--The Misfits, 1997
Lawrence Kasdan was Spielberg’s first choice to flesh his treatment out into a full-fledged script, but he was already at work writing The Empire Strike's Back; in his place Spielberg hired John Sayles, who had previously written Piranha. Sayles inspiration to write his script was the 1939 western Drums Along the Mohawk, and he went so far as to name one of the aliens Scar, after a Comanche in a John Wayne film. His draft also included an alien who killed animals by touching them with its glowing fingers, and an alien who befriended an autistic boy. Sadly this was to be Sayles only crack at the story, as he and Spielberg parted amicably over creative differences in mid-1980.
While Sayles worked on his script, Spielberg consulted with special effects master—and Oscar winner—Rick Baker to design the alien effects. Baker was beginning work on An American Werewolf in London at the time, but managed to build a prototype alien for about $70,000. Spielberg—who by this time was filming Raiders of the Lost Ark on location—was thrilled when he saw a video of the creature effect, but was beginning to have second thoughts about the Night Skies concept. As he put it, “'I've got to get back to the tranquility, or at least the spirituality, of Close Encounters.”
While on the Raider's set, Spielberg read the script to Melissa Mathison, Harrison Ford's then fiance, and the boy-alien friendship supposedly brought her to tears. This finalized Spielberg’s decision, and once Raider's shooting wrapped he closed the door on Night Skies, but not before getting into a fight with Rick Baker in his effects shop; Spielberg had wanted Baker to follow him to his revamped alien idea—which became E.T.—and was angered by Baker's lack of enthusiasm. Baker soon founded himself locked out of his own shop and his Night Skies designs were confiscated; looking at pictures of the designs that Baker published on his twitter, it's obvious that some of them were used. While I respect Spielberg as a director, I have to call him out on his disrespectful and distasteful move. Its one thing if you were unable to reach a work agreement with the man, but stealing his work and modifying it so another can take the credit is low.
While it was exorcised from its alien roots, the family being terrorized idea did not go to waste, as it was revamped into Poltergeist. Spielberg was unable to direct because of a clause in his contract with Universal over E.T. Tobe Hooper of Texas Chainsaw Massacre fame stepped into the director's chair; Hooper had been under consideration to direct Night Skies, so it is fitting that he helmed one of its successor projects. Despite having sole credit, to this day various members of the cast and crew claim that Spielberg ghost-directed the film, using Hooper as a front to get around his contract. The Director's Guild of America probed into the matter, but found no reason why Spielberg should receive co-directing credit. When asked about the matter, Spielberg said “"Tobe isn't... a take-charge sort of guy. If a question was asked and an answer wasn't immediately forthcoming, I'd jump in and say what we could do. Tobe would nod agreement, and that became the process of our collaboration." Considering what had happened with Baker I wouldn't put it passed Spielberg to lie about how much control he had over the film, but at the end of the day I don't think it matters.
Spielberg and Hooper wanted virtually unknown actors for the cast, to help give the film a sense of realism to off-balance the ghost story. If the audience saw well-known actors in the roles, it might take away the realistic feeling. Craig T Nelson and JoBeth Williams played the parents, and and they were perfectly cast; they had chemistry, and were believable as parents. The only surprise regarding their characters is that there is a scene of them rolling a joint while talking in their bedroom, but I chalk that up to modern political correctness; if a scene like that was filmed today some people would automatically give the Freeling's the “Bad Parent” label.
Heather O'Rourke played Carol Anne, and she brought the right amount of childhood innosence to the film. She failed her first screen test for the role because she kept laughing when she was supposed to be afraid. Despite this, Spielberg recognized there was something special about Heather, so he asked her mother to bring her back, this time with a scary storybook; he also asked her to scream. This second audition secured Heather the part. Sadly she passed away in 1988 from intestinal stenosis.
Dominique Dunne played Dana, the teenage daughter. While there is not much to her character, I felt she played the part fine. Tragically she was murdered by her ex-boyfriend four months after the film's release, the first victim of the Poltergeist Curse.
Oliver Robbin played Robbie, and he was very relatable. We've all been afraid of something in the dark or outside our window at one point in our childhood, and his character personified that childhood fear. The scenes where he's looking at the clown are filled with tension. The audience knows the clown is going to move at some point; the only question is when. During the later scene there was one part where Oliver was really being strangled by the clowns arms; he cried out “I can't breath,” but both Spielberg and Hooper thought he was ad-libbing. It was only when his face began to turn purple that Spielberg ran over to pull the arms off. He gave up acting after 1986.
Zelda Rubinstein played medium Tanginia, and she was perfect in the role, her voice and height setting her apart from other “this is how we defeat evil” characters. She and Heather O'Rourke were the only actors to appear in all three Poltergeist films. She passed away in 2010 at the age of 76.
Academy and Tony Award winner Beatrice Straight played parapsychologist Dr Leash, and she brought the right about of educated grace to the role. She passed away from pneumonia in 2001.
While a few of the film's ghost effects are jarring, a majority of the special effects still hold up after thirty-years. The flesh-removal scene in particular is extremely creepy and atmospheric; if I had first watched this film as a kid it would have scared the crap out of me. It was the last scene shot during principal photography, and the hands were Steven Spielberg's. The skeletons used in the climax were real, as it was cheaper to purchase them instead of producing plastic ones. For the finale actress Jobeth Williams wasn't worried about being in the water with them, but she was worried about being electrocuted because of the amount of eclectic lights on set. Spielberg comforted Williams by being in the water with her during the scenes, quipping that if a light felling into the pool they'd both fry. The film was nominated for an Academy Award, but lost out to its more family friendly brother.
Legendary film composer Jerry Goldsmith handled the music. His score masterfully captured both Spielberg’s sense of wonder, and Hooper's sense of horror; the main theme, which is written like a lullaby, is a perfect example of this contrast. The score garnered Goldsmith an Academy Award nomination, but he lost to John Williams.
Poltergeist is the textbook definition of a cinematic classic. It has characters you care about played by competent actors, the special effects and score are executed wonderfully, and its contrasting tone is directed excellently. Other than a few aged moments and the behind the scenes drama, I don't have any problems with the film. Some might have an issue with the Beast not having a clear identity , but to me it's scarier not to have a clear idea of who or what the evil is. Some might also have an issue with the cemetery. I will concede that Steven shouldn't have been the first person to take issue with it, but it wouldn't be the first time in human history that some detail was ignored in order for someone to make a profit, plus it makes for an excellent climax. I give it 4.5 out of 5 stars.
No comments:
Post a Comment