Tag Archives: Diane Baker

Dwight Little’s Murder At 1600

What if someone were murdered in the White House? Dwight Little’s Murder At 1600 explores this notion with considerably less flair that Clint Eastwood’s Absolute Power but is still a solid, enjoyable thriller that doesn’t break new ground but works mostly thanks to a terrific leading turn from Diane Lane and a good one from Wesley Snipes. He’s a DC homicide cop, she’s an ex Olympic sharpshooter turned Secret Service agent and together they’re tasked with finding out why a mystery girl turned up savagely killed in the wee hours. Of course any murder in such a high profile location is going to be one elaborate mystery filled with many agendas, that of the president himself (a surprisingly low key Ronny Cox), his kid (Tate Donovan), his top general (Harris Yulin), secretary of defence (a scheming Alan Alda), the shady head of secret service (Daniel Benzali) and others. Does it all add up and make sense once the final bullet has been fired? Well, technically yes but there’s a few cliche eye roll bits along the way, like that classic final beat where the bad guy, all but thwarted, makes a last minute dash for someone’s gun and causes one final ruckus. The story works well enough and although it kind of dips into hectic, run of the mill action later on it still holds interest enough. Honestly Diane Lane makes it worthwhile, I could watch her in anything, she’s that good, and the earnestly platonic chemistry she has with Snipes works big time. I enjoyed a nice cameo in the opener from SNL vet Charles Rocket too, who died under weird circumstances and I’ve always enjoyed as the sleazy bad guy in Dumb & Dumber. Decent flick.

-Nate Hill

Revisiting Jonathan Demme’s The Silence Of The Lambs on the big screen

I got the chance to see The Silence Of The Lambs on the big screen last night and was very curious to see if it held up as I had only seen it once before, when I was like fifteen and on VHS no less. Well. This has to be one of the most airtight, hair raising, gorgeously produced psychological horror shows ever made and it really, *really* pops in a darkened theatre. I remembered bits and pieces, some of the iconic interplay between Anthony Hopkins’s Dr. Hannibal Lecter and Jodie Foster’s Clarice Starling as well as all the freaky pervo stuff with Ted Levine’s Buffalo Bill and had retained the general atmosphere. I *knew* I loved this film already but getting to see it in that environment of the theatre with focused, uninterrupted absorption really reminded me not only of what a masterpiece this is but also why it’s important to see films theatrically to begin with.

From the moment we see Clarice running through those misty Quantico woods to that final extended shot of Lecter strolling down that street in the Bahamas this is fluid, brilliantly edited, first rate storytelling and the one aspect that stands out most to me is the way the characters relate to each other psychologically. Scott Glenn’s Jack Crawford handpicks Clarice in this assignment for a reason. Hannibal takes an immediate and intimate interest in her for a reason. Clarice toughs out the terrifying aspects of this case and taps into her own vulnerability for a *reason.* We the audience are never told exactly what these reasons are but they’re clearly spelled out in each mannerism, each glance, each performance, there for us to find and digest each in our own way. There’s a reason this film crushed the Oscars, the acting awards in particular. Hopkins lingers over every scene like a cobra, his voice that of an icy river and the horribly calibrated intellect behind it scarier still. Foster shows the wounded orphan in Clarice, toughened up by years of hardship and her training at the academy, all her innermost qualities brought out by Lecter’s presence in a relationship that’s hard to classify. “The worlds more interesting with you in it” he assures her later in the film and we silently beg to know what’s going on in his head. Levine is every bit as scary as we remember, finding the human notes in this egregious monster and making him one of the most iconic serial killers in cinema. Glenn is buttoned down and unassuming as Crawford but we slowly see from his acting that it’s a ruse and he’s as sharp as any of them under that well kept veneer. The rest of the cast are carefully picked and include the likes of Kasi Lemmons, Charles Napier, Tracey Walter, Daniel Von Bargen, Anthony Heald, Frankie Faison, Brooke Smith, Diane Baker, Roger Corman, George A. Romero and Chris Isaak all doing great work.

One sequence in particular demonstrates how well this film holds up and why it should be seen on a big screen, and it’s where Lecter escapes from federal holding, dodging dozens of agents, SWAT operatives and sheriffs along the way. It’s an extended scene full of law enforcement lingo shouted breathlessly, a sneaky elevator roper dope, bloody special effects, desperate mustering of FBI forces to stop him all set to Howard Shore’s exceptionally creepy and exciting score. All that plus Jonathan Demme’s tight, succinct direction make a sequence that just hums along and showcases the film’s firm grip on horror, suspense, police procedural, editing, music and overall storytelling. They don’t get much better than this.

-Nate Hill