THE KARATE KID (1984) 9/10

There seem to be people out there who think every '80s film is dated -- this, definitely, is not one of them. Robert Mark Kamen's terrific script enables Ralph Macchio and Pat Morita to give warm, human performances in an unbelievably appealing film that's more than just "Rocky with karate" even though John G. Avildsen sat in the director's chair for this movie too. The Daniel-Myagi relationship is the real core of the film -- so much that the "big fight" at the end of the movie and its build-up is really secondary to the friendship that develops between the two of them. Bill Conti's terrific score, Elisabeth Shue's appealing heroine, and a slew of believable, well-written scenes make this one a keeper that became a box-office juggernaut during the summer of '84.

Interestingly, in the disc's terrific extras, Kamen mentions that the studio wanted Toshiro Mifune for Myagi -- making it one of those times when the studio was wrong and the filmmakers got it right (and it was a risky move bringing in, as Kamen mentions, "Arnold from Happy Days", to carry a heavy dramatic role). No offense to Mifune, obviously a great actor and Japanese cinema legend, but the warmth and humor Morita brought to the part could never have been equaled by anyone else.

AndyDursin wrote: Interestingly, in the disc's terrific extras, Kamen mentions that the studio wanted Toshiro Mifune for Myagi -- making it one of those times when the studio was wrong and the filmmakers got it right (and it was a risky move bringing in, as Kamen mentions, "Arnold from Happy Days", to carry a heavy dramatic role).

Morita did a wonderful job, and The Karate Kid is a fine film in any case, but I think Mifune's presence would have elevated the movie substantially. True he had a more "serious" screen persona, but was nevertheless capable of great warmth and humor. Beyond that he had decades of martial arts experience he could have drawn on. For me this is one of the great casting misfortunes of recent decades.

Paul MacLean wrote:

AndyDursin wrote: Interestingly, in the disc's terrific extras, Kamen mentions that the studio wanted Toshiro Mifune for Myagi -- making it one of those times when the studio was wrong and the filmmakers got it right (and it was a risky move bringing in, as Kamen mentions, "Arnold from Happy Days", to carry a heavy dramatic role).

Morita did a wonderful job, and The Karate Kid is a fine film in any case, but I think Mifune's presence would have elevated the movie substantially. True he had a more "serious" screen persona, but was nevertheless capable of great warmth and humor. Beyond that he had decades of martial arts experience he could have drawn on. For me this is one of the great casting misfortunes of recent decades.

For me, the abundant chemistry between Morita and Macchio would have been impossible to duplicate, and I do think warmth and humor were not Mifune's strong suit. What I think made the movie work to the degree it did was Macchio and Morita's chemistry and relationship with one another. Take that away, no matter how great an actor Mifune was, and I just don't see the film being as successful.

Certainly it's an interesting debate to have. Sometimes casting the "greater" actor doesn't make for the right fit for a certain role. It's how good actors can give great performances in the right part, to the degree where you wouldn't want someone else in that role -- for me, Morita in that role is one of those cases. Nobody will ever say Morita was a great actor, or on Mifune's level, but for that film, nobody could've done it better, and I think watching it this weekend reaffirmed that for me. He absolutely deserved an Oscar.

Considering Mifune's track record in English speaking films, he probably would have been dubbed again! The credibility of "Midway" is so undermined hearing Paul Frees' voice come out of his mouth (which also happened in "Grand Prix")

Eric Paddon wrote:Considering Mifune's track record in English speaking films, he probably would have been dubbed again! The credibility of "Midway" is so undermined hearing Paul Frees' voice come out of his mouth (which also happened in "Grand Prix")

That's why I don't think Mifune could've possibly had that "spark" for lack of a better term with Macchio. Morita's humor and warmth is what sold his performance, and off-screen he had that chemistry with him as well. Mifune's Miyagi was a "cold, serious" Miyagi in the words of the writer and that, ultimately, would not have been a good fit for that role IMO anyway.

Yeah, it was a good decision not to cast Mifune. I agree with what has been expressed on this board. As great of an actor as Mifune was, I sincerely doubt he could have pulled off the relational/emotional aspects of the Miyagi character that Morita was able to do. Mifune was such a charasmatic actor and commanded the screen when he was on it...irregardless of the role...much like I find Charlton Heston. The movie would have been more about Mifune (which wouldn't have been his fault) than what it turned out to be with Morita.

mkaroly wrote:Yeah, it was a good decision not to cast Mifune. I agree with what has been expressed on this board. As great of an actor as Mifune was, I sincerely doubt he could have pulled off the relational/emotional aspects of the Miyagi character that Morita was able to do. Mifune was such a charasmatic actor and commanded the screen when he was on it...irregardless of the role...much like I find Charlton Heston. The movie would have been more about Mifune (which wouldn't have been his fault) than what it turned out to be with Morita.

Agreed Michael, and I think people tend to not recall just how good Morita was in that part. If you look at that movie now, and forget he was ever on Happy Days, it's a terrific performance. Believable and warm, it anchors a film that still works because of characterization, writing and performance -- three aspects we seldom see at the movies anymore.

