Black Sunday (1977)

Hey There Blimpy Boy, Flying Through The Sky So Fancy-Free!

***This Review Contains Spoilers***

Black Sunday is another addition to the “They couldn’t make that nowadays club”. Unsurprisingly in a post 9/11 world, no studio would want to touch a film about a terrorist attack at the Super Bowl, nor would any company or brand want to be associated with it. Yet in 1977, a mainstream film was released about such an attack with cooperation from the National Football League and the Goodyear Tire & Rubber Company – now I can’t look at a Good Year blimp and not think of Black Sunday. Likewise looking at the film from a political point of view, it’s highly unlikely modern, left-wing Hollywood would make a film which is pro-Zionist and features Palestinians as terrorists. The terror group in Black Sunday is the real-life Black September of whom were behind the 1972 Munich Massacre – this was the basis for the inspiration behind Black Sunday.

Black Sunday was one of several high profile underperformers to be released in 1977 including Sorcerer, Cross of Iron, New York, New York and Twilight’s Last Gleaming. These films may be able to attribute their lack of success at least in part due to the release of Star Wars. Although Black Sunday’s timing was also compromised by another film about terrorism at a football game which was released months earlier in the form of Two Minute Warning starring Charlton Heston – a poor man’s version of Black Sunday. As of writing this review in 2020, Black Sunday can be viewed in high definition online but has yet to receive a Blu-ray release in any region. I can only speculate if corporate or political reasoning has any part to play in this.

Black Sunday is led by a trio of performers at the top of their game. Marthe Keller has a sinister presence as Black September member Dahlia Iyad. The Arab Mata Hari is no more unsettling than during the sequence in a hospital in which she disguises herself as a nurse to poison Israeli agent David Kabakov (Robert Shaw) in this very Terminator-like scenario. Dahlia is married to the mentally unhinged, Vietnam veteran and former prisoner of war, Michael Lander (Bruce Dern). Lander is s divorcee who doesn’t get to see his children; the background behind Michael and Dahlia’s relationship is never revealed but is fascinating on the surface. There appears to be legitimate heartfelt feeling towards the two yet their bond is ultimately over ideology. Michael romanticizes himself and his wife’s martyrdom and in one scene basks in sheer euphoria with her after they have a successful weapons test which kills an innocent bystander – a disturbing look into the mind of a terrorist.

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Through Michael, Black Sunday also comments on the treatment of Vietnam veterans back home. In one scene Michael is not treated with respect by the rude receptionist at the Veterans Administration Hospital and made to wait amongst a crowded waiting area before seeing a psychiatrist. Yet during the film, he is still seen wearing his military uniform and taking pride in the medals he earned even though he plans to commit terror against the United States. When he flies the blimp prior to the execution of the terror plot, you can see the pain on his face as the Star-Spangled Banner is sung at the stadium.

Rounding out this trio is Robert Shaw as the total mad lad Major David Kabakov – an Israeli counter-terrorist agent and all-round unethical badass. A Dirty Harry type who play by the FBI’s rules (“In your own operational circle in Israel, I understand behind your own back they call you The Final Solution. A man who takes things to their ultimate conclusion and beyond ”). At the beginning of Black Sunday, Kabakov had the opportunity to kill Dahlia but allows her to live. Why doesn’t he kill Dahlia when he had the chance just 15 minutes into the movie? Well aside from the fact that the movie would have ended, Kabakov comes to regret this action and reject the notion of seeing both sides of the question (“The trouble is, Dave, you’ve come to see both sides of the question”). Also notice that he has a concentration camp tattoo on his arm which can be seen as he sits in the hospital bed – Kabakov being a Holocaust survivor goes unmentioned throughout the film.

