George A Romero – Podcasting Them Softly

One of Hollywood’s most infamous screen outlaws, Dennis Hopper’s career stretched all the way from black and white 50’s westerns to voiceovers in PlayStation platform games. His epic and resounding career saw him take on countless roles including cowboys, psychos, politicians, detectives, terrorists and all manner of extreme portrayals. He had an intense way about him, a clear and distilled form of verbal expression and half mad gleam in his eye that made any scene he appeared in fiery and memorable. Here are my top ten personal favourite performances!

10. Victor Drazen in Fox’s 24

One of the more heinous and tough to kill villains that Kiefer Sutherland’s Jack Bauer ever went up against, Drazen is a genocidal warlord from a fictional country who turns up near the end of Day 1 to make life hell for everyone. Cold, dead eyes and hellbent on escaping captivity so he can resume ethnic cleansing and blow shit up, Hopper gives him a formidable edge and makes a terrific final boss baddie for the season that kicked everything off.

9. Paul Kaufman in George A. Romero’s Land Of The Dead

Even in a post apocalyptic zombie world there are still greedy billionaire developers, Kaufman being the chief one in a ruined, decaying Detroit. He presides over the coveted skyscraper community Fiddler’s Green with an iron fist of elitism and Donald Trump megalomania, isn’t above wantonly discriminating against the poor or murdering shareholders in the business to get ahead. His response when the zombies finally bust down his doors and invade this sickened utopia? “You have no right!!!” It’s a darkly hilarious, deadpan, tongue in cheek arch villain role that he milks for all its worth and steals the show.

8. Billy in Dennis Hopper’s Easy Rider

A seminal 60’s counterculture biker picture, Dennis directs and stars as an outlaw of the road who along with his compadre (Peter Fonda) embarks on a strange, prophetic and ultimately violent journey across an America that seems to resent and coil towards the two of them at every turn. This film didn’t strike the profound chord in me it seems to have in most viewers and while I’m not it’s hugest fan, the impact that Hopper’s words, direction and rowdy performance has made on cinema and pop culture itself is remarkable.

7. Deacon in Kevin Reynolds’ Waterworld

Another post apocalyptic villain in a very misunderstood and under appreciated film. Deacon is essentially the big daddy of an aquatic desolation after water covers most of the planet and forces the dregs of the human race to adapt to marine life. He’s got one eye, legions of henchmen at his beck and call and runs his operation from an enormous derelict freighter ship. Deacon is a larger than life and a definite scenery chewer but Hopper calibrates the work just right and doesn’t go too far into ham territory, which he has sneakily done so before (remember that weird ass Super Mario film where he played King Koopa? Lol).

6. Feck in Tim Hunter’s River’s Edge

A crazed, one legged drug dealer with a blow-up doll for a girlfriend, Feck is just one of many maladjusted small town rejects in this arresting, challenging drama. Forced to confront an act from his past when a local teen murders his girlfriend for the sheer hell of it, his true nature comes out and he arrives at the ultimate decision. It’s a performance that’s terminally weird and off the wall but there’s a strange gravity in amongst the madness, a juxtaposition that Hopper handles like the expert he was.

5. Lyle from Dallas in John Dahl’s Red Rock West

Texas hitman Lyle doesn’t even show up until midway through the film and at least two characters are mistaken for him before then. When he does show up though, this deadly desert neo-noir really kicks into gear and churns put some darkly funny scenarios. Lyle is killer good at what he does but at first he’s just baffled at how all the other players managed to muck things up so badly while he was on his way there, and there’s some delicious comedic bits to go with the fiery violence he brings into play.

4. The Father in Francis Ford Coppola’s Rumble Fish

This angelic arthouse gang flick sets up a hypnotic tone for an ensemble cast to dreamily wander in. Hopper is a rowdy drunken dad to Mickey Rourke and Matt Dillon, two wayward street kids on a collision course with inevitable trouble. The father/son banter between these three has a beautifully improvised, organic feel to it and you really get the sense that this trio rehearsed, spent time together and wanted to make their collective dynamic something truly special, which it is and can definitely be said for the film overall as well.

3. Clifford Worley in Tony Scott’s True Romance

A stubborn, tough as nails ex cop and father of the year, Clifford and Christopher Walken’s mobster Vincent get some of the best passages of dialogue from Quentin Tarantino’s script in their brief but blistering standoff. It’s a galvanizing, hilarious and now iconic scene in cinema with Hopper in full on Hopped up mode.

2. Howard Payne in Jan De Bont’s Speed

LA’s finest ex cop turned mad bomber, Howard is disappointed by the department’s meagre pension fund. His solution? Arm a city bus with enough C-4 to level an entire block and detonate it if the vehicle slows below 50 MPH. It’s up to super cops Keanu Reeves and Jeff Daniels to nab him, but both his plan and Dennis’s performance are something to be reckoned with. “Pop quiz, hotshot!” He taunts Reeves with that maniacal glee only this actor could bring out.

1. Frank Booth in David Lynch’s Blue Velvet

What can I say about Frank. He huffs oxygen to get high, prefers Pabst Blue Ribbon over Heineken, loves kinky S&M sex and is an unstable, volatile psychopath who engages in every kind of reprehensible behaviour and illegal activity you can think of. It’s an unhinged piece of acting work that carries both Lynch’s and Hopper’s distinct brand of eccentric sensibilities and off kilter lunacy.

Thanks for reading and stay tuned for more!

-Nate Hill

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