Tag Archives: The Summer of ’84

The Summer of ’84: Red Dawn

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

Red Dawn

Red Dawn Movie Poster

Release Date: August 10, 1984

Starring Patrick Swayze, C. Thomas Howell, Powers Booth, Harry Dean Stanton, Charlie Sheen, Lea Thompson, Jennifer Grey, Darren Dalton, Brad Savage, Doug Toby

Directed by John Milius; Screenplay by Kevin Reynolds and John Milius

John Milius’ 1984 action/war drama Red Dawn is a movie that I’ve enjoyed on many occasions since I first saw it on cable TV back in the mid-80’s.  I was too young to see it during its theatrical release, and I was probably more interested in the non-action films like Gremlins, Ghostbusters and Indiana Jones and the Temple of Doom that wonderful summer.  Despite missing it in theaters back in 1984, Red Dawn is one of those films that I stop and watch every time I come across it on TV regardless of how far into the movie it is.  Each screening leads to a new discovery for me, whether it’s the impact from a line of dialogue, a nuance of a performance or a hidden gag by director John Milius.  Many scenes in Red Dawn still stand out for me as some of my cinematic favorites, and the film ranks very high on my personal list of favorite war films.

It’s an peaceful small town morning in Calumet, Colorado.  Jed Eckert (Patrick Swayze) drops off his brother Matt (Charlie Sheen in his first film role) and friend Arturo (Doug Toby) at the local high school before heading off to his job at the town gas station.  History teacher Mr. Teasdale (Frank MacRae) gives a lecture on Genghis Khan (complete with a drawing of the Mongol overlord that is actually a caricature of director John Milius – a nod to his passion project to produce and direct a film on Genghis Khan), but his lesson is interrupted when paratroopers mysteriously drop in behind the school.  No sooner than he steps out of the building to find out what is going on, he is shot by a Russian soldier and it’s clear to everyone that Calumet is under attack.  Bullets rain on the school and RPGs blow up a school bus as the students try to escape.  Jed’s truck roars into the school parking lot and grabs Matt, Arturo and three other students Robert (C. Thomas Howell), Danny (Brad Savage) and Daryl (Darren Dalton) as the Soviet and Cuban armies take over the town.  They drive to Robert’s father’s sporting goods store and stock up on food, guns and supplies before hiding out in the mountains.

Their plan is to hold out in the mountains until it’s safe to return to Calumet.  After a month, the boys are low on food and have to take the risk of going back into town.  They walk through the aftermath of an American defeat and realize how desperate the situation has become.  Soviet tanks roam the streets, martial law has been imposed, books are burned, and Alexander Nevsky plays in the local cinema (with free admission).  They learn that Jed’s father and many other men of Calumet have been deemed too dangerous and have been sent to a re-education camp located at the town drive in where they are beaten and bombarded with Soviet propaganda.

On their way back to the mountains they stop at the home of Mr. Mason (played by Ben Johnson) and learn that Calumet is now part of Occupied Territory and that Robert’s father was killed for aiding them.  He gives them a radio and asks Jed to take his granddaughters Erika (Lea Thompson) and Toni (Jennifer Grey) with them.  But their mountain hideout is soon exposed when they kill three soldiers that found them by accident.  Cuban Colonel Bella (Ron O’Neal) steps up activity in the mountains and orders retaliation.  The sight of their fathers death by firing squad forces the teenagers to take the offensive and use the invaders own weapons against them.  They start a guerrilla war against the Soviet and Cuban occupiers, and with each small victory they let their enemy know who they are: the Wolverines.  Downed Air Forced Lieutenant Colonel Tanner (in a great performance by Powers Booth) joins them and gets them up to speed on the state of the war:

Red Dawn shouldn’t be categorized as simply an action film.  I’ve always seen it as a war drama with a solid script and carried by a strong cast.  The action scenes are just as hard hitting today as they were 30 years ago, and the dramatic scenes are more emotionally powerful than I remembered from previous screenings, with Patrick Swayze’s performance standing out the most.  Milius and Reynolds crafted a story that stresses the importance of family bonds, members of a community sticking together in challenging times, and fighting to persevere.  Ric Waite’s cinematography captures the beauty of the heartland and the home the Wolverines are fighting for, and Basil Poledouris’ strong, emotionally uplifting score sets the tone throughout the film.

Over the last three decades, every screening of this film was always met with enthusiasm among me and my friends.  But  a recent screening of the fantastic documentary Milius opened my eyes to some of the harsh criticisms of  Red Dawn upon its release, and the effect it subsequently had on director John Milius’ career.  If anything, I have an even greater appreciation of Red Dawn and John Milius for bringing it to the screen.  Sure some of his messages might be a little less than subtle and the viewer needs a certain amount of suspension of disbelief that a group of teenagers can take on the Soviet and Cuban armies.  But at the end of the day, Red Dawn is a fun ride and a great “What If?” story of a dystopian America at the dawn of World War III.

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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?

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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.

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The Films of the Summer of 1984

For the last two years my retrospectives on the films of the Summers of 1982 and 1983 allowed me to revisit some of the best fantasy and sci-fi films of the 80’s and enjoy them on a new level as a 40 something.  In some cases I would approach a film with a sense of trepidation, wondering if you truly can go back and enjoy an old favorite on the same level 30 years later.  At the end of each series, I learned that many of these films withstand the test of time and sometimes you really can go back.

I truly thought each “Summer Of” retrospective would be the last.  After The Summer of ’82 I didn’t think there could be another lineup of summer films that could compare to Blade Runner, Star Trek II: The Wrath of Khan, The Road Warrior, Conan the Barbarian, Poltergeist, The Thing, TRON and E.T.: The Extra-terrestrial.  It was a magical summer for fans of fantasy and sci-fi films and there hasn’t been another like it.  But I had enjoyed writing that retrospective so much that I had gone through withdrawal and for the next year hoped for another opportunity to revisit a summer’s worth of films.  That void was filled with my retrospective on The Summer of ’83 which included a lineup of films that have been personal favorites of mine for over 30 years.  Even as I closed out that series, I didn’t think I would have an opportunity to write another “Summer Of.”

Then I saw the lineup for the films of the Summer of ’84 and realized another retrospective was possible.

The Summer of ’82 was about a lineup of the best fantasy and sci-fi films of the decade (Blade Runner, Star Trek II: The Wrath of Khan, Conan the Barbarian).  The Summer of ’83 was about a lineup of my personal favorites (WarGames, Fire and Ice).  The Summer of 1984 was still heavy on the adventure and sci-fi films, including some of the most crowd pleasing films of the decade as well as a few cult favorites:

Indiana Jones and the Temple of Doom (5/23/84)
Star Trek III: The Search for Spock (6/1/84)
Ghostbusters (6/8/84)
Gremlins (6/8/84)
Conan the Destroyer (6/29/84)
The Last Starfighter (7/13/84)
Red Dawn (8/10/84)

Once I saw this list, I knew I had to revisit them again.

I’m taking these retrospectives year by year, but if the films of the Summer of ’85 etc. bring out the same sense of nostalgia for my original movie-going experiences, I’ll keep them coming.

 

 

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