The Long Beach boat chase and the Miami chase sequence are an appetizer to what comes later (despite some dubious sped up shots during the boat chase). Once the film reaches its final act on the Super Bowl date of January 9th, the final 40 minutes of Black Sunday is some of the most exhilarating action I’ve ever seen in a movie. Featuring chases on foot, car and then by helicopter, the phrase “Edge of your seat” doesn’t do it justice. The film’s advertising including the poser and the trailer (which is classic trailer fashion summarizes the entire plot of the film) focuses on the end of the film as the blimp reaches the audience at the football stadium, leaving the viewer to wonder how we get to that point and what happens next? The film never actually outlines the planned terror plot until we actually see it in action.

So how did the studio receive permission from Good Year to use their blimps and logo in the film? Director John Frankenheimer had already established good relationship with Good Year head Robert Lane as a result of working with the company in Frankenheimer’s previous film Grand Prix (1966). Lane granted Frankenheimer use of Goodyear’s blimps on four conditions: the film had to make clear that the villainous pilot did not work directly for Goodyear, but for a contractor; the final explosion could not come out of the word Goodyear on the blimp’s side as well as the blimp itself not being part of any violence, for example, nobody was to be churned up in its propellers. Lastly, the Good Year logo could not appear on the film’s poster or on any other such marketing materials, hence why the poster and home video releases the blimp simply has the words “Super Bowl” imprinted on its side.

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The grand spectacle of a finale during the Super Bowl X on January 18th, 1976 at the Miami Orange Bowl with the production returning to the same location film additional scenes on January 29th (I wonder how people present reacted to seeing Robert Shaw running about like a madman?). You get a real incoming sense of dread as the large crowds congregate and people are having a good time amongst the appearance of NFL players, coaches, sports announcers and CBS news crews.  Likewise, the President who appears at the Super Bowl in two brief shots resembles then POTUS Jimmy Carter. Carter was sworn into office on January 20th 1977, which means the earliest date if the movie’s timeline would be late 1977 to early 1978 at the earliest (the film indicates it takes place after January 1974). If the film takes place during the 1977 Superbowl then the President should resemble Gerald Ford during his last days in office but it’s only politics geeks like myself who get caught up over this sort of thing.

The score by John Williams is not one of his standout works as there’s no incentive to listen to it after watching the film, although it does succeed in creating suspense and you can hear shades of Star Wars from time to time. Likewise, the editing holds onto certain shots for just long enough not to notice imperfections in the special effects. My only minor criticism would be the very cheesy explosion shot once the blimp finally explodes.

Watching Black Sunday for the first time I was legitimately wondering if the blimp and its attached weapon would cause mass death and destruction and if Kabakov would live or will we get a Hollywood ending in which the day is saved – in the end, we get a bit of both. It’s clear some people are injured and killed once the blimp reaches the stadium but Kabakov being the chad he is, gets that thing away from the crowd and to a safe distance which it explodes, in a manner in which I can’t help but notice parallels the climax of The Dark Knight Rises. Some films once they end leave you that exhilarated, you’re dying to just tell someone about it – Black Sunday is one such film.

Twilight’s Last Gleaming (1977)

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Not The Final Installment In That Teen Vampire Series

***This Review Contains Spoilers***

1977 was a year of some high profile bombs which later achieved some cult status such as Cross of Iron, Sorcerer and Twilight’s Last Gleaming. This partially came about from the competition from a certain film called Star Wars which offered a more optimistic and hopeful cinematic experience. As someone who has mixed feeling on New Hollywood, these movies don’t deserve to be ignored the way they are and are some of the best hidden gems of the 1970’s. Likewise, the trashy, conspiracy theory concept of Twilight’s Last Gleaming would be the ire of many high brow critics but it’s the high concept which makes Twilight’s Last Gleaming irresistible and helps the viewer to look past the implausibility of the premise. This is a film which trades it’s logic for emotion and is aware of its own implausibility (“How in the hell does some joker walk into a top-secret installation and get control of the most sophisticated weapons system in the world?”). As a layman, it feels believable within the context of the movie but it’s always fun to ask, could it happen in real life?

