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1,001 Reasons I Love Movies: (#25) Bruce Lee Goes to Hell & Meets Popeye, Dracula, Clint Eastwood, James Bond, the Exorcist & More!

  • November 7, 2011 12:01 am

The good folks at io9 recently wrote about a film that has to rank up there as one of the all-time classics that I had completely forgotten about…the 1977 Hong Kong martial arts-comedy The Dragon Lives Again (a.k.a. Deadly Hands of Kung Fu).

One of the many Bruce Lee-inspired exploitation (or “Bruceploitation”) flicks released after the Asian American icon’s death, this is not only arguably the best of that genre, but one of the most bizarrely brilliant cinematic creations ever. Just read the Wikipedia synopsis:

After his untimely death, Bruce Lee (Bruce Leung Siu-lung) wakes up to find himself in the “Underworld”. He meets the King of the Underworld and questions his power. The King demonstrates his displeasure by shaking a pole that can cause an earthquake through the Underworld, which gives Bruce pause.

Bruce goes to a restaurant, where he meets Kwai Chang Caine from the TV show Kung Fu and cartoon sailor Popeye. He also meets Dracula, James Bond, Zatoichi, and Clint Eastwood, with whom he does not become friends. These pop culture characters, along with The Godfather, The Exorcist, and Emmanuelle, are planning a coup to take over the Underworld. Among their schemes, the characters send Emmanuelle to have energetic sex with the womanizing King in the hopes that he will have a heart attack.

1,001 Reasons I Love Movies: (#24) The Most Kickass Asian American Woman to Ever Grace the Silver Screen

  • July 10, 2011 2:27 pm

“A one woman revolution of ass kicking…” I can’t remember who said that, but it’s the best description of Tura Satana I’ve ever heard. Satana would have turned 73 today had she not passed away earlier this year on February 4 from heart failure.

Some of you may be asking, “Who is Tura Satana?” Which essentially means you have been denied the pleasure of watching her amazing performance in one of the essential classics of cinema. A film hailed as a masterpiece by everyone from director Quentin Tarantino to critic Roger Ebert. A film Hairspray director John Waters proclaimed “The greatest film ever made. And the greatest film that ever will be made.” A film that features the best kickass lead performance by an Asian American woman ever committed to celluloid. Period. End of discussion.

Yes, I’m talking about Russ Meyer’s 1965 Faster Pussycat! Kill! Kill! Starring the one and only Tura Satana.

1,001 Reasons I Love Movies: (#23) Sidney Lumet on ‘Making Movies’

  • April 9, 2011 2:10 pm

Woke up this morning to the news that one of my all-time favorite film directors, Sidney Lumet, passed away. In his 50+ year career, he helmed some of our greatest cinematic works including Serpico, 12 Angry Men, Network, Dog Day Afternoon, Murder on the Orient Express, The Verdict, Running on Empty, Before the Devil Knows You’re Dead and Fail-Safe (my favorite).

I really don’t think I can add much about Lumet’s life and career that hasn’t already been said, but in addition to being a filmmaking giant, he also wrote what I consider to be the best book about directing–1995’s Making Movies. If you want to be a filmmaker and can only read one book on the subject, this is it. Lumet takes you on a practical, hands-on journey through every aspect of the filmmaking process using his own work to illustrate his points—it’s an invaluable resource. So thought it might be fitting on this occasion to share some excerpts from his book below.

ON PREPARATION VS. SPONTANEITY:
  It is in the preparation. Do mountains of preparation kill spontaneity? Absolutely not. I’ve found that it’s just the opposite. When you know what you’re doing, you feel much freer to improvise.

On my second picture, Stage Struck, a scene between Henry Fonda and Christopher Plummer took place in Central Park. I had shot most of the scene by lunchtime…During lunch, snow started to fall. When we came back the park was already covered in white. The snow was so beautiful, I wanted to redo the whole scene. Franz Planner, the cameraman, said it was impossible because we’d be out of light by four o’clock. I quickly restaged the scene, giving Plummer a new entrance so that I could see the snow-covered park; then I placed them on a bench, shot a master and two close-ups…Because the actors were prepared, because the crew knew what it was doing, we just swung with the weather and got a better scene.

