Carrie (1976) *****

Could have easily gone so badly wrong. You got Mean Girls vs Teen Romance. Demented Mother of Elmer Gantry vs Demented Daughter of Psycho. Why did nobody ever think before that slow-mo that used to be the preserve of lovers gambolling in fields and cowboys being bloodily gunned down could be as easily employed to watch naked girls in the shower. Throw in split-screen and a couple of other technical devices. And the shock ending which triggered a new cycle.

There’s a heck of lot of face-slapping that wouldn’t pass muster today and not exclusively male either, hard-ass teacher Miss Collins (Betty Buckley) setting about venal pupil Chris (Nancy Allen), Chris giving as good as she gets from boyfriend Billy (John Travolta). And if you were a rising star like John Travolta you might think twice about the effect on your career of battering a pig to death with a sledgehammer. Try those capers now and you’d run into the woke police.

But it’s surprisingly feminist. Women twist their men round their little finger, the headmaster does the bidding of Miss Collins, All-American Boy Tommy (William Katt), decked out in a super perm, accedes to the barmy request of his girlfriend Sue (Amy Irving), attempting to assuage her guilt over her role in bullying Carrie (Sissy Spacek), to give up her place at the Senior Prom to the nerd, and Chris has no problem getting Billy to go along with her scheme for humiliating vengeance.

In another movie, Carrie, an eternal victim, would have been the Final Girl but such is her wrath nobody’s left standing to qualify for that position. Nobody escapes, innocent and guilty alike, put to the sword. There’s sex in all its disguises, ranging from a virgin’s first tender kiss to a blowjob to sin to rampant voyeurism.

That it works so well is in part due to the malevolence of all concerned, the above mentioned whacking, the mother locking the child in a closet, the gleeful girls tormenting Carrie, and Carrie spiteful in her blood-soaked vengeance. The telekinesis on which the tale depends is cleverly introduced, a few minor incidents hinting at this unnatural power, Carrie herself doing the research rather than consulting a specialist and weighting the picture down with turgid exposition.

The neat running time – barely topping 90 minutes – eliminates any slack. And director Brian De Palma (The Untouchables, 1987) has sufficient command of the tension and occasional moments of bravura that it’s touched on the ironic climax before you realize quite where it’s going. Atmospheric score by Pino Donaggio (Don’t Look Now, 1973) guides us along, the haunting melody that wouldn’t be out of place as a love theme lets us know there’s more to the shower scene than we might expect while the sharp chords accompanying the slaughter reminiscent of Psycho (1960).

Announced to the world Stephen King as writer of immensely cinematic books, and made De Palma a commercial name. Sissy Space (Prime Cut, 1972) and Piper Laurie (The Hustler, 1961) were nominated for Oscars and the movie served as launch pad for several of the cast, most notably John Travolta (Saturday Night Fever, 1977), including Nancy Allen (Dressed to Kill, 1980), William Katt (Big Wednesday, 1978) and Amy Irving (Micky +  Maude, 1984). Written by Lawrence D. Cohen (Ghost Story, 1981).

Still a terrific watch.

The Magic Vault – Return of the Reissue

You are probably aware by now that Hollywood reckons the very movie to fill the Valentine’s Day gap this year is the love story that took Leonardo DiCaprio and Kate Winslet to a watery grave – Titanic (1997). The date might be a surprise but with Avatar: The Way of Water conquering box offices worldwide a re-run of his previous gigantic success was always on the cards.

What might come as a shock is how much Hollywood has come to rely on oldies to fill gaps in the release schedule – so much so that a reissue of a biggie has been slated for every month in the forthcoming year. As you are probably aware from my discursive writings on the subject, the reissue has been a staple of the industry since the 1960s, and as often as not appearing when stocks of new films were at a low ebb.

