginning of her outlaw education on the road to bigger and better crimes, from small-time robberies and race track heist to high society capers, with two new partners: rough and ready bank robber Fred Diller (Tom Skerritt) who literally has his bank robbery hijacked by Wilma and smirking con man William Baxter (William Shatner) who seduces Wilma right out of Fred’s arms. Her girls, Billy Jean (Susan Sennett) and Polly (Robbie Lee), are quick to fill the void in Fred’s bed. He’s nothing if not adaptable.
I have a soft spot for Albert Lewin, a literary Hollywood writer/producer turned director with a continental sensibility an eye for handsome imagery (if not always cinematic storytelling). His productions tended toward literary adaptations (The Good Earth, 1937, which he produced, and The Picture of Dorian Gray, 1945, which he scripted and directed) but Pandora and the Flying Dutchman(Kino) is an original script (“suggested by the Legend of the Flying Dutchman,” in the words of the credits) reverberating with mythological themes, literary and classical references and a Hemingway-esque atmosphere of the lost generation of idle wealthy Europeans in early thirties Spain.
All of the men in the tale are in thrall to Pandora (Ava Gardner), a beautiful American nightclub singer who has come to Esperanza, Spain, via London, and spurns the attentions of her admirers with a mix of cruelty and ennui. Then she is drawn to the mysterious ship anchored in the bay and meets the ageless Renaissance man Hendrik (James Mason), a haunted loner whose story is the stuff of legends, and becomes captivated by this mystery man who seems to know her yet makes no advances.
[Originally published in Movietone News 66-67, March 1981]
Introduction by Richard T. Jameson
When it comes to new hope for the American cinema, filmcrit types are always in the market. New hope in 1980 took the form of a low-budget festival film with the misunderstandable title Return of the Secaucus 7. It wasn’t a documentary, wasn’t a tribute to sullen or snarling radicals, wasn’t even a where-were-you-in-’72American Graffiti–style slice of overpacked nostalgia. What it was was this genial, witty, low-key comedy, with just the right touch of rue, about a group of friends getting together for an informal reunion one summer weekend, and trying to get used to the idea of turning 30—and just a wee bit comfortably bourgeois. The screenplay was a beauty, ostensibly laidback and wide-open, yet carefully detailed without letting the pointedness show; the characters expertly drawn, no fuss, and so cleanly individualized (among other things, everyone’s dialogue has a logic and texture all its own) that for the audience and for one another they step right out of any assigned boxes, free to explore a wide range of possibilities. The result was a droll ensemble portrait shot through with the cozy vitality the Sixties used to call natural, without any of the boring unintelligence that so often went along with it.
The film marked the directorial debut of John Sayles, himself age 30 and one of the most solidly talented writers of contemporary American fiction. About the time Secaucus 7 went into national release, Sayles accepted an invitation to meet with a scriptwriting class at the University of Washington and share some of his experiences. Virtually all the Hollywood personnel who graciously and generously gave of their time to support this course delivered themselves of frank and cogent remarks about the realities of the film biz at the dawn of the Eighties; but even in this company Sayles was conspicuous for the comprehensiveness and lucidity of his commentary. He talked for better than two hours, first supplying a general commentary on his background in film and the circumstances of Secaucus7‘s making, then opening the floor for questions. Having never heard so much good sense about films and filmmaking collected in one place before, movietone news requested permission to share it with a larger public; the unassuming writer-director seemed surprised that anyone would think so highly of his off-the-cuff remarks, but he agreed. “We’ll send you a transcript so you can check it out.” He thought about that a moment, then said, “No. If I said it, I’ll stand by it. Just go ahead.” And that, with very little editing and rearranging, is what we did.
I’d always been interested in doing screenwriting, realized that there weren’t too many ways into it. I didn’t want to go out to Los Angeles and start knocking on people’s doors trying to get an agent, so I went a route that isn’t much help to most people, which is that I wrote two novels and got them published. I got a literary agent out of that, and his agency had a deal with a film agency on the West Coat, so they were automatically representing my novels as screen properties. I wrote a query letter to them saying, “I also write screenplays”—which I hadn’t done at that time—”do you want to see one?” They said, “Sure, send one,” so I wrote one and sent it off to them, and they said, “Sure, we’ll represent you.” So I moved out to the West Coast.
Your characters in Secaucus 7are very natural; it’s as though you knew them like friends. I’d like to know how you developed your characters, how you chose them, and how you made them come alive.
I don’t really remember writing the picture. I wrote that in two weeks. But I sort of had the idea in my head beforehand. I wrote a few of the parts for actors who I knew I wanted to use. They weren’t those actors, they weren’t playing themselves, but I said, What can I write for David that he would have fun doing? I’d start writing this character. What can I write for Maggie that she would have fun doing? Another character. As the story started to fill out, I wanted to balance certain things, so I’d write another character. And then the trick in the directing was, I wanted to have that great luxury of the screenwriter, to tell them to say what I’d written and not paraphrase it or anything like that. There was no improvisation in the film. Even the charades game was totally scripted. Even the little one-liners and sound effects—not the ums and ers, but everything was scripted.
How do you feel about writing these low-budget films? Do you see advantages in it, or are you hungry for millions of dollars per budget?
If I had millions of dollars I’d probably make millions of small films. Part of it is what I’m good at. I’m not real interested in being a field-marshal. I recently wrote a thing that isn’t going to get made because of budget reasons, that Steven Spielberg was going to produce. And he’s really good at having a huge project and is really a good organizer, and he’d probably be a good administrator—not a great politician but a good administrator of huge programs, because the things get made and things happen. I’m not interested in that or real good at that. The things that I want to do can be done more cheaply, and might as well be done more cheaply. It goes against my grain to see money that should be going on the screen going up in overhead and the cocaine budget.