AndyDursin wrote:Believable and warm, it anchors a film that still works because of characterization, writing and performance -- three aspects we seldom see at the movies anymore.

I will admit that Morita's comparatively slight frame made him more believable as one who relies on fighting technique rather than bulk, whereas one would expect "Yojimbo" to be able to beat-up of a bunch of high school kids.

That said, there are things that bother me about The Karate Kid's depiction of martial arts, like the preposterously short amount of time it takes Daniel to reach black belt level. I've been studying Karate for nearly four years now and I'm only about halfway to my black belt. It can't be done in a couple of months.

Also, Karate tournaments are not like boxing. Sparring opponents pull their punches and kicks, or at least hit with considerably less than full-force. You have to (I frequently spar with teenage girls in my class -- though I'd be the one in danger in the case of a few of them!). So the bully who delivered a disabling kick to Daniel's leg would be thrown out (and his sensei could face prosecution -- martial arts instructors are criminally liable if their students use fighting techniques to assault others).

We also wear padded fighting gear on our hands, feet and heads (which the characters in the films do not).

I'm ruining this movie for you guys, aren't I?

I'm ruining this movie for you guys, aren't I?

LOL how dare you Paul!! .

Honestly I don't think the things that would (legitimately) bother a martial arts enthusiast would ruin the movie for people who just watch it for entertainment and dramatic purposes. I mean, it's a movie after all...I don't know how many people have watched it just to see a serious depiction of karate, you know?

The Blind Side

One of the best films of recent years. A tear-jerker to be sure, but one with enormous depth, sincerity and commitment the true story on which it's based. It's also nice to see a film that depicts southern whites as something other than rednecks and clansman.

Utilizing footage of the Real Michael Oahr and the Tuohy family for the final scene (rather than re-staging it with the cast) adds immeasurably to the film's verisimilitude, as do the highly entertaining cameos by the real college football coaches who attempted to recruit Oahr.

I usually don't bother watching special features but in this case they greatly enhance the film, again giving an insight into the real Michael Oahr and the Tuohy family, and it's remarkable how the cast managed to capture their "essence" in their performances.

Carter Burwell's music is underwhelming though. How I wish Jerry Goldsmith had lived to score this film. It really needed something in the Rudy vein.

In anticipation of the deluxe model book, I had to watch today Jaws (1975). A solid 10 of 10 of course and one of the greatest movies ever made IMO.

Loved the deleted scenes supplement. That one of Brody reacting with a scream to the body and making Cassidy look at it is poorly acted by both men. Smart move by Spielberg to basically restage it, as I presume he did. Watching Quint's little guy assistant struggle with his lines, "I quit!" over and over is also hilarious. I imagine the book will tell us some more about him!

There is just one plot hole in the film that Spielberg inadvertently created when he decided to go back and insert the Ben Gardner head moment poking out of the boat. In the next scene as Brody and Hooper argue with the mayor, Brody says "Two people dead!" Why isn't he acknowledging Ben Gardner as a victim of the shark? And he mentions towing in Ben Gardner's boat, but no mention of the body or body part being found below. Obviously if the body had been there as the new scene implicated, then Vaughn would have really had no justification to keep the beach open. So here was a case where Spielberg's decision to tinker kind of undermined the plot just a bit if you think too much about it (and no doubt he'd say it shouldn't matter on further thought because the audience loved the thrill moment), but I think this point has never been addressed enough in any of the books.

CLASH OF THE TITANS (2009 or 2010) - 1.5/10. All flash and no substance, I actually found myself liking bits from the original film (which I disliked) more than what I saw here. The new film certainly takes advantage of the advances in technology, and while at times I thought I was watching 300 again it is fun to be able to see a large Kraken that looks as nasty as it sounds. The one thing that the original film did right 9at least IMO) was the confrontation with Medusa. Looking back I thought that the original film built suspense much better and Perseus' success was much more satisfying. The Medusa sequence in the new film was ridiculous....I am tired of seeing these slo-mo leaping action shots where some character delivers a death blow...they're just unfeasible. And maybe I'm really sensitive about this (and perhaps see subtext that really isn't there), but I had the feeling throughout the movie that its subtext was attacking religion. I don't know what their intentions were, but I didn't like it. It's definitely an action/special effects extravaganza, but I didn't like it.

A double feature of early 60s movies with climactic scenes at baseball stadiums!

The Satan Bug (1964) 7 of 10.
-I watched this not too long ago when the DVD-R came out to less than stellar reception because of the lack of a new transfer (though it is anamorphic). Last time I was more self-consciously bothered by how Sturges showed too much restraint in the opening scenes that made it tough for the viewer to grasp what was happening (his not showing the dead bodies of Henry Beckman and John Anderson doesn't help either). THis time, I watched with that more careful "second viewing" (even though overall it's probably my fifth or sixth viewing of the film over the years) and it was a better experience. Even so, I think there's an overall incompleteness to certain things and too many ideas are developed way too fast. I'd sure like to know what additional scenes might have been shot and cut to see if they improved the narrative a bit.

