The Dead Zone (1983)

"The missiles are flying!"

Two David Cronenberg films in one year? This film is probably a little less well known than Videodrome, which I liked a lot. But it's probably the better film.

I suppose it must be admitted that the film relies heavily on Stephen King's original novel, of which it's an adaptation and which I haven't seen. But the film is superbly shot and paced, Christopher Walken is superb as a decidedly non-heroic lead, and the cruelty of the various tragedies are all the more effective for their unsentimental depiction. Spielberg this ain't.

This is an unnerving depiction of a normal, decent but fallible person who develops psychic powers after an accident, but at the huge cost of losing five years of his life and, worse, the love of his life. His bitterness is very human, and I like how it takes him time to reluctantly use his "powers" to help people- although his conscience tends to prevail.

This is not a film about a superhero, but a realistic depiction of how frightening it must be to have "powers" which one can neither control or understand, which are unnerving and uncomfortable, and which bring pain, possible eventual death, unwanted fame and, ultimately, impossible moral dilemmas.

This is at once a tragic love story, a story about ethics and one of the most intelligent and thought provoking examination of the implications of psychic powers. Not a great film, perhaps, but a highly impressive one.

Poltergeist III (1988)

“We're baaaack!"

 You know that pattern with sequels? You know, excellent first film, less profound but still good sequel, and then they do one sequel too many which is just awkward, clumsy and not very good? Well,  this film is the latter. And, if that wasn't enough to damn it, it also stands accused of wasting the last months of poor Heather O'Rourke's life and may have hastened her tragic and obscenely young death. This film gets extra low marks.

The film is set in a bizarrely upmarket and modern (for 1988) tower block, where Carol Anne is staying with her Aunt Trish and Uncle Bruce for a reason and duration that isn't really explained. Tangina and Carol Anne are the only returning actors; Henry Kane is played by some ersatz shouter, the amazing Julian Beck having died three years earlier. And, while Zelda Rubinstein is not only extraordinary but gets a satisfyingly expanded part, Heather O'Rourke just looks ill, and should not have been there.

On paper it's a better cast, with big names like Tom Skerrit and an immediately post-RoboCop Nancy Allen, but Allen is shockingly bad and no performance can save this script. What could have been a large scale horror spectacular involving the whole tower block instead ends up smelling of budget cuts, with no big set pieces and, in spite of some clever use of mirrors, no real scares. Instead we waste time with characters discussing whether or not the whole thing is Carol Anne doing hypnotic suggestion. Dull, dull, dull.You can skip this one.

Alien (1979)

“You still don't understand what you're dealing with, do you?”

I should have reviewed this film ages ago. It’s certainly influenced so many other things that I’ve reviewed, not least Doctor Who during the 1980s. But at last I now have all four films, thanks to my friend Nick. That’ll be the next few films for the blog sorted, then!

I watched the director’s cut, which I originally saw at the cinema back in 1983. There’s a very stark contrast between the aesthetic of the Nostromo- functional, lived-in, run-down, unglamorous- and the gorgeous direction. The pace is extraordinarily slow. This is often, of course, because this is a tense thriller, but in the early scenes it simply seems to be for the sake of beauty. And beautiful it is, oddly enough. The ship may be a dull corporate blob, designed for function alone, but there is beauty. Also, there’s blueness. Lots of blueness. This is probably one of the bluest films I’ve ever seen.

Like Ridley Scott’s later Blade Runner, this is an interestingly contemporary take on the future. Again, everyone smokes. But this is a corporate ship, with lots of mentions of “The Company” but no mention of any governmental authority. How very 1979 and New Right. Also, everyone (even the cat!) is known by their surname alone, which gives a sense of coldness and alienation. It’s interesting that, while the characters are all distinct and well-drawn, none of them are particularly likeable. We identify with them because we identify with their circumstances as corporate wage-slaves in recognisable situations with sci-fi trappings and added peril, not because they’re people we’d particularly like to know.

This is an almost contemporary version of space travel, with a lot of screen time being given to the putting on of spacesuits and the opening and closing of airlocks. Space flight is not shown as safe or easy. Being a pioneer means danger and discomfort as it always has and always will.

Oh, and the computer interface has dated awfully, hasn’t it? And “Mother” seems awfully primitive in 2012. But still… this is superb. Hardly anything happens, but the tension is extraordinary. The scene with the cat in the locker, and the long, drawn-out scenes of Brett looking for the cat before he’s killed, and Dallas’ attempts to escape as Lambert panics, are justly legendary.

But what’s truly extraordinary about this film, and elevates it above the status of a superior thriller, is the gender and sexual subtext. I’m hardly the first to point out that it’s a man, Kane, who is brutally, orally raped and murdered, even giving birth to the creature. Interestingly, the white men all die first. And the final survivor (and probably the character who deserves to live the most) is Ripley. It’s an interesting subversion of the gender roles, and perhaps to an extent the racial roles, that we would expect.

Simple though the plot is, there are a couple of very nice twists. I’d forgotten that Ash was a robot; this is a superb performance from Ian Holm, who produces a character that makes sense whether or not you know he’s a robot or just a cold fish. And the alien being aboard Ripley’s escape pod is a huge shock. It’s a joy to see this film again, and I’m looking forward to the next three…