Covid was an unexpected production disaster and with new films in short supply and audiences falling short of the norm the studios felt it better to hold on to big films until cinemas were back to something approaching normality. Thank goodness someone in Hollywood can count because anniversaries make up a hefty chunk of the excuses to trot out old pictures. Anniversary used to mean a celebration of a classic made 25 or 50 years ago, but that notion has been taken to extremes,  so any year seems fair game, 20th, 45th now pretty common.

But anniversary was not in the main the driving force last year. Some pretty big fish were summoned from the vaults to work their magic. The original Avatar (2009)  brought in another $76 million worldwide – positioning it just outside the global top 50 for 2022. Interstellar (2014) knocked up another $72 million, Harry Potter and the Chamber of Secrets (2002) $45 million, Leonardo DiCaprio in Scorsese’s The Wolf of Wall Street (2013) worth an extra $14.8 million and the original Jurassic Park (1993) added $10 million to the coffers.

What must have seemed like nothing short of frantic experiment clearly struck a chord with audiences, so studios are taking to the reissue on a regular basis.

For a time it was Casablanca (1942) that had been the unexpected filler of the St Valentine’s Day gap. But it could hardly compete with Titanic, but rather than lose the opportunity for another annual outing, this has been re-scheduled for the beginning of March.

In April there will be a further chance – in a genuine 25th anniversary big bang- to see Jeff Bridges and John Goodman in the Coen Bros cult favorite The Big Lebowski (1998). Musical Grease (1978) – 45th anniversary? – with John Travolta and Olivia Newton-John is the May pick. Hardly an unusual notion this, Grease has already had more than its fair share of reissues.

You might think it’s Travolta again in June, in Hairspray (2007), but actually it’s the John Waters original, made in 1988 – 35th anniversary!! – that became the basis of the Broadway musical. It boasts an all-time cracker of a cast – Sonny Bono (of Sonny & Cher fame), Divine (Pink Flamingos, 1972), pop star Debbie Harry (Videodrome, 1983) of Blondie, future talk show host Ricki Lake in her movie debut, and comic Jerry Stiller (father of Ben).

For the holidays what could be better than a 40th anniversary outing for National Lampoon’s Vacation (1983). Chevy Chase and Beverly D’Angelo fire up their engines for July and look out for Eugene Levy, John Candy, Jane Krakowski and Christie Brinkley in small parts.

It’s a straight-out 50th anniversary slam-dunk for Enter the Dragon (1973), the kung fu actioner that cemented Bruce Lee’s reputation and sent the world into a brief glorious paroxysm of kung fu exploitation vehicles that even impinged on James Bond. Catch it in August.

You’d never guess it’s 35 years since Rain Man (1988), but don’t worry that will surely form the main plank of the marketing for its revival in September. Tom Cruise is of course still a big noise, less so Dustin Hoffman and director Barry Levinson, but they both won the Oscar, and fans of Hans Zimmer (Oscar nominated) will be more than happy to celebrate the score that brought him worldwide attention.

There’s been more than enough publicity attached to the filming of The Birds (1963), what with Tippi Hedren’s accusations of her treatment, but this 60th anniversary re-release might provide opportunity to reassess what I consider to be Alfred Hitchcock’s greatest achievement. That’s out in October.

Al Pacino’s turn as Cuban gangster Tony Montana in Brian DePalma’s Scarface (1983) – 40th anniversary – was not a huge hit at the time, audiences too easily put off by the violence and the over-the-top performance, but it’s now become a cult classic so expect big numbers to turn out in November.

Rounding out the year, unless someone can come up with something bigger/better before then, is A Christmas Story (1983) – 40th anniversary. You’ve probably forgotten all about this unless you can remember this is where the iconic “tongue frozen to flagpole” idea originated. Directed by Bob Clark, perhaps in reparation for Porky’s (1981), it sees Melinda Dillon (Close Encounters of the Third Kind, 1977) as the mother appalled her son wants a BB gun for Xmas. Wonder how that idea will play out these days!

I am already trawling through any film made in a year ending in 4 or 9 to see what Hollywood can base an anniversary re-showing on for 2024.

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