Tag Archives: 1984

The Summer of ’84: Ghostbusters

Fante’s Inferno celebrates summer movie going with a look back at the films of the Summer of 1984.

Ghostbusters

Ghostbusters Movie Poster

Release Date: June 8, 1984

Directed by Ivan Reitman; Screenplay by Dan Aykroyd and Harold Ramis

Starring Bill Murray, Dan Aykroyd, Harold Ramis, Sigourney Weaver, Rick Moranis, Ernie Hudson, William Atherton, Annie Potts

For the three years that I’ve been writing my retrospectives on the films of the Summers of 1982, 1983 and now 1984, whether it’s the summer’s biggest blockbuster or one of the smaller hidden gems, there’s always been that one film in each year’s summer lineup that I look forward to reviewing the most.  The Summer of ’84 had a very strong lineup of high grossing crowd pleasers (particularly Indiana Jones and the Temple of Doom and Gremlins), but the film that stands out the most from that summer is Ivan Reitman’s classic supernatural comedy Ghostbusters.

When I first saw Ghostbusters on the Summer of ’84’s lineup, my first thought was “How the heck has it been thirty years?!” (a sentiment shared by many of my friends).  It doesn’t feel like that much time has passed because countless screenings of Ghostbusters over the years have kept it fresh in my mind.  I’ve seen the film more times than any other released during the Summer of ’84 and I still quote some of the more memorable lines (say “Don’t cross the streams” to anyone over 40 and they’ll immediately get the Ghostbusters reference).

The film begins with a librarian experiencing an encounter with a ghost in the New York Public Library.  Dr. Ray Stantz (Dan Aykroyd) drags Dr. Peter Venkman (Bill Murray) from his shady student research experiment to investigate the occurrence with Dr. Egon Spengler (Harold Ramis).  They encounter the ghost first hand, and return to their office at Columbia University to find their equipment being removed and their funding cut off due to questionable research and dubious results.  Confronted with the prospect of never working in academia again and having to find work in the private sector, Venkman proposes they strike out on their own and start a company dedicated to catching ghosts.  Dana Barrett (Sigourney Weaver) contacts the Ghostbusters when she opens her refrigerator and finds another dimension and a demonic dog.  Smitten, Venkman takes a personal interest in her case.  After a slow start, business picks up with a high level of paranormal activity in New York City, but they’re shut down by the EPA for unlicensed equipment and the ectoplasm hits the fan.

The last time I saw Ghostbusters was during the pre-CGI era and its effects were still pretty cutting edge.  Going into this week’s screening I had to prepare myself that the effects of Ghostbusters, while amazing back in the 80’s, would look dated by today’s standards.  Watching Ghostbusters again this week I realized my reservations were unfounded.  The film is just as enjoyable today because it’s the story and the cast that make this movie great.  The effects are secondary to Aykroyd and Ramis’s script, Reitman’s direction and a talented cast.  Bill Murray is the anchor of the Ghostbusters as Dr. Peter Venkman but the rest of the cast doesn’t take the back seat, with each actor elevating the comedy by adding their own genius: the everyman quality of Dan Aykroyd’s Dr. Ray Stantz, the late, great Harold Ramis’ deadpan Dr. Igon Spengler, to the supporting characters played by Sigourney Weaver as the Ghostbusters client and Venkman’s love interest Dana Barrett, her dorky accountant neighbor Louis played by Rick Moranis, Ernie Hudson as their newhire Winston Zeddmore, and William Atherton as the arrogant EPA bureaucrat Walter Peck.

I remember watching Ghostbusters in the theater back in June of 1984.  It opened the same weekend as Joe Dante’s Gremlins, which is surprising considering even with that direct competition and their neck and neck battle for the weekend box office ($13.6 million for Ghostbusters to $12.5 million for Gremlins) Ghostbusters still grossed over $200 million as the top grossing film of the summer and the #2 grossing film of 1984. It’s easy to see why both films were favorites of my generation, they’re both fun movies that were perfect for summer.  But in the long run I understand why Ghostbusters would prevail as the more popular film because it was more accessible to an adult audience, while Gremlins feels like more of a guilty pleasure.