Twilight’s Last Gleaming features an ironic use of ‘My Country Tis of Thee’ during the opening and closing credits; it’s not exactly a happy movie. Oddly, however, Jerry Goldsmith’s score sounds like something from an action/adventure blockbuster and is even John Williams like at times. The action takes place over a single day in what can be described as Dog Day Afternoon like scenario in a missile silo for a film which you could mistaken as being based on a stage play with its handful of sets and lengthy scenes. On my first viewing I wasn’t convinced the running time was justified but watching it again I was hooked. Twilight’s Last Gleaming takes is set in the future year of November 16th, 1981 although it’s not stated why it’s set on this particular date.

Burt Lancaster was still getting some great roles into the 1970’s. He still had his mojo and now with a beat-up face to boot. As one of the characters in the film puts it, “with that rhetoric he could be elected governor in ten states”. Lancaster’s role of General Lawrence Dell draws parallels to his role of General Scott in the political thriller Seven Days In May; a megalomaniac going to extremes in order to fulfill his agenda despite the risks to the United States and the world as a whole. He may be trying to provide a catharsis to the pain and anger of Vietnam veterans but at what cost? Lancaster and co-star Paul Winfred have an enjoyable chemistry between them and provide comic relief with their back and forth. It’s interesting seeing Lancaster sparring off with actors much younger than him as well as dropping some F-bombs. On top of that, there is something surreal about watching Burt Lancaster drinking a can of Coca-Cola. Product placements for Coca-Cola appear at several points throughout the film with Coke vending machines in clear sight; I guess they have to answer to The Coca-Cola Company.

Twilight’s Last Gleaming consists of veteran actors talking some serious stuff. The discussions in the Oval Office scene are a lot to take in on one viewing (“Ralph! Are you comparing Vietnam to Hitler?!” – It always goes back to Hitler). The movie is full of entertaining one-liners – “It’s like Star Trek all over again”, “Come on this isn’t Disneyland” and my favourite, “There are no midgets in the United States Air Force”.  The oldest among this cast is Melvyn Douglas, the prime example of an actor who got better with age as clearly evident here; full of powerful subdue comments and monologues (“The beginning of the end of mankind, in graphic black and white”).

The film’s extensive use of split screen works remarkably well and does not feel like a gimmick creating a unique viewing experience; the split screen here is clearly not an afterthought. The entire sequence in which missiles are about to be launched is presented entirely in split screen with events being monitored in three different locations in order to heighten the tension. The scene itself is one scary sequence with the pandemonium and the sight of the missiles rising (the model of the silo exterior is shown on screen just briefly enough not to notice they are models). The President himself describes it best – “The opening of the doors of hell”.

The President in Twilight’s Last Gleaming played by Charles Durning is not an idealistic representation of a president nor is he massively charming and ultimately a bit drab. However, we do get to see his human side during a scene in which he talks to his General alone and admits to being scared out of his mind. At the beginning of the film, there is a scene in which the President has a conversation with a character played by Roscoe Lee Brown. It doesn’t have a purpose in the plot but does set the tone of the White House scenes and foreshadows the rest of the movie (“If I grant Zabat sanctuary, I give approval to every dissident with a cause and a gun”).

The ending of Twilight’s Last Gleaming all comes down to the question of whether or not society can deal with the truth? With widespread distrust in the government starting with the assassination of JFK and not getting any better with the Watergate scandal, would the President’s cabinet reveal the movie’s purported truth on the Vietnam War to the American public like he ordered before being shot down in an attempt to take down the two men holding him hostage. However was his death even an accident or did they intend to let him be shot down in order to keep the truth hidden; it does seem odd that no medical aid is given to him after being shot. The ending is left ambiguous and the viewer is left to think about it.

