“She’s dead, sir. They took her to the morgue.”
“The morgue? She’ll be furious!”
On July 31, 1992 we come to another one of those odd happenings that caused me to label this as Weird Summer. This is the time when an A-list director became enamored of a cynical black comedy and turned it into a big summer movie starring Meryl Streep, Goldie Hawn and Bruce Willis. Writers Martin Donovan (the Argentinian filmmaker who directed APARTMENT ZERO, not the guy from the Hal Hartley movies) and David Koepp (co-writer of APARTMENT ZERO – this was his movie after TOY SOLDIERS) saw it as a low budget indie, and then it got made with a budget bigger than ALIEN 3, and groundbreaking digital effects by Industrial Light and Magic. The effects ended up winning an Oscar and Koepp’s next gig was writing JURASSIC PARK.
Director Robert Zemeckis had put his name on the blockbuster map with ROMANCING THE STONE in 1984, and then triple circled, highlighted and put stars next to his name when BACK TO THE FUTURE was a surprise smash hit the following year. Since then he’d made my favorite of his movies, WHO FRAMED ROGER RABBIT (1988), followed by the BACK TO THE FUTURE sequels (1989 and 1990). Those were all rated PG, and most of them were produced by Steven Spielberg, so Zemeckis was generally thought of as that kind of family friendly whiz bang popcorn movie guy. And now here he comes with this mean-spirited PG-13 movie aimed at adults, its wider appeal coming from the genuinely envelope-pushing ways it depicts gruesome bodily mutilations. (read the rest of this shit…)
THE SUGARLAND EXPRESS is the feature debut of young TV director Steve Spielberg. It’s hard to think of it as his first real movie when DUEL was so damn good, but officially it’s the first one he made for theatrical release. Things have really changed, haven’t they? You don’t get hungry young up-and-comers starting out in TV and then making a splash in movies. There’s great TV now but it’s not a place for visionary directors.