1,001 Reasons I Love Movies: (#22) Elizabeth Taylor Whips Marlon Brando Into Submission

  • March 24, 2011 12:02 am

It was considered a critical and commercial failure upon its release in 1967, but I love the film Reflections in a Golden Eye. Directed by the legendary John Huston and set on a military base in the 1940s, Marlon Brando stars as an Army Major trying to come to terms with his repressed homosexuality and Elizabeth Taylor is his unhappy, adulterous wife.

When I heard of Taylor’s passing yesterday, what immediately came to mind was a moment in that film that lasts only a few seconds long, but for me, perfectly embodies the qualities that made Taylor the movie star that she was.

In this scene, Brando and Taylor are at a cocktail party. It’s already been established that Taylor’s character’s great love is her horse and earlier in the movie, we witnessed Brando angrily beat that horse with a riding crop after the animal threw him and dragged him. Taylor finds out and she is pissed. So this is what she does:

1,001 Reasons I Love Movies: (#21) ‘Footloose’

  • February 17, 2011 12:02 am

Twenty-seven years ago today on February 17, 1984, one of the greatest works ever committed to celluloid premiered…Footloose. Starring a young Kevin Bacon as a rebellious, dance-loving teen who moves to a small town that’s outlawed dancing, Footloose was my generation’s Rebel Without A Cause. Except this rebel had a cause…defiantly dancing in old barns while employing impossibly fly moves that no normal teenager could possibly pull off (well, unless that teenager had Chuck Gaylord, brother of Olympic gymnast Mitch Gaylord, as his body double).

And yup, I was there 27 years ago on opening weekend—begged my uncle to drive me to the theater to experience 107 minutes of pure Bacon-and-Loggins-inspired awesomeness. I can prattle on and on about what makes this film so glorious, but I think the following videos can make my point much better:

1,001 Reasons I Love Movies: (#20) John Belushi and Me

  • January 24, 2011 12:45 am

Had he lived, John Belushi would have been 62 today. The star of films like Animal House and The Blues Brothers as well as one of the original Saturday Night Live cast members, Belushi died in 1982 at age 33 from a drug overdose, but he still remains one of the most influential comedians ever. He may have also been the first person to encourage my creativity.

I’m not the type of person who usually meticulously follows rituals or traditions, but there is one that I’ve observed for many years. On my birthday, I check into the bungalow at the Chateau Marmont where Belushi died. It’s usually just for the day and I go there alone to write, reflect and soak in the vibes. There’s nothing morbid about it. It’s just a way for me to honor a man who had a profound affect on my artistic life and to be re-inspired. And Belushi was definitely inspirational. There’s no doubt that my sense of humor was shaped by Belushi’s style of comedy. When I try to be funny in my blogs here, it’s really just my poor attempt to emulate his comedic voice.

I met Belushi when I must’ve been around six-years-old in a classroom setting. I don’t remember much about it and I certainly didn’t know who he was at the time—I was too young and he wasn’t a big star yet. But I remember him being very funny and very encouraging of my creativity (he must have seen some story or drawing I had done in class). He pulled me aside and said that if I had an interest in the arts, I should pursue it. He told me his parents were immigrants like mine (from Albania in his case) and that when he was a kid, he wished someone had encouraged his interest in performing because for the longest time, he thought it was an impossible dream for an immigrant kid like himself. But he wanted me to know that nothing was impossible if you worked hard.

1,001 Reasons I Love Movies: (#19) John Cazale

  • November 18, 2010 12:02 am

In a moment I’m going to explain why I think Asian American actors would be doing themselves a big service by studying the work of the late, great John Cazale.

However, let me first broaden my scope and say that everyone who loves movies and sublime acting should check out the films of John Cazale. You really have no excuse since he only made five films before he passed away from lung cancer at the age of 42 in 1978. But if you were only going to be in five films, you couldn’t pick any better: The Godfather, The Conversation, The Godfather Part II, Dog Day Afternoon and The Deer Hunter. All five are considered classics, all five were nominated for Best Picture Oscars (three of them won) and Cazale is brilliant in all of them. When legends like Al Pacino and Meryl Streep (Cazale’s girlfriend during his final years) proclaim you to be the finest actor they’ve ever worked with, attention must be paid.

With the DVD release this month of Richard Shepard’s excellent short documentary I Knew It Was You: Rediscovering John Cazale, you now also have an additional opportunity to learn more about the man and his work. The documentary features insightful interviews with Cazale’s friends and colleagues including Pacino, Streep, Robert DeNiro, Francis Ford Coppola, Gene Hackman and others, as well as interviews with the next generation of actors who have been influenced by him including Philip Seymour Hoffman and Sam Rockwell. It’s a great introduction to the man and a master class in film acting to boot.

