"The Dead" and the end of John Huston

by Cláudio Alves

Few cineastes can count their last film among their greatest works. Fewer still finish a career, a life, with their best cinematic effort. As much as I admire such gems as Ophüls' carnivalesque Lola Montès, the amorous musings of Dreyer's Gertrud, the bittersweet self-reflections of Akerman's No Home Movie and Varda's Varda by Agnès, I wouldn't classify any of those pictures as their director's crown jewels. John Huston's a whole different matter. 

The American filmmaker, whose career spanned six decades, finished his last picture in 1987. Faithfully adapted from a short story by James Joyce, The Dead may not be as influential as The Maltese Falcon, as exciting as The Treasure of the Sierra Madre, nor as tragic as The Misfits, but, as far as I'm concerned, it's Huston's most ravishing creation…

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1987: Carmen Maura in "Law of Desire"

Each month before the Smackdown, Nick Taylor considers alternates to Oscar's ballot...

I bet Pedro Almodóvar's filmography would be a fun one to watch in order. His visual ideas and narrative fascinations recur throughout his films, yet his deployment and examination of them take on different textures at different points. Murder, art, cinema, romantic passion, heartbreaking yet inextricably devoted family ties, queerness, as filtered through the generic keys of farce, melodrama, and thriller, it’s all there from his earliest works to last year’s tremendously moving Pain and Glory, each film recognizably guided by the same hand. There’s great fun to be had in watching different stylists and performers interpret Almodóvar’s very tricky vision, and no collaboration largely specific to the earliest stages of his career is quite as gratifying as Carmen Maura’s heroic work with him throughout the ‘80s. 

Granted, I’ve only seen three of their six collaborations in this era - What Have I Done to Deserve This?, Law of Desire, and Women on the Verge of a Nervous Breakdown - so if the first few aren’t up to snuff I’ll amend this. But those films are colorful, highwire efforts whose successes are as much the result of Almodóvar’s inspired writing and direction as Maura’s brilliant acting. Law of Desire provides her the least farcical, most dramatic role of this trio, as well as the only instance where she’s not the main character...

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If I Could Turn Back Time... How Cher Ruled 1987

by Baby Clyde

I’m not sure if I believe in life after love (whatever that means) but I definitely believe in love at first sight. I first saw the love of my life in a dingy dive bar 1981. She stood there, pint in hand surrounded by an intimidating girl gang, dressed to the nines in black leather with gold hoop earring and Jungle Red nail varnish. I watched in awe as she slunk over to the jukebox all back combed hair and gum chewing attitude. Her name was Cherilyn Sarkisian and she changed my life forever. 

I was not even 10 as I watched the video for Meatloaf’s single Dead Ringer For Love. A notorious flop in America it was a Top 5 smash hit in Britain at the tail end of 1981 in no small part because of Meat’s duet partner...

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How Had I Never Seen, 1987 Special: ROBOCOP

By Lynn Lee (with special guest Jeff Chen)

Until recently, I’d never seen RoboCop, Paul Verhoeven’s 1987 sci-fi classic about a viciously murdered cop who’s resurrected as a cyborg supercop.  I was too young to see it when it first came out and didn’t get around to it when I was older, partly because I’d heard it was gruesomely violent.  However, I learned it had passionate fans that included some very astute critics.  Among them is Jeff Chen, former writer for ReelTalk Movie Reviews and a fellow alum of the dearly departed online critics’ group Cinemarati (through which I met both him and TFE’s very own Nathaniel), who ranks RoboCop as his favorite movie.  As part of TFE’s 1987 retrospective, I finally saw RoboCop and invited Jeff to discuss my reactions as a first-time viewer and how the movie has remained in our cultural consciousness for over 30 years.

JEFF: RoboCop is indeed my favorite movie.  A lot of that has to do with timing.  I was already an avid movie watcher as a teenager, but I’d been mostly watching PG or (the new, at the time) PG-13 movies.  I was 15 when I went to my best friend’s house and he put on a VHS copy of RoboCop.  And I was traumatized and exhilarated...

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1987: Remembering "Maurice"

by Cláudio Alves

Director James Ivory and producer Ismail Merchant met in 1959, and quickly started a romantic and professional partnership. It lasted for 44 years until Merchant's death. Along with screenwriter, Ruth Prawer Jhabvala, they made a name for themselves with the production of prestigious literary adaptations. Their first brushes with success came in the late 70s and early 80s, but it was in 1985 and 1986 that their lives changed. A Room With a View, their first E.M. Forster adaptation was a huge hit, both with critics and audiences. The picture even won three Oscars, including for Best Adapted Screenplay.

Following such a triumph, one would expect Merchant & Ivory to bask in their glory, perchance repeating the formula of their success. They did end up adapting another of Forster's works, though they chose what, at the time, was the author's least known and least respected book. The result of this unexpected turn was one of the pair's most personal pictures. In 1987, the movie was received with lukewarm enthusiasm, but, as far as I'm concerned, Maurice is one of their very best efforts…

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