Tag Archives: Lisa Blount

Great Balls of Fire! (1989, Jim McBride)

There’s no point to Great Balls of Fire! As a biopic it’s shaky–lead Dennis Quaid only gets to be the protagonist when he’s not being too despicable, which isn’t often and the film has to distance itself from Winona Ryder, playing Quaid’s love interest.

And thirteen year-old cousin.

So it’s understandable director McBride and co-screenwriter Jack Baran don’t want to delve too deep into the characters.

It’s also not a comedy, because even though Quaid plays Jerry Lee Lewis like an affable buffoon, it’s never clear if it’s all an act and Quaid (or Lewis) is really calculating or he’s just an idiot. Either way, he knows perving on his thirteen year-old cousin is wrong because her father–John Doe–is also putting a roof over Quaid’s head and playing in his band. During one montage sequence–when Lewis performs on “The Steve Allen Show”–suggests Fire could be some kind of rumination on American culture in the fifties, as the film cuts to various television shows of the era with the characters watching the television in shock… but it’s just that one sequence.

Otherwise, Fire just sort of churns along through the timeline. Hit records, marriage, failure. Sort of. There’s no arc to any of it. No one gets one. Not Quaid, whose character has less internal activity than a three scene cameo by Michael St. Gerard as Elvis. Certainly not Ryder, who gets a fun montage where she’s shopping for her home, then a breakdown when she realizes she’s just a kid then… relatively nothing until she starts getting abused by drunken failure Quaid. Doe kind of gets an arc. But it’s all background, going on when McBride is paying attention to other things. Doe probably gives the film’s best performance, partially because of that arc.

As his wife (and Ryder’s mom), Lisa Blount is fine. She’s in the movie a lot but gets absolutely nothing to do actually do. Except calm Doe occasionally.

Trey Wilson and Stephen Tobolowsky are the record producers. They’re fine. Wilson’s a little better, though both their parts are razor thin.

Then there’s Alec Baldwin as preacher Jimmy Swaggart (real-life cousin to Jerry Lee Lewis). He’s okay? His presence in the film is simultaneously sensational and pointless.

Quaid’s really good at pretending to play and sing the music. The real Lewis recorded all the songs and there are piano stunt doubles for the harder stuff; but what Quaid does, he does really well.

Technically the film’s more than proficient. Good production design from David Nichols. Solid photography from Affonso Beato. The problem’s the script. No one can act it well because it doesn’t want to be acted well. It gets queasy dwelling on its caricatures.

In the end, Fire just fizzles out. It’s often entertaining, sometimes engaging, but McBride and Baran don’t have a handle on the story they want to tell, much less how to tell it.

1/4

CREDITS

Directed by Jim McBride; screenplay by Jack Baran and McBride, based on the book by Myra Lewis and Murray Silver Jr.; director of photography, Affonso Beato; edited by Lisa Day, Pembroke J. Herring, and Bert Lovitt; production designer, David Nichols; produced by Adam Fields; released by Orion Pictures.

Starring Dennis Quaid (Jerry Lee Lewis), Winona Ryder (Myra Gale Brown), John Doe (J.W. Brown), Lisa Blount (Lois Brown), Trey Wilson (Sam Phillips), Stephen Tobolowsky (Jud Phillips), and Alec Baldwin (Jimmy Swaggart).


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Prince of Darkness (1987, John Carpenter)

I’d forgotten Prince of Darkness‘s more fanciful notions–Jesus the space alien, still sent to Earth to save us from the Devil, but this time, the Devil’s kind of a space alien too (or not)–and its less creative ones (the Devil uses projectile vomit to posses people). It’s Carpenter at his strangest, the late 1980s period, where he made low budget pseudo b-movies. Prince of Darkness isn’t really a b-movie, if only because Carpenter’s intent, the one unaffected by budget constraints, is quite visible. But also visible are the realities of making Prince of Darkness for its budget.

What’s unfortunate about the film is Carpenter’s lack of inventiveness. Compared to what Carpenter did in the late 1970s, Prince of Darkness feels like a TV movie, only a really well-directed one. Instead of relishing in the low budget, Carpenter tries to work around it, tries to draw attention away from some of the obvious giveaways–the movies set in this church with at least three floors, but after a while… we only see one floor, like sets had to be dismantled. Or the exterior shots of the church, with the menacing homeless people. After a while, they’re only in a couple places (the disappearing Alice Cooper is a whole different discussion).

Or just the closed concept of the film. It deals with the end of the world where signs of imminent destruction are plentiful. Except there are no scenes or shots of regular people noticing these signs. Carpenter lays a framework similar to the modern disaster and destruction movie, but can’t fill it in with the fluff those movies rely on. Instead, it’s a creepy feel–which comes together a few times throughout and really well at the end–accentuated with his familiar synthesizer score. And the goofy reasoning behind the movie.

Much of Prince of Darkness‘s philosophizing sounds like Carpenter just copied his notes unedited. His cast are generally believable as physics majors, but smart undergraduate… certainly not doctoral candidates. However, Carpenter’s got some really sharp dialogue in the film, which is a pleasant surprise.

The best performances are Dennis Dun and Victor Wong, as they’ve got most of the film’s best lines. Jameson Parker and Lisa Blount, as the young(ish) lovers, are okay but nothing more. Poor Donald Pleasence has almost nothing to do. The rest of the cast varies. The ones who end up zombies more so then others. But soon-to-be Carpenter regular Peter Jason is good.

Where Prince of Darkness pulls itself together is the end. Carpenter lifts a lot from his other films for this one’s sequences–Assault on Precinct 13 and The Thing–but even that unoriginal approach can’t affect his skill. The last twenty minutes, even accounting for Dun not trying to break through a wall from his side, just letting Parker and company come through the opposite, is great. There are some make-up problems–budget–and some silly script stuff, but Carpenter knows how to make it work and he does.

1.5/4★½

CREDITS

Written and directed by John Carpenter; director of photography, Gary B. Kibbe; edited by Steve Mirkovich; music by Carpenter in association with Alan Howarth; production designer, Daniel A. Lomino; produced by Larry J. Franco; released by Universal Pictures.

Starring Donald Pleasence (Father Loomis), Jameson Parker (Brian Marsh), Victor Wong (Prof. Howard Birack), Lisa Blount (Catherine Danforth), Dennis Dun (Walter), Susan Blanchard (Kelly), Anne Marie Howard (Susan Cabot), Ann Yen (Lisa), Ken Wright (Lomax), Dirk Blocker (Mullins), Jessie Lawrence Ferguson (Calder) and Peter Jason (Dr. Paul Leahy).


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THIS FILM IS ALSO DISCUSSED IN SUM UP | JOHN CARPENTER, PART 3: THE ALIVE DUET.