1,001 Reasons I Love Movies: (#18) ‘Freaks’

  • October 14, 2010 12:01 am

Film director Tod Browning is probably best known for helming the 1931 version of Dracula starring Bela Lugosi, which may still be the most famous of all the different incarnations of the good Count. But his 1932 film Freaks is Browning’s masterpiece and it’s just as disturbing now as it was when it was first released.

Freaks is set in the world of the carnival sideshow where the “normals” live and perform side-by-side with the “freaks” like the conjoined twins Daisy and Violet:

And the human torso:

1,001 Reasons I Love Movies: (#17) ‘James Batman’ a.k.a. The Filipino Batman + James Bond

  • September 7, 2010 12:01 am

I had heard stories about it for years, but it wasn’t until recently that I finally got to see the 1966 cult classic Filipino film James Batman. And let me just say that it was worth every second of the wait.

Released by Sampaguita Pictures and written/directed by Artemio Marquez, the prolific director behind such films as Men Of Action Meet Women Of Dracula and Pinoy Beatles, James Batman may very well be Marquez’s masterpiece bringing together two Western icons in one movie: James Bond (as represented in the then-popular Sean Connery-starring film series) and Batman (as represented in the then-popular campy TV series).

James Batman stars Filipino comedian Dolphy (a.k.a. Rodolfo V. Quizon) in the dual roles of both Batman and James Bond (well, three roles if you also count Batman alter ego Bruce Wayne, so eat your heart out, Mr. Daniel Day Lewis). The aptly-named Boy Alano is also on hand as the Batman’s trusty, young sidekick “Rubin.”  And because this is an Asian production, it’s an “unofficial” adaptation (i.e. the filmmakers did not pay for any rights, but decided to make the movie anyway, legal issues be damned!).

1,001 Reasons I Love Movies: (#16) River Phoenix

  • August 25, 2010 12:01 am

If he hadn’t died of a drug overdose outside a West Hollywood nightclub at the tragically young age of 23, River Phoenix would have turned 40 this week. He may not carry the iconic weight of an actor like James Dean who also died much too early, but for my generation, he was just as important.

Phoenix was around the same age as me and I grew up watching him in his early roles like Explorers and Stand By Me. Even as a child actor, it was easy to see that he stood out. There was a purity to him; an honesty that made him seem mature beyond his years. When I think of Phoenix, I remember the great director Sidney Lumet (Dog Day Afternoon) talking about a particular experience directing Phoenix in Running On Empty which captures these qualities:

1,001 Reasons I Love Movies: (#15) The Lubitsch Touch

  • July 11, 2010 1:00 am

The L.A. County Museum of Art kicked off a month-long tribute to the American comedies of director/producer Ernst Lubitsch on Friday night with the 1932 classic Trouble In Paradise (see full schedule here). Lubitsch’s name may not be as recognized today as other Golden Age directors like Alfred Hitchcock or Billy Wilder, but his influence was massive.

Lubitsch was the filmmaker’s filmmaker. He was the one cinematic giants like Orson Welles, John Ford and Francois Truffaut revered. “The Lubitsch Touch,” as his directing style came to be known, was often imitated but never equaled. The great French filmmaker Jean Renoir said that “Lubitsch invented the modern Hollywood.” Billy Wilder (who co-wrote several films for Lubitsch and considered him his mentor) had a sign over his desk that read “What would Lubitsch do.” During the times I spent with Wilder, whenever he would get cranky or clam up, all I had to do was ask about Lubitsch and his face would light up and I’d get a flood of great stories and filmmaking advice. Cameron Crowe called his film Jerry Maguire his tribute to “the Lubitsch Touch.”  When the New York Times Magazine brought Woody Allen and Martin Scorsese together to discuss films in a historic November 1997 interview and the topic turned to the great directors, the first name that popped up was Ernst Lubitsch (Allen: “Whenever people ask me about comic directors, I would have to say Ernst Lubitsch is the best one I’ve ever seen.” Scorsese: “Lubitsch could do more with a closed door than another director could with an open fly.”).

