Tag Archives: Assault on Precinct 13

Director | John Carpenter, Part 1: The Wonder Years

Between 1974 to 1981, John Carpenter directed five independent feature films–Dark Star, Assault on Precinct 13, Halloween, The Fog, and Escape from New York. Three of those first five films–Dark Star, Precinct 13, Escape–are phenomenal motion pictures and should have established Carpenter as a significant seventies American filmmaker. They did not. Only recently have Carpenter’s accomplishments gotten their due and it’s been a long road. Carpenter, with his casts and crews, innovated–sometimes big time (popularizing POV in Halloween or steadicam usage in Escape), sometimes small (Halloween’s emphasis on female characters)–and created low budget genre films with a far greater depth and ambition than most of their big budget contemporaries.

The able crew of DARK STAR.
The able crew of DARK STAR.

Carpenter’s first film, Dark Star, was a collaboration with fellow University of Southern California film student Dan O’Bannon. They co-wrote the screenplay; Carpenter produced, directed, scored; O’Bannon acted, edited, and did many of the special effects. The film, shot for around $60,000, tells the story of a spaceship on a dumb mission in deep space. It’s always absurd, sometimes touching. Instead of seeing 2001 stoned, Dark Star is “2001 with stoners.” Doofus astronauts who really don’t get along, usually in hilarious ways; they also aren’t equipped–intellectually–for dealing with their mission, which turns out to be their last. Mostly just because they’re so bad at their jobs.

Dark Star (1974). ★★★★. 2006 review
Dark Star (1974). ★★★★. 2006 review

What Dark Star doesn’t have in budget, Carpenter and O’Bannon compensate with ingenuity, whether for special effects or just set design. The film’s got a short present action, forcing the filmmakers to establish characters and settings quickly. And, while the script’s hilarious, it’s through O’Bannon’s editing and Carpenter’s directing Dark Star reaches its rather significant heights. It’s seems like the ending, where the film gets so touching, is all thanks to Carpenter. Of course, O’Bannon is also acting–in the film’s “biggest” role (or at least the one with the most memorable moments)–so he gets to be responsible for a little more of the film’s excellence. Dark Star is the best the (too small) sci-fi comedy genre has to offer, regardless of budget.

In space, no one can hear you scream.
In space, no one can hear you scream.

And the film gets no love, even though it’s had numerous home video releases, including DVD and blu-ray special editions. Unfortunately, the latest blu-ray edition does not contain the sixty-eight minute version of the film–Carpenter and O’Bannon’s cut–and instead includes only the padded out theatrical release. The film’s very “un-Carpenter” and very low budget for its concept, which probably–and tragically–hinders more interest. It never even got interest for its “hunt the alien” sequence, which O’Bannon basically repeated a few years later in, you know, Alien. Not even being a proto-Alien in parts can get Dark Star love.

Austin Stoker, Laurie Zimmer, and Darwin Joston  have had a rough night.
Austin Stoker, Laurie Zimmer, and Darwin Joston have had a rough night.

In addition to getting some love with his next film, Assault on Precinct 13, Carpenter also established a number of his early output’s tropes–he’s shooting in Panavision, he’s got Charles Cyphers and Nancy Kyes in supporting roles, he’s working filmic miracles without a lot of money. Precinct 13 has a relatively simple story–a police precinct under siege from a gang–albeit with quite a bit of setup and a nice assorted cast to get through said siege. There’s competition, tragedy, romance, friendship, fear, and a lot of jaw-dropping action. Even more jaw-dropping considering the film’s low budget. Carpenter handles the editing himself (along with the music) and brings cinematographer Douglas Knapp along from Dark Star, but their visual collaboration here is leagues ahead of that film.

Austin Stoker and Darwin Joston star in ASSAULT ON PRECINCT 13, directed by John Carpenter for Turtle Releasing.
Assault on Precinct 13 (1976). ★★★★. 2013 review

Unlike Dark Star, which felt like a collaboration between Carpenter and O’Bannon, Precinct 13 is all Carpenter. He’s outrageous, he’s subtle, he’s sensitive, he’s vicious. The script is lean, but full of material for the actors, even in the smallest roles. There’s a sterile precision in its wide Panavision frame, but still a good deal of warmth. I’ve seen the film almost a dozen times and there’s always something else to find in it. Carpenter’s assured and enthusiastic in his film with his name possessively above the title. And the cast is phenomenal.

