Russell Mulcahy’s period stabilization, tour de force of film-making sees its time-honored source material come alive on the big screen…just as it exists on the panels on which it was born. Mulcahy’s Shadow predates the meticulous period recreations and universe building of the modern era with its use of substance, flair, atmosphere and gorgeous little winks to the audience – or as it is more commonly known – fan service…
What makes a comic book film truly saw, is the fact that they shepherded by master visualists, such as my honored guest. Russell’s fluid use of camera, lighting and mood-enhancing trip the light fantastic; working like the perfect partner in a duet with a phenomenal cast lead by Alec ‘in all his glory’ Baldwin, the breathlessly breathtaking Penelope Ann Miller and the most delightfully awesome assortment of some the finest character-actors ever to grace the silver screen such as, James Hong, Sir Ian McKellen and the sweetest transvestite of them all…the grand Tim Curry…
The sun is shining and the days are getting sweatier (here in the great southern land, at least), but we pause and are luxuriously seduced away on the musical carpet of Jerry Goldsmith, into a fantasy panel on a comic page crafted out of artistry and light. What evil lurks in the heart of men, come find out with your mate, my mate, our mate and legendary director Russell Mulcahy….
It’s hard not to be romantic about the sports film. From classics like The Natural and Bull Durham to more modern efforts like The Blind Side and Moneyball. They range across all genres and all sports. Football (Rudy, Any Given Sunday), Golf (Tin Cup, The Legend of Bagger Vance), of course, Baseball (Field of Dreams, For Love of the Game) and in the case of Hoosiers, Basketball (Blue Chips, He Got Game). But Hoosiers, and I happen to share this sentiment, is one of the finer examples of the sports genre and is, for my money, the best basketball film ever made.
Now, I use the term sports film very loosely. Yes all of the aforementioned contain the listed sports as part of their narratives. But, the games are not really what lies at the heart of these tales. The true centerpiece are themes like redemption, romance, the search for self, the search for acceptance – all these things within the characters either as player, coach, fan etc.
So why do I think Hoosiers is the best example of this genre? Well, it’s simple. Hoosiers has all of these working within it. Comedy, romance, drama, redemption, the search for self, the search for acceptance. Okay, so it doesn’t have a crazed Bobby De Niro terrorizing any of the players to feed his grossly misguided obsession and distorted view of the world – but that doesn’t mean that it lacks thrilling, intense and impactful moments that keep you watching and ultimately cheering for the underdog, the little team that could. One could argue that this is a key ingredient in these kinds of films. A down-on-his-luck former golf pro, a disgruntled former player trying to manage a failing team, a boxer with all the odds stacked against him or a basketball team from a town in the middle on nowhere that couldn’t possibly take on the big schools and win.
Then there are the characters – all looking for second chances. Hackman’s coach, Hopper’s alcoholic father, Hershey’s teacher. They all have something to prove, something to gain from the victories the home team are accumulating. And, they are all masterful turns by each of the three principals. Indeed from all concerned with the production. None more so than that of first-time screenwriter and my guest Angelo Pizzo.
The man who was headed for a career in politics eventually ended up going to film school. After graduating, and spending sometime working in the arena of television, Angelo felt the need, at last, to make a film about a subject he was passionate about – basketball. And, being unable to find writer for the project . . . well . . . he decided to have a crack at it himself.
This wonderful film, under marvelous direction, David Anspaugh, from a great script with a stellar cast and punctuated by a phenomenal Jerry Goldsmith score is a small miracle that has, not unlike the team portrayed in its story, taken on the giants and carved out its place in cinema history.
If you haven’t seen Hoosiers, I urge you to do so. Don’t get caught watchin’ the paint dry…
It’s always a fascinating experience to sit down with Richard. The man is such a natural storyteller, with a unique perspective relating not only to cinema, but also to the world around him.
We caught up this time in the midst of bad weather, a troubled connection and, last but not least, a turbulent time in Richard’s beloved Montsegur. While our conversation touched upon this, along with the whys and wherefores of the situation, we eventually turned to movies. At this time it had been documented that Richard was again a part of an attempt to bring Moreau back to the screen – as a TV series. Having been hired by the same people that fired him during the doomed journey of his initial attempt, there seems to be, thanks to David Gregory’s documentary, a renewed interest in Richard’s take on his long-suffering passion project.
I did also bring up The Otherworld, which I had finally seen at the time. Stanley’s absorbing documentary-slash-ghost-story, and the myths and misconceptions surrounding it and ‘The Zone’ which forms the backdrop. Richard is steeped in the history of Montsegur and, flavored with his supernatural encounters, it is indeed a tale of great intrigue.
Also to we touched on, and I must say I highly anticipate, the writing of Richard’s autobiography. A project that was going smoothly until it was insisted, and initially resisted by its author, that a chapter be included on the subject of the collapse of Richard’s vision of Moreau. As thrilling a read as it will be – like I said Richard is a fascinating character – it will be equally riveting to finally have a recounting of the story from the embattled man at the center of the controversy.
Still, the future is full of possibilities, and I for one wait with inordinate eagerness for any and all of Richard’s creative endeavors to finally emerge . . . in whatever form they shall take.