Ken Russell’s Gothic

Ken Russell’s Gothic reminds me of one of those nights where you and a group of your friends all get hammered and take psychedelics together but accidentally forget to designate one amongst the group to stay sober and take care of the rest, so you all just kind of collectively lose it without a sane babysitter to steer you away from a bad trip. In this case the group of friends in question includes Lord Byron (Gabriel Byrne), his doe-eyed concubine (Myriam Cyr), Mary Shelley (Natasha Richardson), her poet husband (Julian Sands) and John Polidori (Timothy Spall), and if you’re even vaguely familiar with their real life literary works it wouldn’t even surprise me that the lot of them were out of their heads on all sorts of drugs. All metaphors aside this is a fantastic, warped, fever dream shock horror film that provides an abundance of perverse enjoyment, provided you have the strong stomach, deranged sensibilities and capacity for abstraction required to get perverse enjoyment out of what can only be described as really fucking weird shit. As the odd group engages in tantalizing swinger’s foreplay and picks each other’s brains, subtle supernatural things start to show up, then all hell breaks loose after they conduct an impromptu seance around a supposedly enchanted skull. This is my first Ken Russell film and I already love his work, the guy just likes to roll up his sleeves and get unapologetically bizarre for the sheer joy of it. Natasha Richardson’s Mary Shelley is the eventual main focal point of the group and both her wonderful, edgy performance and the night in question subtly suggests what past traumas and diabolical new inspirations led to the genesis idea for her iconic Frankenstein novel, while Byrne’s impossibly sleazy Byron hovers in the background, a hedonistic tornado of deviant sexual energy and debutant petulance that the actor, still early in his career, tears into with seething voracity. Russell himself is a wizard of hallucinatory panic, visual madness and disorienting, hair raising sound design, with a lot of help from a terrifically spine chilling score by the one and only Thomas Dolby. The experience is one of dementedly strange horror, with indescribable monsters lurking around every corner and edifice of Byron’s spooky mansion, a constant state of mental disarray, existential confusion and otherworldly anxiety inflicted both upon the characters and audience alike, a truly immersive realm of a film. It’s a shame this isn’t really more widely available, streaming, physical or otherwise because it’s essential for any horror fan. I watched it on YouTube with surprisingly decent picture and sound quality, I suppose that will have to do for now. Excellent film.

-Nate Hill

Actor’s Spotlight: Nate’s Top Ten Dennis Quaid Performances

What’s the first thing you think of when Dennis Quaid is mentioned? Western? Action film? High concept SciFi? Disney flick? For a guy with hero good looks and a winning smile he has deftly managed to avoid being totally typecast in his career and although very frequently nails the romantic lead, also shows up in unconventional, challenging roles that test and allow him to grow as an actor. He’s got charm through the roof but there’s also a darkness brooding in his persona that I always enjoy seeing brought forth in the work, as well as a talent for quick paced deadpan humour. Here are my top ten favourite performances:

10. Vaughn Ely in Martin Guigui’s Beneath The Darkness

Villain roles are a rare breed for him to be found in, but there is the odd one out there. This is a low budget ‘serial killer next door’ type horror flick in which a group of teenagers try to prove that their upstanding, affable neighbour (Dennis) is in fact a mass murdering maniac. Sounds fun, right? It is but only thanks to Quaid’s certifiably fruit-loopy performance that steals the whole thing. It’s new ground for the actor but he seems right at home in dark, tongue in cheek character work and plays the pants off of this unhinged suburban maniac.

9. Jack McGurn in Alan Parker’s Come See The Paradise

This is an important, heartfelt performance and one of the only ones where he doesn’t use that winning smile or roguish charm. Set in the US following the attacks on Pearl Harbour, he plays a family man married to a Japanese woman who, along with their young daughter and entire family, are imprisoned in internment camps during a period of history that is shamefully not discussed very often. It’s a terrible situation to find you and your loved ones in and his performance, which spans over a decade, reflects the hardships and turmoil of that time while retaining a fierce love for family and country.

8. Davidge in Wolfgang Petersen’s Enemy Mine

An intergalactic survival story sees military pilot Quaid and an extraterrestrial (Louis Gossett Jr.) marooned on a strange planet together. Fighting as mortal enemies in a war, they are forced to reconcile hatred and rely on each other for survival. A bond like no other is formed and both actors handle the mutual character development beautifully, making this much more than just a SciFi adventure story.

7. Doc Holliday in Lawrence Kasdan’s Wyatt Earp

This is frequently known as ‘that other Wyatt Earp’ film because in most circles it is eclipsed by the admittedly superior Tombstone. Easy to see why as it’s moody, emotional and dour where it’s counterpart is essentially a cheerful swashbuckler. Val Kilmer’s pitch perfect take on Doc gets all the raves and rightly so but I find Dennis’s rendition to be equally as compelling, a snarky, fatalistic loudmouth who blindsides in certain scenes by laying down lucid emotional truths and providing sad yet profound insights.

