Tag Archives: david carradine

Walter Hill’s The Long Riders

◦ I’m pretty sure that Walter Hill’s The Long Riders does something that no film had done before or after, least to that extent: pull off the biggest sibling stunt casting session in history. Based on the rowdy, violent exploits of the James Younger gang in the old west, Hill casts real life brothers as the troupe, a choice which could have been south of silly in any old director’s hands, but works like gold here. James and Stacy Keach play Frank and Jesse James, David Robert and Keith Carradine are the Younger clan, while Randy and a very mean, very young Dennis Quaid fill the boots of the Millers. It’s fairly brilliant, well organized and pays off nicely, especially if you’re a fan of any of these guys, which I am and then some. Now, the film. Most westerns about these hotshot outlaws take a quippy, cavalier standpoint and go for sterling silver charm. Not Hill, a notorious trend shirker and trailblazer whose tactics in casting, music, editing and tone have never followed the Hollywood grain. The film is downbeat, somber and mostly a series of vignettes that topple against each other like dominoes. The gang shuffles from robbery to holdup almost reluctantly, like it’s written in the stars and they have no choice but to commit crimes. They clash royally with the ruthless Pinkerton agency, who cause more than a few casualties on their side. The shootouts here are no sanitized 50’s Lone Ranger fluff, they’re brutal, bloody and amped up to extreme violence, which is always to be expected from Hill. The life of an outlaw is not glamorized here either, a choice rarely, if ever made in the western department. These are hard men resigned to their rough lives, not fast talking hot-doggin prince charmings like insufferable Young Guns type crap. There’s scattershot subplot about the brother’s lives, but mostly the focus is rooted in their exploits and run ins with the law. David Carradine’s Cole Younger has a cool knife fight sequence up against half breed injun Sam Starr (Hill favourite James Remar) over the favour of pretty hooker Pamela Reed. The actors are all gritty and grizzled, from James Keach’s long-faced, Moody Jesse James to Dennis Quaid’s volatile psychopath Ed Miller. Hill’s go to music guru Ry Cooder provides another achingly gorgeous score with echoes of his composition on Southern Comfort a few years later, a melancholic tune stripped bare of any action sequence swells or orchestral hoo-hah. Pretty damn underrated as far as big screen westerns go, with a tone and look that seems somehow far more genuine than many others in the genre.

-Nate Hill

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It’s good to be the King: An interview with Larry Cohen by Kent Hill

There is a quote attributed to Robert Rodriguez (another independent maverick filmmaker) that states:

“If you are doing it because you love it you can succeed because you will work harder than anyone else around you, take on challenges no one else would dare take, and come up with methods no one else would discover, especially when their prime drive is fame and fortune. All that will follow later if you really love what you do. Because the work will speak for itself.”

It is the always interesting, ever-changing, always inventive, ever professional life and work of Larry Cohen that really personifies the above quotation. King Cohen has been out there in one form or another in an impressive career spanning multiple decades. He has been the director of cult classics; he has been the writer of hot scripts that have incited Hollywood bidding wars. His work has been remade, imitated, venerated.

These are the hallmarks of a man and his movies whose personal voice rings out loud and clear, high above the commercial ocean of mainstream cinema that carries, beneath its shiny surface, schools of biodegradable blockbusters that are usually forgotten about only moments after having left the cinema.

This is not true of the films of Larry Cohen. For his work is the stuff (pardon the pun) that came before, the stuff the imitators latch on to, the stuff from which remakes and re-imaginations are conceived. This is the fate of the masters. The innovators come and bring forth art through trial and error. They are followed by the masters who take the lessons learned from the innovators and make them, shape them by sheer force of will. But, then there comes the imitators who stand on the shoulders of these giants and take home the glory.

Still, when there is an artist that is in equal parts innovator and master; this causes the imitators to stand baffled.

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Rather than accepting my humble oration, I urge you to seek out Steve Mitchell’s most excellent documentary KING COHEN. Watch it, marvel, rejoice, and remember that there are great filmmakers out there. They may not be coming soon to a theatre near you, but they did once, and their work still stands, silently, waiting to be discovered.

Until you get to see KING COHEN please, feel free to bask in my little chat with the king himself, Larry Cohen, a gentleman of many parts, many stories and of course . . . many movies.

Ladies and Gentlemen . . . Larry Cohen.

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KILL BILL VOLUME I – A Review by Frank Mengarelli

“How did you find me?”

“I’m the man.”

