Combat Shock
(1984)
Directed by Buddy
Giovinazzo
* * *
Traumatized by his experiences
in the Vietnam War, the struggle for survival continues on in the life of
Frankie Dunlan (Rick Giovinazzo). Without a job, money, or any prospects,
Frankie starves (save for a single carton of spoiled milk) in a filthy
apartment alongside his wife (Veronica Stork) and his horrifyingly deformed
infant. Desperate and down on his luck, Frankie hits the mean streets of inner
city New York for…seemingly everything and nothing at once, whatever gets him
away from his stressful home life. But when the streets only offer him junkies,
gangsters, and other such urban filth, it’s only a matter of time before the
disturbed veteran finally loses it.
I’ve seen my share of films
that made me compulsively take a shower immediately following. If I were to
compile a ranking of these kinds of movies, you have my utmost assurance that Combat Shock would definitely be up
there (though Gummo would still reign
at the top). Shot on a shoestring budget, Combat
Shock depicts urban decay in such a grimy, gritty way that only minimal
funds and fearless direction could capture (being shot on 16mm helps a ton),
and that’s without addressing the nastiness that ensues throughout the movie.
Okay, in all fairness, the blood n’ guts aren’t as prevalent as the hype
suggests, but the moments it does, it is absolutely gnarly, especially the
horrifying finale. Oh, and don’t forget about the terrific synth-based score
(now available with the limited edition Blu-Ray from Severin Films).
In spite of its low budget and
reputation as a schlocky exploitation film, Combat
Shock is actually a bold drama that confidently tackles the issue of urban
decay and mental instability. Though this is director Buddy Giovinazzo’s first
feature, he pulls it off with a passion that only a debut. That said, Combat Shock doesn’t get away clean.
This film moves at a rather slow pace. Granted, it’s not excruciatingly slow,
and it adds to the slow-burn tension – you won’t realize how much this film has
sneaks up on you until the climax. That said, there’s a few scenes that are
awkwardly paced, especially the opening Vietnam sequence. Speaking of which,
there’s another detriment – on top of it being pretty obvious that they went to
the local woodlands, the Vietnam scenes are surprisingly underdeveloped,
considering just how essential the experience is to the protagonist’s psyche.
Other than that, I’m honestly quite surprised how genuinely chilling and tragic
Combat Shock was. An underrated low-budget
gem.
The French Lieutenant’s Woman (1981)
Directed by Karl Reisz
* * ½
Anna (Meryl Streep) and Mike
(Jeremy Irons) are in the midst of a film production of The French Lieutenant’s Woman, which tells the story of Sarah, an
enigmatic social pariah who strikes the fancy of Charles, a biologist visiting
his fiancée. In spite of his engagement, he cannot resist her. They engage in
an affair, like consumption of the forbidden fruit, and as Anna and Mike carry
out their portrayal of these characters, the more their relationship seems to
mirror that of Sarah and Charles.
Though The French Lieutenant’s Woman was met with modest praise in ’81, comments
the fact that somebody took the courage to film the allegedly unfilmable novel
seems to overshadow comments on the film itself. Perhaps if I had read the
novel first, I would have more appreciation for the film, but for a film to
require that kind of outside knowledge to fully appreciate it is not a sign of
good moviemaking. Though not a bad film by any means, I can’t say I really
liked this one too much. The segments with the actors are underdeveloped and
seem more like interludes between chapters rather than the story-within-a-story
quality the film is going for, and the actual story of the French Lieutenant’s
Woman isn’t particularly gripping or new. The fact that it is a period piece
only makes it feel more melodramatic and hackneyed.
But The French Lieutenant’s Woman is not without some praises from me.
The cinematography is quite stunning – that shot of Streep on the seaside
walkway on that stormy day is gorgeous.
The performances are good, but then again, it does have Meryl Streep – has she
ever had a bad performance? Speaking of her, she delivers a terrific monologue
in the middle of the woods. One of these days, I may get around to the novel,
and in turn may have more appreciation for the film. That said, the fact that I
had to refer to outside source material is still a blockade of greatness.
Modern Times (1936)
Directed by Charles Chaplin
* * * *
Chaplin’s legendary Tramp is
up to his goofy antics yet again, this time bringing his charming misadventures
to the complexity of the modern world, complete with dehumanization as a result
of an increasingly industry-driven society. He works at a factory, but has a
nervous breakdown on the job, and is sent to the hospital. When he comes back,
though, his job is no longer there due to the depression, and a
misunderstanding lands him in jail. He is released, but actually prefers jail
over the harsh real world, and sets out to do what he can to get arrested
again. Here is where he meets a woman only known as Gamin (Paulette Goddard), a
young homeless woman, and the two form a sweet bond while doing what they can
to make life as much a paradise as possible for themselves.
I have purchased a good
handful of Chaplin’s films blindly. So far, he has yet to disappoint me even in
the slightest – his work is so timeless, so much fun, and, dare I say, magical
that I cannot possibly comprehend how anybody can’t enjoy his work. Goes without saying, but Modern Times is no exception. The gags, as usual, are absolutely
hysterical – I was practically on the floor when the Tramp was being fed by a
machine as well as a moment where he unintentionally ingests cocaine. Just as
wonderful is the bond between the Tramp and Gamin, which is very sweet and
heartwarming – the fact that she is something of a rascal herself makes their
relationship all the more enjoyable.
I found myself particularly
taken by the set design – namely the factory sets, which are a unique collage
of cogwheels and pipes. And, finally, though not my favorite part of Modern Times, I must admit that what
struck me most was the social commentary. Granted, I was expecting this, but I
didn’t expect commentary that is quite pessimistic from somebody like Chaplin.
That said, he masterfully balances humor and drama, knowing exactly when to be funny, and when to
make time for drama. Nothing less than a masterpiece from the silent slapstick
icon.
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