Linda Lovelace minus hardcore truths

INSIDE DEEP THROAT (2005)

Reviewed by Jerry Saravia

"Deep Throat," the most famous porn film ever made, is a film I've only seen in sections. Maybe the bad acting or the bad cinematography dulled my interest in it. Who knows. But who goes to see a porn film for quality filmmaking anyway? You are there for the explicit sex scenes, not the story. Perhaps in the 1970's, it was more than just the sex. "Inside Deep Throat" attempts to find out the hardcore truth (pardon the pun) but it never climaxes (pardon the pun).

"Deep Throat" is not the first porn film but it is the first one to have mainstream success. Gerard Damiano produced and directed the film, correctly thinking that such a film could be seen by couples in an actual movie theatre. Thus, with a budget of $25,000 dollars and an actress named Linda Lovelace, who apparently had a talent for oral sex, "Deep Throat" was born. As many of you probably know, Linda stars as a woman with an anomalous genetic function - her clitoris is in her mouth. I don't think I have to say much more.

Most of "Inside Deep Throat" details the fringes of porn filmmaking and how the mob helped finance most of it. "Deep Throat" grossed $600 million, though box-office statistics might be slightly off due to the money laundering (the same problem plagued the original "Texas Chainsaw Massacre.") We see interviews with the cast of the film (including Damiano and Harry Reems, the male lead), moviegoers eager to see the film, protesters picketing, and luminaries such as Dick Cavett, Larry Flynt, Hugh Hefner, Al Goldstein, and many more. Almost anyone who was a celebrity at that time saw "Deep Throat." I remember reading that Martin Scorsese and Brian De Palma saw it and wondered at the screening why there were so many couples and sophisticates and no one in trenchcoats. It was a cultural phenomenon that was amplified by the Nixon administration who tried to censor it and almost succeeded. Of course, porn was never the same again, and now the censors are back trying to ban porn.

The problem with "Inside Deep Throat" is that it doesn't go deep enough (pardon the pun, again). We learn about a time and place that seems strangely more innocent, but there is no true insight into what made "Deep Throat" so phenonemal. And the issue of free speech doesn't seem to infuse the controversy much - the film could still be seen in theaters and it certainly made its money back leading to more porn films and even a sequel. Perhaps the real issue is that a blowjob became mainstream and acceptable long before Bill Clinton, and this frightened the Nixon administration. You are having sex and you are enjoying it! What a threat to the national order!

The late Linda Lovelace famously said that every time she had sex in "Deep Throat," she was actually being raped. There is no disputing that her boyfriend abused her but if Lovelace really felt that way, why did she make two more porn films? I remember seeing Lovelace at the Chiller Theatre convention in Meadowlands, NJ, where she signed VHS copies of "Deep Throat." I suppose she decided to accept the fact that she would be always be remembered for "Deep Throat." That acknowledgment might have lended some poignancy to "Inside Deep Throat."

Jason Voorhees in old-fashioned 3-D

FRIDAY THE 13TH PART 3, 3-D (1982)

Reviewed by Jerry Saravia

Seen one Friday the 13th flick, seen them all. I have not had the pleasure of seeing all ten sequels to the original 1980 shocker, which also had its own remake. Jason Voorhees has not been my favorite psycho killer either. "Friday the 13th Part 3" has the distinction of being the only sequel in the series to be in 3-D. That is a bit of a blessing because it has its shock value when you see bats, axes and other weapons thrust at the audience in three dimensions. Other than that, same old, same old.

Aside from a brief recap of Part 2 where poor Amy Steel survived the throes of the hooded Jason, this sequel finds more hormonal teens at Camp Crystal Lake. There are some hijinks of the low grade variety involving some old drifter who holds a severed eyeball, and the teens smoking weed and eating it after assuming that the cops are going to stop them. The most memorable character of this bunch is Shelly (Larry Zerner), a Seth Rogen-crossed-with-Jeff-Ross lookalike, who scares people because he is unable to communicate in any other way. He has a goalie mask and this is where we discover the advent of Jason's most iconic visage. And one of the other sympathetic teen characters is Chris Higgins (Dana Kimmell), who had survived Jason's attacks once before.