The end of a quiet night.
The end of a quiet night.

Assault on Precinct 13–after apparently being forgotten for about twenty years–got a lot of home video attention in the late nineties. Not just LaserDisc, but also a letterboxed VHS so people could finally appreciate Carpenter and Knapp’s Panavision composition. After some lackluster DVD releases, the film finally has a nice blu-ray release; people now get to see Assault on Precinct 13 for the first time not just widescreen, but with a great transfer. And, to a certain extent, people are seeing it. It doesn’t have the recognition it deserves–Carpenter films rarely do–but it’s got a far better one than it once did.

The Babysitters Club.
The Babysitters Club.

Carpenter’s third film is still his biggest hit. The simple story of a confused young man visiting his hometown on Halloween. Sure, he’s an inhuman, murderous psychopath on a killing spree, but it’s still a pretty simple film. Carpenter and co-writer Debra Hill split the film between Donald Pleasence (in his first of three memorable performances for Carpenter) hunting the psychopath–Pleasence was the boy’s questionably capable therapist–and three teenage girls who become the killer’s targets. Nancy Kyes is back–memorably, as always–as one of the targets, along with Jamie Lee Curtis (who would also work with Carpenter again until legitimate stardom) and P.J. Soles. Charles Cyphers is back. Besides being the first film where Carpenter worked with Hill (who also produced), it’s also his first film with Dean Cundey as cinematographer, kicking off a quintet of five stunning collaborations. Carpenter handles the music himself; it’s his most famous score.

Halloween (1978). ★★★. 2008 review
Halloween (1978). ★★★. 2008 review

As far as the film itself goes, I appreciate it. I do appreciate Halloween. I’m not a particularly big fan of the film, but I do appreciate it. It’s spectacularly made, but there’s just something off about it. As writers, Hill and Carpenter split tasks–she handled the teenage girls, he handled the manhunt. When the two plot lines come together, it gets messy and doesn’t end anywhere near as well as it should. But it’s a technical masterpiece, no doubt. Some excellent acting, some not so excellent acting. Great music, which does too much work. Halloween ends up being either too much of one thing or not enough of another.

The uncanny and the mundane.
The uncanny and the mundane.

For a long time, Halloween was Carpenter’s de facto most popular film. At least until the late nineties. It didn’t cease being his most popular film because of anything he did, rather because in the early days of DVD, Anchor Bay littered stores with various editions. Yes, they had a spectacular initial one, but then they kept double, triple, and quadruple dipping until it became a pain to find the right one. They might have even released it pan and scan, which is a travesty not just because it ruins Carpenter and Cundey’s composition, but because the film’s widescreen release was a big deal. Criterion released a special edition LaserDisc in the mid–1990s, with audio commentary, letterboxed, with the TV edition footage (which Anchor Bay later tracked down widescreen, something Criterion said didn’t exist) and Halloween got elevated to a better position. It wasn’t just the first in a slasher franchise. The double and triple-dipping has continued–exhaustively–into blu-ray. There’s finally a decent edition or two, but enthusiasm for the film has waned as audiences discovered there’s a lot more to John Carpenter than Halloween. There was probably also some franchise fatigue.

“It’s midnight and we’ve just started into the witching hour.”

Following Halloween’s financial success (it was the highest grossing independent film for a couple decades), Hill and Carpenter tried another horror film with The Fog. “There’s something in the fog,” the poster warns, with Jamie Lee Curtis trying to keep something monstrous outside. It’s a very big cast and Carpenter’s first use of well-known actors (outside Donald Pleasence anyway)–Janet Leigh, Hal Holbrook–plus John Houseman in a cameo. As far as returning actors, in addition to Curtis, Charles Cyphers and Nancy Kyes are back–along with a cameo from Darwin Joston (from Assault on Precinct 13). The cast also includes Adrienne Barbeau and Tom Aktins, who’d both work with Carpenter again. The Fog is a ghost story with graphic violence and monsters and people on the run from the ghosts, who live in–you guessed it–The Fog. Cundey’s back on cinematography, Carpenter’s back on score.