I may have seen Gremlins in the theater first, but that didn’t take away from the enjoyment of watching Ghostbusters that wonderful summer.  One thing I enjoyed the most when I revisited Ghostbusters this week was that I was able to pick up on a number of one-liners that would have been over my head at age 12.  I also enjoyed the fact that for the first time since June 1984 I was able to see Ghostbusters as it was meant to be seen in letterbox format rather than the pan and scan version that was on cable TV and home video for over 20 years.  I was able to overlook the dated special effects because despite the supernatural/paranormal aspect of the story, the movie wasn’t as heavy on the visual effects as I thought.  Had the film been shot today (or rather, when the reboot is filmed in the next couple of years), CGI would have dominated the screen and at the end of the day would only look fake.  In spite of CGI’s ability to create a whole world out of a green screen shot, in many cases it only ends up being a distraction rather than a seamless effect because it just doesn’t look “right.”

On that note I have to say it was quite refreshing to see New York City as it was in 1984.  The establishing shot of New York Public Library at the beginning of the film is hidden by scaffolding because maintenance work was actually being done on the facade at that time.  If shot today the scaffolding would have been magically removed by CGI and a majority of the cityscape would have been painted in.  I loved just seeing New York as it was shot on a hard negative, particularly that every corner of Manhattan you saw in Ghostbusters wasn’t dominated by a bank, pharmacy or Starbucks.

I guess the main purpose of my revisiting Ghostbusters this week wasn’t to see if it still holds up 30 years later, because every screening of this classic comedy has been equally enjoyable for me over the years.   What I really found myself thinking more than anything was the lost opportunity to get four comedic geniuses back together for a third installment of one of the great comedies of the 80’s.  Murray, Ramis, Aykroyd and Reitman are at the top of their games for Ghostbusters, which makes the fact that they’ll never all be in Ghostbusters 3 all the more heartbreaking for fans of the first two.  There’s been talk of Bridesmaids director Paul Feig in discussions for a reboot of Ghostbusters, possibly with an all female cast.  As funny as that film might be, and as much money as it might gross, it wouldn’t provide the same sense of anticipation of a sequel or the nostalgia of the joy of watching the first two Ghostbusters films.  In my humble opinion the Ghostbusters are Dan Aykroyd, Bill Murray, Harold Ramis and Ernie Hudson.  Without them and Ivan Reitman, a reboot just doesn’t have the soul of a beloved original.  And without them, who you gonna call?

Advertisements
Tagged , , , , , , , , , , , , , , ,

The Summer of ’84: Star Trek III The Search for Spock

Fante’s Inferno celebrates summer movie going with a look back at the films of the Summer of 1984.

Star Trek III The Search for Spock Poster

Star Trek III: The Search for Spock

Release Date: June 1, 1984

Directed by Leonard Nimoy, Screenplay by Harve Bennett

Starring William Shatner, DeForest Kelley, James Doohan, Nichelle Nichols, Walter Koenig, George Takei, Leonard Nimoy, Christopher Lloyd, Robin Curtis, Merritt Butrick

One of the absolute pleasures of my retrospective on the Summer of ’82 was revisiting the classic Star Trek II: The Wrath of Khan. The film is pretty close to perfect, and watching it again at age forty allowed me to enjoy it on the same level as my younger self and also pick up on elements of the film that had eluded me in my younger years.  Star Trek III: The Search for Spock was high on my list when it was first released in June of 1984, and I went into this review with the same enthusiasm.  As a fan of the original TV series and first two films I was looking forward to the continuing cinematic voyage of Kirk and the crew of the Enterprise, but my main reason for wanting to see Star Trek III during the Summer of ’84 was the title’s promise of the return of my favorite Star Trek character.

Back during the Summer of ’84 I screened Star Trek III: The Search for Spock at the (now closed) Mamaroneck Playhouse as the school year wound down and a carefree summer vacation began.  I remember enjoying the film in the theater and on cable TV back in the 80’s, and I still enjoy it today, but watching it again 30 years later reminded me as to why Wrath of Khan is still revered as the best of the Star Trek films.

