Enter the Dragon (2023 Visit)

I wrote about “Enter the Dragon” on my original project and you can read that post here. I can pretty much stick with what I said then, although I may have been a little harsh on the story structure and the acting. It is true that the evil fighters working for the villain Han, seem to get more menacing as we go along. The level of loathsome is ramped up to make us feel the catharsis that comes when an injustice is addressed, and that happens several times in the movie. I probably should not have been so harsh on those aspects of the film. One of the things that has led me to this conclusion, is the reaction of the audience in last night’s screening at the Paramount Theater. 

Paramount Theater’s Summer Film Classic Series is drawing a lot of movie fans like me. People who have seen a film before and are looking to recreate their first experience by seeing it on the big screen again. I last watched this movie just a couple of years ago for an Episode of The Lambcast. We had a terrific time talking about the movie and you can listen here:

https://www.podomatic.com/podcasts/lambcast/episodes/2021-09-15T11_45_43-07_00

I had watched the film on my Special Edition Laserdisc, which was pretty darn good, but it is nothing compared to seeing the movie in a real theater with an audience, amped up to see the Mater kick some butt. I was barely prepared for the grunts and ahhs and cheers that I heard from my fellow movie goers last night. When an amazing moment from Bruce Lee happened, you could hear a collective WOW from the audience. There were enough people with pain empathy in the audience to insure that there was a groan whenever Bruce executed a groin kick, head slap, or leg break. It was all enhanced by the sound system last night. I never realized how much the foley in this picture makes the fight scenes so intense. The volume of the punches to the solar plexus, the slap echo from a hand across an opponents face, all of it may seem like a cartoon out of context, but it works when we are in our seats together. Oh, and you should have heard the audience howls of anger and fear when it looked like Blofeld’s cat was going to get guillotined. 

Listen, I know we have to suspend disbelief occasionally in a movie and I willingly do so on a regular basis, but someone needed to cast the guys in the black gees in the scenes in the prison cells. Those are two completely different sets of prisoners and it undermines the final battle royale for a minute. None of it undermines the main attraction however, Bruce Lee is as amazing as you remember. The speed of his strikes against O’Hara was incredible. It looked like a magic trick. The nun chuck display that Lee puts on is also flawless and speedy. This is part of why his legend continues. The cool factor of Bruce Lee comes out repeatedly. The corner of his mouth moves up only slightly when he has mentally bested his enemy before there is even a hit. When he tastes his own blood in his fight with Han at the end, we know that Han has just sealed his own fate. Maybe there is a little too much Eastern Philosophy in some of the early sequences, but there is nothing inscrutable when the three leads are in fighting form.

Jim Kelly gets a pretty good fight scene before he is required to get his ass kicked by a guy he easily outmatches, it’s just the way the script goes and Director Robert Clouse can only do so much to sell it. Although you might think John Saxon is an actor who had to be carried through the fight scenes, nothing could be further from the truth. He is great in the action, getting off kicks and punches that don’t look like movie fighting but seem like real martial arts. He did have training and you can see it in the movie.  

Bruce Lee moves like a silent cat when he is in those scenes where his character is spying on the inner workings of Han’s island. He dances nimbly around the furniture, machinery and guards, as if he were a ballet dancer, on point and filled with helium. The loss of Bruce Lee was a tragedy, but his legacy is secure as long as people can see this movie. Lucky for me, I also got to see it in a theater. 