The Fog (1980). ★★½. 2009 review
The Fog (1980). ★★½. 2009 review

The Fog is a spectacular looking film. Even better looking than Halloween, with Cundey and Carpenter having a great time doing California seaside. There are some excellent special effects, there are some good performances, some fine moments in the script, some excellent sequences. It’s a technical champ. It’s also got the same serious dramatic problems when bringing all the pieces together. Just like in Halloween, Carpenter and Hill can’t quite transition things together neatly enough. The script gets too bumpy. But The Fog’s still gorgeous.

“Suddenly, out of the night, the fog rolled in. For a moment, they could see nothing, not a foot in front of them. Then, they saw a light.”

Even though The Fog got a special edition LaserDisc around the same time as the other early Carpenter films in the nineties, it’s never really caught on. Growing up, I always knew about it as another of Jamie Lee Curtis’s scream queen movies and not a significant one. There’s an excellent blu-ray for interested viewers, but the film doesn’t seem to get discovered often. Maybe its successes are too technical and not engaging enough. But it has gotten a far better reputation than it once had.

Call him Snake.
Call him Snake.

Carpenter’s last film from this period, before going Hollywood, is Escape from New York. It’s his last film with Hill for fifteen years (until the sequel) and it’s his last film with Jamie Lee Curtis’s involvement–she provides a voice over. It’s also his first film with Alan Howarth associating with him on the score. It’s also his first film with Larry J. Franco producing (Hill’s not on the script here, just coproducing); Franco and Carpenter would work together for the rest of the eighties. Charles Cyphers is back for a bit, along with Donald Pleasence (in something of “guest starring” role). Adrienne Barbeau gets the closest thing to a female lead. But the star–besides the exceptional visual effects–is Kurt Russell. He’s a renegade bank robber in the future who has to go into New York City–now a prison island run by various gangs–and rescue Pleasence (in the future, U.S. Presidents come from Worksop, UK). Along the way he runs into oddballs like Ernest Borgnine and Harry Dean Stanton, not to mention Isaac Hayes as the Duke of New York. Tom Atkins is back in a small part, playing second fiddle to Lee Van Cleef’s future cop. They’re the ones forcing Russell to do the rescue. Action, glorious action, ensues. All beautifully shot by Dean Cundey.

A scene from ESCAPE FROM NEW YORK, directed by John Carpenter for Embassy Pictures.
Escape from New York (1981). ★★★★. 2011 review

Escape from New York is John Carpenter doing his biggest budget action movie and it’s phenomenal. The film moves at a great pace, with Carpenter hurtling Russell through the story. Escape only slows down once–and only for a few minutes–and then it races even faster towards its conclusion. Carpenter’s direction is inventive and deliberate; he knows when to restrain the film and when to let it go wild. And he does let it go wild. Only, with a lot of control. Wild, but with a lot of control. It’s the culmination of everything he’s been working on. Maybe not the humor of Dark Star, but everything else. It’s one of the great action movies.

EXT. WORLD TRADE CENTER -- NIGHT The plane comes down.  It hits hard.  Snake puts on the brakes, adds a grappling hook, and finally comes to a stop right at the edge.
EXT. WORLD TRADE CENTER — NIGHT
The plane comes down. It hits hard. Snake puts on the brakes, adds a
grappling hook, and finally comes to a stop right at the edge.

Back in the nineties, when New Line Home Video released Escape from New York on LaserDisc and on a special edition VHS, Carpenter’s career had hit the skids. He had just made a Chevy Chase comedy, but here was this fantastic movie with a nice new video release. A fantastic movie a lot of people hadn’t seen, at least not letterboxed. Escape from New York had that memorable poster–the Statue of Liberty crashed down in the middle of Manhattan–and had been a hit on release, but it didn’t have the best VHS life. At least not into the nineties. New Line really saved it and kicked off a reevaluation of Carpenter’s early work. Since that first release, the film has had some weak DVD releases (New Line either lost the license or gave it up) until finally getting a blu-ray from Shout! Factory. Now everyone can see Escape from New York. But it hasn’t really caught on again like it did back in the nineties. It’s overdue for another rediscovery.