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When you strip away all the genre and sub-genre elements from Quentin Taraninto’s KILL BILL VOLUME 1, what lies beneath is a heart wrenching story of a woman seeking vengeance against a former lover who tried to kill her, her unborn child, and her fiance and the new life she constructed after she fled from him.

What we end up with, is the genius of Quentin Tarantino. This film is a full on culmination (obsession, even) of everything that is Quentin Tarantino. His obsession with actors, westerns, kung-fu, women’s feet, popular music; absolutely everything he loves is smeared all over the screen. A faceless David Carradine, a sly Michael Parks, the resurrection of Sonny Chiba, an iconically cool Michael Madsen are all acute aspects that support the greatness of this film.

Tarantino uses the camera to make love to his muse, Uma Thurman, constructing one of the fiercest alpha females to ever be on screen. She’s a woman on a one way mission. She is going to lay waste to everything her path, as she slowly crosses names off her hit list, until she gets to her former master and lover Bill.

KILL BILL is a lot of fun to watch – Tarantino’s homages from Sergio Leone to Brian De Palma, his love for all aspects of cinema is blatant. It’s not just that love for cinema that makes his films such an explosion, but it’s also his love for pop culture, comic books, and music that creates such a fertile pallet for his films to create themselves upon.

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The short anime segment, explaining Lucy Liu’s background is supremely emotional! Perhaps even more emotional than most give it credit for. It’s heartbreaking! The beauty of Sonny Chiba crafting and passing his sword over to Uma Thurman so she can progress on her mission of vengeance; and one of the best action sequences in modern film that achieves it all without any explosions, monsters, or superheroes is an enormous cinematic feat.

This film really hits the mark on every level. Cinematography, stunts, editing, costume design, production design, sound design, original music by RZA; every single corner of every single frame of this film is fleshed out in full detail. It truly is a marvel to watch. At the core of this film, apart from all the sheen and the cinematic perfection, Tarantino delivers us his most heartfelt and emotional film to date.

Top Ten Quentin Tarantino Characters: A Write Up by Nate Hill

Quentin Tarantino’s career has been vividly defined by all the beloved qualities which we hold dear in film: visuality, music, dialogue, emotion, conflict and especially character. His films contain some of the most captivating, idiosyncratic and unique people to ever grace the screen, played by an incredible lineup of actors, some of which he would go on to use time and time again. Below you will find my personal top ten picks from the rogues gallery of individuals who have appeared in his stories. Please keep in mind these are characters from films he has both written and directed only, not just ones he has written. Enjoy, and if you do, please share!

10. Zed, played by Peter Greene in Pulp Fiction. 

  

      Greene refused this part multiple times, causing Tarantino to hunt him down like a dog and basically beg him to play the role. When the director has a face in mind for a role and won’t quit like that, you’d better believe he’s gonna make magic with it if he ever manages to sway the actor. He does, and so does Greene, an actor with a distinct, sinister look who plays the absolute hell out of the character, spinning a small supporting turn into one of the most terrifying movie villains ever, and certainly the scariest character in Tarantino’s career. Everyone’s favourite redneck rapist sheriff, Greene leaves quite the unsettling impression with his work. 

9. Texas Ranger Earl McGraw, played by. Michael Parks in Kill Bill, Grindhouse and From Dusk Till Dawn

  

Tarantino casted underrated acting chameleon Parks as this character several times, each appearance resulting in pure gold. My personal favourite has to his bit in Kill Bill Volume 1, where he’s called to the El Paso wedding chapel massacre. Parks can literally play any part thrown his way, be it melodramatic French Canadian drug runner, neo-nazi hit man or the laconic southwestern lawman archetype, which he nails down to the detailed mannerisms here. McGraw is a lynchpin of Tarantino lore and an absolute pleasure to see every time he pops up. 

8. Captain Koons, played by Christopher Walken in Pulp Fiction

  

Walken balances weirdness and gravity like no other, often blurring the lines between the two to amusing and touching effect. When given what is perhaps the juiciest monologue ever written by Tarantino, Walken gives us a mesmerizing account of his time in the war, and his efforts to protect a coveted family heirloom which he then presents, with much ceremony, to a young Butch Coolidge. The film halts the momentum dead in its tracks to allow Walken to do his thing, completely off the leash and inhabiting his own special corner of the beloved film. He’s unforgettable, and makes a two minute appearance speak the volumes of eons.   