Star Trek III: The Search for Spock begins where Wrath of Khan left off.  The crew of the Enterprise, still recovering from their epic battle with Khan and the death of Captain Spock, departs planet Genesis and returns home for repairs.  No sooner than they set course for Earth, an alarm signals a security breach in Spock’s sealed quarters.  A rattled Kirk, reeling from the loss of his best friend, personally investigates and finds a frenzied Dr. McCoy speaking incoherently about returning to Vulcan.  Upon the Enterprise’s return to Earth the crew has earned extended leave, but are given two pieces of bad news: they are ordered to maintain secrecy of the Genesis Project, and the starship Enterprise will be decommissioned.

The crew meets at Kirk’s home, but they are interrupted by Spock’s father Sarek, who is disturbed by Kirk’s decision to leave Spock’s body on Genesis when it should have been returned to Vulcan along with his katra (spirit).  Sarek assumed Spock would have implanted his katra in Kirk, but when his mind meld of Kirk finds no trace of it, he accepts that it is lost forever.  Kirk reviews the security footage of Spock’s last moments before his death which shows him transferring his katra to McCoy, leading to McCoy’s descent into madness.  Sarek tells Kirk they must bring Spock’s body and katra (via McCoy) back to Vulcan.  McCoy is one step ahead of them when he tries to book illegal passage to Genesis and is arrested.  Kirk and the crew break McCoy out of his detention, steal the Enterprise and set course for Genesis.

A crew of Klingons led by commander Kruge (Christopher Lloyd) obtain the Genesis code and set course for the planet.  Meanwhile the Federation ship Grissom, with scientists David Marcus (Merrit Butrick) and Lt. Saavik (Robin Curtis), orbit Genesis to record the planet’s climate and progress.  They detect a life form, which should not have been possible under the Genesis project.  Marcus and Saavik beam to the surface of Genesis to investigate and find Spock’s tomb empty and a Vulcan child, presumably Spock.  Marcus admits the development of the Genesis project included unstable protomatter, which caused Spock to be “reborn” and age at a rapid pace but also made the entire planet unstable and on the verge of destroying itself.  Kruge destroys the Grissom, beams to the surface of Genesis, and holds Marcus, Saavik and Spock hostage.

Harve Bennett wrote the script (he was a writer on Wrath of Khan but was not credited), but Nicholas Meyer did not return to direct the third installment (he was in post-production on the 1983 TV movie The Day After), so Leonard Nimoy stepped in for his directorial debut.  Nimoy’s style of directing complements the film well, although the end of the third act drags with a longer than necessary passage of time sequence.  But as the sequel to the classic Wrath of Khan it’s hard not to make comparisons that can lead the viewer to judge Star Trek III for what it is not.  The tone of Search for Spock is noticeably different than The Wrath of Khan, which is a drama set in space with a story carried by themes of revenge, sacrifice and loss.  Search for Spock plays as more of a caper film, which in itself is especially fun with this cast of characters, with an overall tone that is more in line with the TV series.

William Shatner and DeForest Kelley as Kirk and McCoy carry the story, but James Doohan, Walter Koenig, Nichelle Nichols and George Takei each have their scene stealing moments that move the plot forward in their attempt to steal the Enterprise.  In my opinion, the Klingons make the best villains, and Christopher Lloyd adds an element of psychotic joy to his performance as the Klingon captain Kruge.  But one major area of disappointment for me was the script’s lack of development of Kirk’s relationship with his son Dr. David Marcus.  That plot line in Wrath of Khan added an unexpected emotional weight to the film, but Search for Spock missed an opportunity to expand on it prior to (SPOILER ALERT) David’s death at the hands of the Klingons (though it would be revisited in Star Trek VI: The Undiscovered Country).

While Search for Spock doesn’t come together on the same grand cinematic scale as Wrath of Khan, it does have the story, special effects, action scenes and film score that make a summer blockbuster.  30 years later, Star Trek III: The Search for Spock is still an enjoyable film and perfect for a lazy summer Saturday.

Tagged , , , , , , , , , , , , , , , , , , , , ,