One other fascinating novelty of "Satan Bug" that IMO helps it for rewatchability is how it has a star who had just quit a popular TV show for a film career (George Maharis in "Route 66") and in its supporting cast you see actors who just *after* doing this film landed roles in big TV shows. In addition to Anne Francis ("Honey West") and Richard Basehart ("Voyage To The Bottom Of The Sea") you also have Frank Sutton (probably the last thing he did before getting his Marine buzz cut for "Gomer Pyle USMC") and Henry Beckman (a regular on "Peyton Place" the first year). And of course, those like me who dislike Ed Asner for his present-day politics can get a kick out of seeing him as a slimy murderous henchman.


Experiment In Terror (1962) 8 of 10.
-The ultimate proof of how versatile Blake Edwards can be. The opening scenes are very chilling and terrifying and set the right tone in making you believe the threat Ross Martin poses (also chilling is the drawn out scene leading to his disposal of Patricia Huston). The one flaw is that we are served up the plot thread of Martin's Asian girlfriend stubbornly refusing to help the FBI because of the compassion shown to her son and she gushes all about how wonderful he's been. The problem is that not once can we ever buy the idea that Martin has managed to put on this kind of facade because he's so good as the chilling sadistic monster out to use Remick and terrorize her. We needed IMO one scene that shows Martin putting on this facade so we could at least buy the notion credibly but Edwards failed to do that here.

The Thing From Another World (1951) 7 of 10
-A genuine classic but I have to admit, I can't stand that overlapping dialogue "naturalistic" talking Hawks style that as the CD liner notes say, is more like modern films. That said, I'll still gladly sit through this film's approach to an alien arrival than I ever would "Day The Earth Stood Still" (made the same year) any day of the week simply because this film has a subtext that I can approve of, unlike the one in the latter.

Invasion Of The Body Snatchers (1956)8.5 of 10
-First time viewing for me since the deaths of both Kevin McCarthy and Dana Wynter. Even though the moment is logically inconsistent (owing to the absence of a pod turning into her body), the close-up signifying Wynter's change is one of the most chilling images of screen history.

-Let me also say that after going over and reading on imdb someone wishing for a petition to see a release of the film without the wraparound elements, that I am fed up with all the cliched complaints about the wraparound in which we're supposed to believe the downer ending is the only good "artistic" one. The studio as owners of the movie hoping to make money off the project they were financing IMO were justified in not wanting to see the movie end on such a pathetic downer note and besides, it's not as if the studio had said, "You can't have Dana Wynter transformed! You've got to have her and McCarthy thwarting it and walking off together!" When you analyze it, having an "act of God" finally getting the authorities to listen doesn't change one iota the message that was already present without the wraparound. And the look of anguished relief on McCarthy as the film ends shows that even he realizes how but for what is basically an act of God, he would have failed completely. The wraparound does not work against the tone of what the film establishes and if there are those who dislike it so much, then they can easily shut the film off as it dissolves back to iti!

Creature From The Black Lagoon (1954)7.5 of 10
-Like Invasion, a film that owes something to "The Thing From Another World" in style and tone, in this case the isolation in a remote place and the ensuing terror of the unknown (in contrast to Invasion which echoes "The Thing's" theme of alien invasion). I have to admit, I am impressed by how the effective cinematography and set design manage to effectively communicate the idea of the Lagoon as an isolated spot at the most remote spot in Brazil (even though it's just the Universal backlot) which IMO is critical to selling the believability of what follows. And of course the whole "beauty and the beast" subtext is also a key to its overall entertaining aura.

-I watched the supplementary materials (I have the original Universal DVD which had just this film; I do not have the later "Legacy" pack that had the two sequels, neither of which I've ever seen, and I'm not particularly inclined to) afterwards, including the "Back To The Lagoon" documentary and then listened to the Tom Weaver commentary. The rapid-fire delivery to squeeze in as much info as possible can sometimes grate but that approach is what I'd rather have than those commentaries that obsess over symbolism etc. He did make one goof though when talking about Whit Bissell, saying he was a regular on Irwin Allen's "Land Of The Giants". Bissell was a regular on "The Time Tunnel." (a reminder of how the big film buffs often don't know TV history well!)

The studio as owners of the movie hoping to make money off the project they were financing IMO were justified in not wanting to see the movie end on such a pathetic downer note and besides, it's not as if the studio had said, "You can't have Dana Wynter transformed! You've got to have her and McCarthy thwarting it and walking off together!"

Not only that but the original book doesn't end on a downer ending either. It's not as if the wraparound segments end with "everything's going to be OK," it's more of a sense of relief on McCarthy's character that now the battle is going to begin.

Certainly a more satisfying ending than the finish of the '78 version, which I disliked so much I can't really watch it on a consistent basis.