The best John Carpenter film is The Thing, which was the film he made right after Escape from New York (when he went Hollywood). Unless you’re talking about best in terms of most inventive filmmaking, in which case it’s Assault on Precinct 13. Unless you’re talking about best in terms of most ambitious–and successful–filmmaking, in which case it’s Escape from New York. Unless you’re talking about best in terms of moment-to-moment entertainment, in which case it’s Dark Star. Carpenter might not get the respect and regard he deserves, but at least people can finally see how beautifully and exquisitely he made his first films.


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[Stop Button Lists] John Carpenter on LaserDisc, 1994-98

John Carpenter films, 1976-82, released on LaserDisc, 1994-98

source: LaserDisc Database

When I was fifteen, it was a very good year. It was a very good year for John Carpenter fans. Maybe more than his fans, it was a very good year for his reputation. He was coming off Memoirs of an Invisible Man, his most mainstream film in eight years and it had bombed hard. But in June of 1994, when New Line Home Video released Escape From New York on LaserDisc in a collector’s edition, as well as on VHS with a “director’s special edition,” which had some of the same features. But was also pan and scan.

I was vaguely familiar with Carpenter. I had seen and liked The Thing (after years of hearing it was terrible), I had seen and liked Starman (it was a family favorite), I had seen and did not like Halloween (after years of hearing it was the only good slasher movie), I had seen and did not care for Big Trouble in Little China (if you had a friend with HBO in the late eighties, you saw Big Trouble a lot), I had seen and did not care for Memoirs of an Invisible Man. I was, in my younger days, quite the Chevy Chase fan.

A scene from ESCAPE FROM NEW YORK, directed by John Carpenter for Embassy Pictures.
A scene from ESCAPE FROM NEW YORK, directed by John Carpenter for Embassy Pictures.

One of the guys at the video store sent me home with the Escape From New York special edition VHS. I was back the next day to buy it. I think with scrounged together pennies. I made my mom and sister watch it with me either that night or immediately following. I loved Escape From New York.

And I started seeing other Carpenter films, so by October 1995, when I had moved from “special edition” VHS tapes to my own LaserDisc collection, I bought The Fog sight unseen. And I watched it. Probably twice in a row, the second time with the commentary. And it got me to appreciate Carpenter’s filmmaking. I would have shown the Fog (on LaserDisc in its glorious Panavision OAR) to my friends. I might have even made my sister watch it. I loved The Fog.

Then came Escape From L.A.. Wait, what? A fifteen years late sequel. Kurt Russell, on a second career high, got to bring back Snake Plissken. He and Carpenter palling around for the Escape From New York commentary got their wheels spinning. I saw it opening night. And I loved it, which is really embarrassing because it’s terrible.

A scene from HALLOWEEN, directed by John Carpenter for Compass International Pictures.
A scene from HALLOWEEN, directed by John Carpenter for Compass International Pictures.

That November–I guess Criterion couldn’t make it happen for Halloween–they released a special edition of Halloween. CAV LaserDisc. The film was now legitimized. And I’d seen it a few times. And I still didn’t like it. Whenever I finally bought the LaserDisc (not at release), I had done so for the special features. I wanted that Carpenter, Debra Hill and Jamie Lee Curtis commentary. I knew his commentary tracks were awesome.

(Halloween is still my least favorite Carpenter film of this era, even if it is better than The Fog).

Austin Stoker and Darwin Joston star in ASSAULT ON PRECINCT 13, directed by John Carpenter for Turtle Releasing.
Austin Stoker and Darwin Joston star in ASSAULT ON PRECINCT 13, directed by John Carpenter for Turtle Releasing.

In February of 1997, Image released Assault on Precinct 13, which I think I saw right away and hated the cover art for the LaserDisc. I tried transferring the commentary and effects track to Sony MiniDisc. I was a commentary fiend back then. And, of course, I loved Precinct 13.