This "Friday the 13th" flick has its laundry list of slasher film ingredients. Axes, pitchforks, hot pokers and knives are thrust into bellies and heads. Sometimes someone is attacked in showers and in barns with plenty of haystacks cued with that creepy Jason Voorhees instrumental score. Best moment has Jason firing a spear from a spear gun at one unlucky victim. The ending is a creepy reprise of the original and it works as a shock moment yet "Part 3," which has got shocks galore and some gore, has little to differentiate it from the norm. The 3-D process is more of a tactic to make couples embrace each other and turn away from the screen, or at least the girl so she can be shielded from the screen as long as the cardboard 3-D glasses are not crushed.

I am not easily recommending this flick to anyone but it has an, albeit extremely slight, innocence to it. It is not the torture porn of the 2010 horror flicks, and it is hardly as gory as any of the other Friday the 13ths. It is not boring but it is also not much of anything other than using humans as slaughter slabs in more than three dimensions with two dimensional characters. I saw this on video back in 1983 in 2-D, and it is fun seeing it in 3-D and for that reason alone, it is hard to resist for Friday the 13th completists. Interestingly enough, this was supposed to have been the last installment but you can't keep a blood-stained goalie mask down for long.

Connery's Frank Buck in the Amazon

MEDICINE MAN (1992)

Reviewed by Jerry Saravia

John McTiernan's "Medicine Man" is another one of those giddy pleasures at the movies - a good/bad movie that is reasonably entertaining and offers little else except the grand Sean Connery. Connery's presence and his thick Scottish brogue often enhance such good/bad movies like "Highlander 2: The Quickening" and "Cuba." Sometimes they do little except annoy me like "Entrapment" or "First Knight" or the original "Highlander." And sometimes he matches the material for all its worth such as "The Anderson Tapes," "The Terrorist," James Bond, etc. Yes, I am a huge Connery fan but I still wonder what could've been done with the potentially ambitious "Medicine Man."

Connery is Dr. Robert Campbell, a gray-haired, ponytail-wearing biochemist living in the Amazonian forest. He is searching a cure for the greatest plague of the twentieth century - in a word, cancer. And he's found it. It has to do with ants and a specific kind of flower but, lo and behold, this is an ecological adventure movie (yep, Spielberg made his own several years later with "The Lost World"). You see there are mercenaries who are burning down the rainforests, a continuing ecological and environmental disaster, to build a road. As Campbell explains, "No rain, no rainforests!" Thank you Dr. Campbell.

And in the great tradition of the Kate Capshaw role of Irritable Female Characters comes Dr. Crane (Lorraine Bracco), nicknamed Dr. Bronx by Campbell, a research assistant from a pharmaceutical company who has come to investigate Campbell. Has the man completed any kind of research and can he prove it? Yes, of course. Even I learned that in General Science in high school - if you have proposed a theory, prove it with samples and notes.

Naturally, we get lots of truly scenic vistas, lots of rope climbing, a nasty spill into the river and down a hillside, scenes of comic relief involving some bark that is more potent than caffeine, lots of natives, a lot of native womens' breasts, lots of dancing in the night by a bonfire, a disturbing nightmare, and no chance at all of seeing Bracco's breasts (hey, this is a PG-13 movie).

Of course, "Medicine Man" is occasionally a little too humorous, intentional or not, and some scenes play off as being a little too campy (Connery in a headdress for one). But this is marginally better than the average good/bad movie. Connery is in full command and dominates every scene he's in. Lorraine Bracco, who only has a handful of moments where she is restrained, may make you want to scratch your fingernails on a blackboard. Still, Connery and Bracco do make a good team. The ending is almost too good for what precedes it, and there is a stunning confrontation with a real medicine man that depicts a far more serious movie than the one we are watching.

Basically, "Medicine Man" is a 1930's adventure movie with an ecological theme upgraded to modern sensibilities. If it had been made in the 30's, Frank Buck would've been cast in the Campbell role. Connery gives it the prestige to differentiate it slightly from the norm.

The Bounty Hunter From Nowhere

DOMINO (2005)

Reviewed by Jerry Saravia

I have reviewed the frenetic, souped-up style of "Domino" before so, frankly, anything I say about it has been said countless times. "Domino" is a loud, obnoxious, brash, excessive affront to anyone's good senses - an anti-cinematic style where there is no style. Director Tony Scott is not my cup of tea (though his best work might still be "Crimson Tide") and this movie is something of a bore.