Star Wars (1977)

The Greatest Story Ever Told

***This Review Contains Spoilers***

Reviewing the might that is Star Wars; part of me wonders if there is even any point. You know that cliché review term “what can I say about this movie that hasn’t been said before?” Should I pretend its 1977 and I’m just back from the movie theatre – if only I could have experienced it firsthand. With the hype underway for the upcoming The Force Awakens, I’ve been rekindling my love for Star Wars (the good trilogy, not the crummy one) so allow me to be the zillionth person to give their own perspective on Star Wars. Before I had ever even seen Star Wars I felt like I had watched it before. You could probably recreate the film from the parodies it has received. It’s hard not to get caught up in a five-hour conversation about these movies and talking in depth about every single frame. From the archetypes, the plot structure, the glorified B movie tropes and the inspirations coming from the Bible to ancient mythology to westerns to Japanese Samurai films; Star Wars is the story of stories.

I can’t help by getting tearful over the beauty of the original trilogy; whether it’s the introduction of Luke Skywalker to the achingly beautiful John William’s score, or Luke and Leia’s scene in which they try to get away from oncoming Star Troopers by swinging on a rope over a drop – but not before she kisses him – such a classic image taken from any swashbuckler. The sights and sounds of lasers blasting or dogfights in space have an aesthetic and a charm which I could never tire from. What makes the Star Wars universe feel so human? There is advanced technology but it feels used and it doesn’t always function properly. Also, I’ll say it now and I’ll say it again: CGI isn’t anything on practical effects. Part of me doesn’t want to know how they did these effects just to be kept alive the thought of “how did they do that?!” I can still enjoy the special editions despite the changes (it would take a lot more CGI to entirely ruin a film like this), yet the original theatrical versions do have a charming, 70’s hokeyness (particularly during the Mos Eisley scenes and the final assault on the Death Star), which the special editions take away.

What imagination or imaginations can come up with something so wonderful, which raises the question of just how much of genius within Star Wars can be actually credited to George Lucas? Is the guy an untalented hack who got lucky by being surrounded by talented people? It’s disheartening to think the man may never have been the genius we all thought he once was making the man as much of an enigma as the fictional universe he came up with.

Is Mark Hamill’s performance in the original Star Wars the greatest? No, but I feel it works in the trilogy’s favour as his performances in Empire and Jedi are much improved just like how the character of Luke matured and even within the original Star Wars by itself, I do get a sense of enjoyment from how charmingly amateurish Hamill’s performance is. Alec Guinness as Obi-Wan, however, is by far the most tender performance ever given by an actor in a Star Wars film; the comforting mentor and father figure who is wise without any pretension. Also what gives C-3P0 and R2-D2 such a great dynamic? They’re both robots and one is essentially a talking fax machine, either way, best robot chemistry ever.

But If I’m going to really talk about one Star Wars characters it’s Han Solo as played by the greatest of all time, Harrison Ford. Simply put Han Solo is my favourite movie character of all time; the cinematic embodiment of masculinity and individuality. He’s badass, cocky, funny, has a legendary vest, is the most handsome man ever and every word of dialogue he utters I would frame and hang on my wall. Yes, he is God himself.

The other thing I love about Star Wars which like many things was sorely missed in the prequels is the entourage of British actors. To me Star Wars isn’t Star Wars without an imperial star destroyer on which every commander on board has a sinister English accent. Even the presence of Peter Cushing as Grand Moff Tarkin I feel elevates Episode IV over other films in the saga.

The confrontation between Obi-wan and Darth Vader still remains my lightsaber duel in the series. Two old men, minimal movement, no music, choreography as basic as it gets, yet it is infinitely more emotional and substantial than Ewan McGregor and Hayden Christensen doing somersaults inside a volcano for five hours.

Star Wars changed cinema, pop culture and the world as we know it for a reason. Something which has brought joy and happiness to myself and millions around the world (as well as much anger and despair). Many film snobs will dismiss Star Wars as the film which ruined cinema helping bring about the end of the New Hollywood era which it total tosh. I could go on and on and on with this review, adding more to it like Lucas likes to add changes to his already existing films but I feel the best way to review what Is one of the most talked-about films of all time I too try and convey the sense of emotion and euphoria I get from watching such a film.