Carpenter didn’t disappear–I couldn’t wait for Vampires, which teamed him with James Woods, another of my nineties enthusiasms–but I did have to wait. Its distribution was a nightmare of looking through “Entertainment Weekly” or maybe reading “Dark Horizons” hoping for good news. But it was a time for appreciating old Carpenter, not new.

And then, in August 1998, Universal Studios Home Video released The Thing in a Signature Collection LaserDisc release. Universal made some great LaserDiscs, but usually of popular films. The Thing had been a box office failure. But Carpenter was draw on LaserDisc–his Panavision composition can’t be pan and scanned well. All these special editions with the great commentaries would introduce Carpenter to a whole new audience–the casual home video consumer, trying out the new DVD format. All these LaserDisc special editions soon became early DVD special editions.

A scene from THE THING, directed by John Carpenter for Universal Pictures.
A scene from THE THING, directed by John Carpenter for Universal Pictures.

These films–and these LaserDisc releases–forged Carpenter’s ironclad reputation as a filmmaker. No matter how many Children of the Damned or Memoirs he made, no matter how crappy remakes of his films got, no matter how many times Anchor Bay released Halloween on DVD, Carpenter’s reputation leaped out of the hole Memoirs dug. No one liked Memoirs. Even with awesome special effects as CG-appreciation became a mainstream fixation, no one liked Memoirs. I’m sort of scared I liked Memoirs in the theater now, because I remember renting it on VHS and I have no idea why I would have done such a terrible thing.

These five Carpenter films still get all the hype–they’re still the ones in the public consciousness, whether through remakes or awesome new Shout! Factory blu-ray special editions. The commentary tracks usually make it over too, which is fantastic. Not quite the same thing as Criterion putting out Halloween and forcing it into the film enthusiast consciousness (complete with a reassuring clip of Siskel and Ebert explaining why it’s okay to like Halloween), but the content is out there for people to discover. It’s just the community isn’t there, which is too bad.

As for Carpenter, he just put out an album, Lost Themes. I love it.

Assault on Precinct 13 (1976, John Carpenter)

The titular assault in Assault on Precinct 13 doesn’t start until just over halfway through (and not at Precinct 13, but whatever). Until that point, Carpenter methodically lays out the elements to synthesize at the sieged police station. He introduces a tense gang situation, a new lieutenant (Austin Stoker), a convict being transferred to death row (Darwin Joston) and a man (Martin West) possibly unwisely traveling through the ghetto with his daughter (Kim Richards).

The way Carpenter portrays the L.A. ghetto is interesting. It’s empty, quiet and sometimes rather beautiful. He also treats the gang members like zombies–they don’t talk, they have no personalities. They’re just young and multiracial. Assault is a warning against young urban men of all creeds and colors.

Carpenter timestamps the scenes, bringing a scene of reality and commonplace to the film. When the timestamps finally do disappear, it’s because the audience–like the cast–is trapped.

At that point, Assault has its most beautiful sequence. The gang assaulting the police station is using silencers and, as they destroy it, the only sounds are of papers flying, windows breaking and drywall puncturing. It’s otherworldly.

When Carpenter finally does bring in the outside world, the timestamps return and the film’s changed entirely. In the midst of the rushed action, the film becomes about its characters and their relationships.

Great performances from Stoker, Joston, Zimmer and Tony Burton. Charles Cyphers has a nice smaller role. Excellent photography from Douglas Knapp, amazing editing from Carpenter.

Assault‘s a masterpiece.

4/4★★★★

CREDITS

Written, directed and edited by John Carpenter; director of photography, Douglas Knapp; music by Carpenter; produced by J. Stein Kaplan; released by Turtle Releasing.

Starring Austin Stoker (Ethan Bishop), Darwin Joston (Napoleon Wilson), Laurie Zimmer (Leigh), Martin West (Lawson), Tony Burton (Wells), Charles Cyphers (Starker), Nancy Kyes (Julie), Peter Bruni (Ice Cream Man), John J. Fox (Warden), Marc Ross (Patrolman Tramer), Alan Koss (Patrolman Baxter), Henry Brandon (Chaney) and Kim Richards (Kathy).