KAMAD Throwback Thursdays 1975: The Black Bird

Throwback Thursday #TBT

Throwback Thursday on the KAMAD site will be a regular occurrence in the next year. As a motivational project, to make sure I am working on something, even in a week where I don’t see a new film in a theater, I am going to post on movies from 1975. Along with 1984, this is one of my favorite years for movies and it is full of bittersweet memories as well. 1975 was my Senior Year in High School and my Freshman Year in College. The greatest film of the last 60 years came out in 1975, as well as dozens of great and not so great cinematic endeavors. Most of the films in this weekly series will have been seen in a theater in 1975, but there are several that I only caught up with later. I hope you all enjoy

The Black Bird

This week is a little different. This is a sequel of sorts to one of the greatest films ever made, but don’t take that description seriously, because it is more spoof than follow up. Another thing that is different is that the video above is not the trailer for the film, I could not find that. Instead, you have a YouTube link to the whole movie, uploaded by a random person on the site. I’m OK with sharing this link because the movie is not available in any other way. It did have a VHS release, but as far as I can tell, there was never an official DVD/Laserdisc/Blu-ray edition of the movie. It is currently not streaming although it is listed as being on TUBI, it is not available there at this time. Before I found this link, I purchased a burned copy from a boutique site, and it was not very good. It looks like they had the captions on and I could never turn them off, and the captioning was terrible.  This is probably the best way you can experience the film, should you wish to do so in spite of the comments I am about to make.

The premise of the film is simple, Sam Spade’s Son Junior, has inherited the family business, and suddenly, there are people looking for the Maltese Falcon again. George Segal is Spade Jr., and he has always had an easy time delivering smug comic lines in movies. He made a lot of comedies over the years, in fact, it was one of his comedies that introduced the world to Denzel Washington (“Carbon Copy”, a movie that may have almost as much blowback on racial politics as this one). Spade Jr. is not particularly successful. His Dad’s old offices, which he now occupies, are located in a rundown section of San Francisco, and his clientele are inclined to pay him with Food Stamps. This caustic approach to humor will continue throughout the movie. Characters are mock because of their ethnicity, size, social standing and a variety of other casually cruel things. This is quintessentially a 70s film. It would never be made in today’s environment. Like “Blazing Saddles “, it often steps on the third rail of culture. Unfortunately, it is not as clever as “Blazing Saddles” and it is not a satire which would justify thoese moments, it is a farce, that simply uses them as punchlines not as commentary.

I will start with a couple of positive things. To begin with, two of the actors from the original film make appearances in this movie. Lee Patrick, who was Bogart’s secretary Effie, in the original, is back as the same character, doing the same job for Junior. Her character has undergone an unfortunate transformation in an attempt to create some humor, but it was more off putting than funny and she was ill served by the script.  Elisha Cook Jr. fares a little better, getting a chance to remain trapped in time, spouting lingo from 1940 in the 1975 of the film. The anachronistic patter is one of the jokes that actually works in the film. Segal also has the same sort of insolence that Bogart had but the tone is not “tough guy talk” but “smart ass banter”. He looks pretty good in the hat as well. 

Stéphane Audran is the femme fatale of the story, and she amusingly strings Spade along with implied sexual dalliances that never took place. Old hand Lionel Stander is playing a role, the equivalent of Joel Cairo, but with less subtlety or implied homosexuality.  Neither of these characters is needed for the story, they are baubles that are being hung on the framework to make the film more like the original, of course they do no such thing. Little Person actor Felix Silla, who played Cousin It in the Addams Family TV show, is the villain of the story, playing a Nazi who wants possession of the Maltese falcon, and who employs Giant Hawaiian Thugs to carry out his orders. 

There are fight scenes that are staged as slapstick, and others that are just not that interesting. As a former Angeleno, I enjoyed the joke about parking on the streets of San Francisco. Any jab at the supposed more sophisticated town to the North was always appreciated. There are cops in this movie, somewhat like the two in the original, but don’t hope for anything interesting in that regard, it all goes nowhere. This is a movie that makes a racial joke out of the lead character’s last name, not once but multiple times. That reflects the times but also the lack of creativity in the script. 

I remembered the movie as being more amusing than it turns out to be. I did only see it the one time in 1975, It was a Christmas time release, so I can’t say for sure if I saw it at the end of the year or the start of the new year, but it was a film I saw on a date with my future wife, so at least I have that good memory about the movie. Oh, they did do an excellent job on the titles for the film, so you can watch that for ninety seconds and then skip the rest of the film.