7. Bill, played by David Carradine in Kill Bill

 

There’s a scene in Kill Bill Volume 2 where Uma Thurman discovers Bill waiting for her outside the wedding chapel, playing his pan flute. There’s an epic passage of Morricone music, and he looks her dead in the eye. Upon reviewing a rough cut, Tarantino turned to Carradine and said “I think this is your best moment of the film.” Carradine’s response was, “Hell, I think it’s the best moment of my whole career!.” Bill is a mythic, titular antagonist who is built up no end for the duration of the films, the ultimate badass villain, and when the climax arrives in the eleventh hour, Tarantino writes an exodus for the character that is far more personal, emotional and grounded than I imagine anyone saw coming. It’s a gift to Carradine and fans alike, a villain with depth and purpose who exists in a surreal comic book world where the people couldn’t be more human or real. Carradine purrs his way through the role of his career and on into legend. 

6. Budd, played by Michael Madsen in Kill Bill

  

Tarantino brings out the best in Madsen, a purely charismatic dude who unfortunately makes a lot on unwatchable junky poo movies these days, squandering his obvious talent. This is is shining hour, playing Budd as a bitter backwater kid and younger sibling, nearing the end of his road and fermenting in bitter loneliness way out in the California desert. Madsen channels tough guys of the golden age as Budd, a rotten son of a bitch with a glint of humanity showing through his booze-dimmed eyes. 

5. Hans Landa, played by Christoph Waltz in Inglorious Basterds

  

Quite possibly the most entertaining villain in Tarantino’s work, due the the exuberant and absolutely committed performance of Waltz, in a trailblazing turn that would put him on the map in a big way. Beaming from ear to ear in almost every scene with a charming grin that dissipates occasionally, showing traces of the spider beneath, he’s a wonder in the role, a nazi A-hole rotten straight to the core. He doesn’t even possess any constitution or debt of faith in the cause which his smartly emblazoned SS uniform advertises; he’s in it for himself only, which is one more despicable quality to add to the list of traits one might use to define him. Perhaps the biggest Basterd of them all, and a joy to watch. 

4. Vincent Vega, played by John Travolta in Pulp Fiction

  

Pulp Fiction kickstarted Travolta’s career back into gear in a huge way, and it’s easy to see why as we watch his Elvis-esque slickster prance about the screen with effortless, heroin addled coolness and one hell of a dance sequence. His hair deserves its own spinoff film, he steals scenes by simply laying low and playing the dude with flair that never makes itself overly known. 

3. Mr. Blonde, payed by Michael Madsen in Reservoir Dogs

  

A stone cold psycho to the bone, Madsen relishes in brining this cop killing sadist to life, and dancing his way through one of the most iconic Tarantino scenes to date. Madsen has a rumbling threat to his work, a paced, portentous vibe that suggests the onset of a dangerous storm, but always seems to veer on the edge. With Mr. Blonde he crosses that line and shows us what a true madman looks like, without even raising his voice above a willowy growl. A class act in violent behaviour that laced with the blackest humour that we feel bad for laughing at. Mr. Blonde all the way. 

2. Jules Winnfield, played by Samuel L. Jackson in Pulp Fiction

  

A rain of hellfire awaits any viewer who has the privilege of seeing Jackson bellow forth biblical fury in his first collaboration with Tarantino. He’s the life of the party in Pulp Fiction, an articulate, relentless loudmouth with a character arc that amusingly negates his belligerent nature and makes Jules all the more fascinating for it. Jack sonics at his most magnetic when he’s in Tarantino films, and this is mile zero, baby. Not for a second does the spark leave his eye, or the threat of violence evaporate from his wake. Criminals who ruminate on life, love and cunnilingus have become a goldmine for writers post Tarantino, and one which he only mined the first nuggets of. Jackson is ground zero for the character type, and fires it up in a way which none of us will ever forget. 

1. The Bride a.k.a. Beatrix Kiddo, played by Uma Thurman in Kill Bill

  

Tarantino’s muse has been Uma Thurman since the days of Pulp Fiction, and here he writes a titanic revenge epic in which the actress gets to bare her claws and sink her teeth into the single most affecting and arrest in female role that he has ever written, also forging the best, or at least my favourite performance from any actor or actress in his films. The Bride is the revenge archetype, an angry blonde angel forsaken by her lover and dead set on a bloody warpath. Tarantino isn’t above writing in moments of stirring emotion, including the final twenty minutes of Volume two which is Thurman’s showcase piece as an actress and an achingly appropriate send-off for The Bride, as well as the one which she deserves. 
Thanks for reading, more to come!