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Assault on Precinct 13 (2005, Jean-François Richet)

Assault on Precinct 13 doesn’t remind of an early 1990s action movie because of Dorian Harewood, Kim Coates or Brian Dennehy showing up–or even because of the movie specific end credits song (by KRS-One no less). It doesn’t even remind of that genre because it lifts the icicle shamelessly from Die Hard 2. Even the presence of Matt Craven–in a theatrical release–doesn’t do it. I guess it’s because, even with all these identifiable similarities, Assault on Precinct 13 is a both traditionally solid action movie, as well as very self-aware. The casting is peculiar and I’d like to think the familiar faces were supposed to illicit the warm recognition they did. Assault on Precinct 13 feels like an action movie for people who won’t just recognize the icicle, but Coates as well. It’s a peanut butter and jelly movie.

As a remake of John Carpenter–one of Carpenter’s most distinctive features no less–Assault on Precinct 13 feels like they got the idea from a TV Guide description. With the exception of Laurence Fishburne’s character’s name, there isn’t any reference, isn’t any homage. There’s no urban uncanny here, the villains are all clearly defined (it’s Gabriel Byrne no less)–dirty cops instead of a street gang. Ethan Hawke (who would have thought, Hawke’s greatest commercial success comes from being an action guy) is a tormented cop who doesn’t know if he can make it. The psychological ramifications are trite and time wasters (the remake runs twenty minutes longer than the original), but they do allow for Maria Bello to be in the cast so I can’t complain too much. From her first scene, Bello and her acting quality seem rather out of place in Precinct 13, which is sturdily performed and all… but most of the cast members get about half their goofy dialogue out without it sounding cheesy. Bello gets it all out (to be fair to screenwriter DeMonaco, all of Bello’s scenes are the best written in the film). Hawke’s fine, but any acting ambitions he seemed to once have are very clearly gone. Fishburne’s fine too, but I was expecting more (he often just goes cheap with a Matrix delivery). Byrne’s lousy, but Currie Graham’s good as his sidekick. Dennehy’s good. John Leguizamo, in what should have just been a repeat of his annoying characters, adds some real texture to his performance. Drea De Matteo runs real hot and real cold.

But it’d be hard for Precinct 13 not to work. It’s a siege action movie and, as such, it’d have to be incompetently made to be bad. Director Richet is anything but incompetent. His composition isn’t startling, but it’s quite good and there isn’t a scene–even the poorly written first few–he doesn’t make compelling.

There’s one obvious, but not bad, CG shot. In the opening, Hawke’s at his desk (tortured, of course) and the camera pulls through the window and out into the sky until the precinct building becomes small. It reminded me of Curtiz’s use of miniatures in the 1930s. It’s a cool shot, sets the mood and all, but it’s nowhere near as interesting as it should be.

Anyway. The film’s certainly got me looking for more of Richet’s work.

But they never use the music. Carpenter’s theme to the original is one of his more recognizable compositions and it’d have made a great closing number… apologies to KRS-One.

2/4★★

CREDITS

Directed by Jean-François Richet; written by James DeMonaco, based on the film by John Carpenter; director of photography, Robert Gantz; edited by Bill Pankow; music by Graeme Revell; production designer, Paul D. Austerberry; produced by Pascal Caucheteux, Stephane Sperry and Jeffrey Silver; released by Rogue Pictures.

Starring Ethan Hawke (Sgt. Jake Roenick), Laurence Fishburne (Marion Bishop), Gabriel Byrne (Capt. Marcus Duvall), Maria Bello (Dr. Alex Sabian), Drea de Matteo (Iris Ferry), John Leguizamo (Beck), Brian Dennehy (Sgt. Jasper O’Shea), Ja Rule (Smiley), Currie Graham (Mike Kahane), Aisha Hinds (Anna), Matt Craven (Officer Kevin Capra), Fulvio Cecere (Ray Portnow), Peter Bryant (Lt. Holloway), Kim Coates (Officer Rosen), Hugh Dillon (Tony), Tig Fong (Danny Barbero), Jasmin Geljo (Marko), Jessica Greco (Coral) and Dorian Harewood (Gil).


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