6. Jimmy Morris in John Lee Hancock’s The Rookie

I’m not usually huge on sports films but this one is such a great underdog story, father son drama on two levels and just an all round feel good piece. Quaid plays a prodigy pitcher who never got his shot at the major leagues as a kid but now, in his mid forties, he’s thrown another chance when most of the guys around him trying out are half his age. You just find yourself rooting for this guy so willingly when you see the shine in the eyes of his kid (Angus T. Jones) and the blooming admiration his own father (Brian Cox, excellent as always) shows when he succeeds. Quaid plays it stoic, achingly modest and unsure of himself until that magic pitching arm gets to come into play and he becomes youthful again in the blink of an eye with a remarkable piece of acting.

5. Remy Mcswain in Jim McBride’s The Big Easy

About the cockiest hotshot vice cop you could find on the streets of New Orleans, Quaid’s Remy is womanizing, fast talking, fun loving, well meaning and just a tad corrupt, which spurs on the conflict of the film. He clashes royally with uptight DA Ellen Barkin until sparks inevitably fly and we are treated to some of the hottest, most adorable romantic chemistry I’ve seen in cinema. Quaid is easygoing and lighthearted in the role but never too goofy or self parodying, and there’s several scenes of sobering gravity that show his range even in a role as walk-on-the-clouds effervescent as this. We also get to see one of the most mature, realistic and down to earth sex scenes in film history, which is all too rare in Hollywood.

4. Arlis Sweeney in Steve Kloves’s Flesh & Bone

A dark, chilling tale sees Quaid play the son of a ruthless killer (James Caan) who falls in love with a drifter (Meg Ryan) that has some connections to their collective past. This is a stormy, doom laden psychological family drama that didn’t see half the exposure it deserves. Quaid plays the role introverted, a man haunted and confused by events he is still trying to reconcile, pitted against his demon of a dad and on a path to a violent, destructive conclusion.

3. Frank Sullivan in Gregory Hoblit’s Frequency

Trust Quaid and costar Jim Caviesel to make such an ‘out there’ premise feel so down to earth. As father and son they are able to communicate across a thirty year gulf of time and transcend the barrier of death itself via a very special HAM radio. Quaid makes comforting magic out of the Everyman/dad/firefighter/baseball fan archetype. There’s a warmth and genuine love he has for his family that jumps off the screen as grounds the film in human emotion.

2. Guy/Joshua Rose in Predrag Antonejevic’s Saviour

A little seen or heard of film, this one is brutal to sit through but worth it every second. A French foreign legion soldier with a tragic, bloody past, Quaid’s rough hewn mercenary finds himself awash in the Serbian/Bosnian war with no discernible side to fight on, genocide abound at every turn and a stunning lack of humanity poisoning the region. He finds a modicum of redemption in caring for a woman (Natasha Ninkovic) and her baby that is the product of rape by muslims, something her whole village has now shunned her for. This is dark, grim stuff we witness along with Guy, but his actions and eventual turnaround of soul are something wonderful to see. Quaid plays him streamlined of any heroic sensibilities or obvious moral fabric, just a man of few words with a tortured spirit trying to navigate a region tearing itself apart with evil.

1. Nick Parker in Disney’s The Parent Trap

This is a very personal choice for me, it’s one of the first films I ever saw as a kid, and was my introduction to Dennis’s work as an actor. There’s something cosmically perfect and warm about his performance here and to me no other film or series has captured his essence quite like this. Just a laidback Napa valley winemaker, a loving father and husband who finds himself in the wackiest of situations. His father daughter chemistry with both versions of Lindsay Lohan as well as Natasha Richardson just works so well and their whole unconventional, very sweet family dynamic carries the film to memorable heights.

Thanks for reading!! Please feel free to share your own favourite performances from Quaid and as always stay tuned for more content!

-Nate Hill

B Movie Glory: Past Midnight

Past Midnight describes the cable time slot that disposable psycho thrillers like this are relegated to for all time, soaked in by weary, often inebriated viewers in the haunted wee hours and oft remembered as a hazy dream or recollection. This one stars the late great Natasha Richardson and Rutger Hauer, who is one of the reigning sultans of B Movies among actors out there. He plays a man who is recently released from prison for allegedly stabbing his wife to death a decade before. Natasha is the social worker who falls in love with him and gradually begins to believe that not only is he innocent, but the real killer is still lurking out there somewhere. It’s taut psycho-suspense done pretty well, and there’s certainly enough menacing atmosphere and evocative rural locations to spare. Hauer, even when playing the most saintly heroes, just always puts off a dangerous, disquieted vibe so it’s only fitting for him to play this guy we’re kind of not sure about until the third act revelations come along, he really nails it the whole way. Richardson, who tragically passed away a few years back, was always magnetic no matter what (I’ll always fondly remember her as Lindsay Logan’s mom in The Parent Trap), and the burgeoning love, compassion and curiosity to get to the truth is nicely cultivated by the actress. The legendary Clancy Brown shows up as well as a potential suspect, filmmakers tend to throw in his presence to ratchet intensity but he’s fairly relaxed here. Watch for an early career glimpse of Paul Giamatti too. This one doesn’t break new ground or go down in history as anything new, but as far as chiller thrillers go it ain’t half bad at all, and definitely benefits a bunch from having Hauer and Richardson on the frontline.

-Nate Hill