1,001 Reasons I Love Movies: (#14) The ‘Best’ Cinematic Dad

  • June 19, 2010 1:12 am

In honor of Father’s Day, I wanted to write about my favorite cinematic dad. The problem with picking a favorite or “the best” is that it’s always tough to narrow the choice down to one. So let me acknowledge the other dads that made my short list: Marlon Brando in The Godfather, Christopher Walken in At Close Range, Spencer Tracy in Father of the Bride, Choi Min Sik in Oldboy and Dustin Hoffman in Kramer vs. Kramer. All great performances and all great films worth checking out if you haven’t seen them.

But if I have to pick one and only one favorite father, it has to be the late, great Charles Chaplin in The Kid.

Released in 1921, The Kid was Chaplin’s first feature-length film. At the time, most comedies were shorts mostly consisting of gags with the barest of stories holding them together so many in Hollywood thought Chaplin was crazy to even attempt to make a feature-length comedy. However, the movie turned out to be a huge hit—both at the box office and with the critics–and paved the way for even more ambitious films like Modern Times and City Lights.

1,001 Reasons I Love Movies: (#13) Lessons I Learned From ‘Bad’ Movies

  • June 12, 2010 12:36 am

Being somewhat of a cinephile, people expect a certain type of response from me to the question of: what movie(s) changed your life? I know I’m supposed to answer something like Citizen Kane or a French New Wave title, but the films that have a profound effect on your life are not necessarily the ones that might be considered the great works of cinema. In fact, the movies that may mean most to you personally may be those that some might consider, well…to be bad. But that’s the way it should be. Movies are about an emotional response and we all respond differently. Besides, I personally prefer the Orson Welles of Touch of Evil over Citizen Kane and I don’t think Godard’s made a good film since Contempt. So there!

So with that in mind, today I’d like to discuss three films that changed my life; each in a different way. But they all have a couple of things in common: they all came out in the 1980s when I was at exactly the right impressionable age to be effected by them and they’re largely forgotten today (these were all critical and/or box office failures when they were first released). But they provided me with important lessons that still resonate with me to this day.

1,001 Reasons I Love Movies: (#12) Dede Allen & The Art Of The Cut

  • April 24, 2010 12:23 am

The name Dede Allen will probably mean nothing to most of our readers, but she was just as integral to the movement that revolutionized Hollywood in the late 60s/70s as her more famous filmmaking peers like Warren Beatty, Martin Scorsese, Steven Spielberg and Francis Ford Coppola. Allen was a film editor and in my humble opinion, the best editor of the last forty or some odd years. Her credits include such classics as The Hustler, Bonnie And Clyde, Serpico, Dog Day Afternoon, Reds and Wonder Boys. Allen passed away last Saturday at age 86 after suffering a stroke so this seems as good a time as any for me to honor her legacy.

Like many in my generation, I was first introduced to Allen’s work through the 1985 John Hughes film The Breakfast Club. It may seem strange that someone like Allen, who was associated with the type of adult dramas that won Oscars, would work on a teen flick, but Breakfast Club producer Ned Tanen knew that he needed someone of her stature considering this was going to be a film that was going to mostly take place in one location (a high school library) and be directed by a novice (Hughes sole previous directing credit was Sixteen Candles and it had yet to be released). Here’s what Tanen says on this subject in the book You Couldn’t Ignore Me If You Tried:

1,001 Reasons I Love Movies: (#11) The Shower Scene In ‘Psycho’

  • February 21, 2010 2:14 am

My fellow Offenders Iris and Elaine have been blogging this month about the films they think should have been nominated for Oscars (see examples here, here and here). Of course there were also many deserving individuals who never won the gold statuette and I think none of the “losers” were more deserving than director Alfred Hitchcock. Known as the “Master of Suspense,” Hitchcock helmed such classic thrillers as Notorious, Vertigo, North By Northwest, Rope, The Birds and, of course, Psycho.

In fact, the shower-murder scene in Psycho may not only be the most famous sequence in all of Hitchcock’s films, but one of the most famous in all of cinema. In an era of extreme horror films like the Saw series, this scene may no longer have the same power to shock audiences like it did when it was released in 1960, but it still retains its power 50 years later. Hitchcock should have won a directing Academy Award for this sequence alone. But since he didn’t, I’d like to pay homage to it as part of our Oscar “flavah of the week” by examining what makes Psycho’s shower-murder one of the most effective moments to ever be captured on celluloid.

1,001 Reasons I Love Movies: (#10) Martin Scorsese and LACMA’s Film Program

  • January 27, 2010 12:58 am

When the Los Angeles County Museum of Art announced last July that it would suspend its film screening series due to a shortage of funds, there was a huge outcry from cinephiles all over L.A. and beyond. One of the loudest (and most prestigious) voices leading the charge was director Martin Scorsese (Taxi Driver, The Departed) who penned an eloquent letter to the museum which was printed in the L.A. Times shortly after the bombshell announcement (read it here). For now, the museum will continue to screen films until at least June though the future looks uncertain beyond that.

But Scorsese himself sat down with LACMA’s Michael Govan last Wednesday in the museum’s Bing Theater in front of a packed house to discuss the importance of LACMA’s film programs and of film preservation in general. I was lucky to have been able to snag a ticket to the event (you can read a full account of the evening here). Both LACMA and Scorsese have played a vital part in nurturing my love affair with film so for what it’s worth, I want to share some personal thoughts on this subject.

1,001 Reasons I Love Movies: (#9) A Time To Love And A Time To Die

  • January 6, 2010 12:16 am

The conflict between art and commerce has been a part of the filmmaking process from the moment the first moving images were committed to celluloid. Because the medium is a very expensive one, oftentimes commerce wins out when these two factors come to a head so I’m always impressed with filmmakers who are able to make big budget commercial movies that are also deeply personal. One director who consistently managed to do this was Douglas Sirk and one of his most personal films was the 1958 World War II story A Time To Love And A Time To Die.


Sirk was best known for his glossy melodramas set in the world of upper class WASPs and featuring major stars of the period like Rock Hudson and Lana Turner.  He made classic films like All That Heaven Allows and Imitation Of Life that felt like your typical Hollywood entertainments, but were really subversive critiques of a seemingly perfect America that was hiding a darkness just below the surface.  Todd Haynes’ masterpiece Far From Heaven was a tribute to Sirk from its visual style to its themes, characters and even use of music.

1,001 Reasons I Love Movies: (#8) Cheesy ‘80s Comfort Food Flicks

  • January 2, 2010 5:49 pm

My fellow Offender Alfredo recently wrote about how Jaws is one of his favorite “comfort food” flicks—those movies you can watch over and over and never get tired of. Many of my comfort food flicks come from the 1980s—the decade when I was an impressionable, young kid discovering movies for the first time. I think many of my choices—the Indiana Jones trilogy, John Hughes high school films and Ghostbusters—still hold up. So instead I’m going to write about some of my true comfort food flicks—these are the films that if I saw for the first time today, I’d probably think were god-awful (with one exception below) but because I discovered them at just the right time in my life, I’ll always love them. In no particular order:

HOWARD THE DUCK (1986)

Along with Ishtar and Heaven’s Gate, this George Lucas-produced big-screen adaptation of the classic Marvel Comics character became synonymous with the word “bomb” in the ‘80s. I’ll admit the film has its share of problems including a main character who looks exactly like what he was—a short dude in a duck costume—but there’s one reason I saw this movie at least half a dozen times when it came out…Lea Thompson:

1,001 Reasons I Love Movies: (#7) My Favorite Opening Title Sequence

  • December 20, 2009 2:51 am

One of my favorite films is Jacques Demy’s 1964 French New Wave musical The Umbrellas Of Cherbourg. I try to watch it every year around this time. I think my favorite opening title sequence of any film is from this movie, largely in part to the beautiful score by Michel Legrand. Check it out below and if you haven’t seen the film, go out and rent it now!

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1,001 Reasons I Love Movies: (#6) Planes, Trains And Automobiles

  • November 25, 2009 12:01 am

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Of the holy trinity of American holidays—Halloween, Thanksgiving and Christmas—Thanksgiving has tended to get the short end of the stick when it comes to films. I dug Jodie Foster’s Home For Holidays and look forward to Eli Roth’s upcoming full-length feature version of Thanksgiving, but my favorite Thanksgiving movie to date has to be the late John Hughes’ 1987 comedy classic Planes, Trains And Automobiles.

Starring two of Hollywood’s finest comedic actors at the height of their powers—Steve Martin and the late, great John Candy—the film is a mismatched buddy comedy about an uptight advertising executive played by Martin who only wants to get home to Chicago in time for Thanksgiving but is foiled at every turn by circumstances beyond his control. To make matters worse, fate has forced him to travel with Candy’s annoying shower ring salesman.