Domino Harvey (Kiera Knightley) is based on the real-life bounty hunter who died of a drug overdose at the age of 35. Domino was also Lawrence Harvey's daughter, the late actor who died the year Domino was born. Why this rich girl from the school of 90210 decided to become a bounty hunter is never fully explained. She is a tough girl who defies sororities with solid punches to the mouth and basically defies everyone. She is amoral, sexy, relentless, kind of like the movie itself. She joins a bounty hunter team led by Ed Mosbey (Mickey Rourke), a hardened bounty hunter who's seen it all. His partner is Choco (Edgar Ramirez) who insists on speaking Spanish at all times, though Domino never understands one word. They all work for a bail bondsman, Claremont Williams (Delroy Lindo), who organizes a course on bounty-hunting that turns out to be a scam (or so I thought considering one scene shows Domino winning a Bounty Hunter of the Year award but I suppose that is part of the scam.)

There is a plot here involving a double-cross where Mob money is laundered and we get thieves wearing First Lady masks. There is some attempt at social commentary about the "Jerry Springer show," some attempt at seeing how corrupt DMV is, and a comical attempt at seeing the insatiable need for reality TV programming with Christopher Walken making a welcome appearance. In other words, excepting the DMV angle, nothing new.

"Domino" has a lot up its sleeve but it never draws any cards. The movie is so hyperkinetic that it is a chore to illustrate what the movie is trying to say. If you title a movie with the main character's name, then it should be about the character. Domino Harvey, as written by Richard Kelly ("Donnie Darko"), is given no real insight and no real shadings of a character worth spending time with. Mostly we get loud shootouts, loud music, all intercut into an overloaded, overlong music video. And yes, we get the customary jump cuts, switch of film stocks every few seconds, scenes that are speeded-up then rewound with a different result, flashes of white dissolved from grainy, washed-out colors to brighter ones - basically, everything that you see in TV shows and commercials. It's not so much that Tony Scott's filmmaking techniques are grandiose - his editing is. It is a pumped-up, drug-addled, airless affair of a movie, but not really a movie. In the end, you'll ask, who was that chick masquerading as a bounty hunter anyway?

Are you a Bearcat?

THE IDES OF MARCH (2011)

Reviewed by Jerry Saravia

Running a presidential campaign during the primaries must be the most exhausting and time-consuming work there is. If you are the presidential candidate, you are trusting your campaign manager and all the interns to do the best they can for you, assuming they believe in you. With "The Ides of March," the assumption is more honestly cynical - it may have nothing to do with ideals and more to do with career advancement.

Take Stephen Myers (Ryan Gosling), the smarter-than-thou and quick-on-his-feet press secretary to Governor Morris (George Clooney), the Democratic candidate running for a seat in the Oval Office. Stephen may or may not pretend to be an idealist but that is what he sells. It is what Stephen sells to a zealous New York Times journalist (Marisa Tomei), whom he pretends to be friends with though he will not reveal information that could damage the candidate, no matter how trivial. Stephen has to be cautious but things get messy when he talks to a rival campaign manager named Duffy (Paul Giamatti) who works for Senator Pullman, Morris's opponent. Stephen should never talk to Duffy in a secret meeting but word gets out. And one of Morris's interns (Evan Rachel Wood) might have a questionable black mark on the campaign that could ruin Morris's chances.

Clooney himself co-wrote and directed this film, based on the 2008 Off-Broadway play "Farragut North." Clooney has proven to be a true actor's director and he also has a surefire way of getting all the tension he needs for this evolving story to give it maximum impact. From the long take of a campaign manager entering a vehicle and then exiting after being told something secretive to Gosling's brilliant last scene where his face, no longer the smiling careerist we see earlier, gives us goosebumps, Clooney can definitely handle this material with complete assurance (he has already proven to be quirky with "Confessions of a Dangerous Mind" and to give a historical event a dose of vitality with "Good Night, and Good Luck"). But the script loses a little momentum when a damaging secret is revealed that is resolved a little too cheaply for my tastes. I will not say it is the cheap exploitation of fictitious political crises like Clint Eastwood's over-the-top thriller "Absolute Power" but it felt a little crass and it is handled with a complete lack of sympathy. That is all I can say, and I expected more from writer-director Clooney who looks for an easy way out.

The cast is uniformly excellent, especially Philip Seymour Hoffman as a disgruntled campaign manager who is as much a careerist as Gosling's Stephen. Gosling is exceptionally good and reveals layers that run the gamut from deceitful and charming with a sly smile to feeling as if he has been cheated. And Clooney, who has fewer scenes than almost anyone else, handles his presidential role with aplomb - he's got the smile and the smoothness down pat. The movie though left me feeling cheated, despite an ambiguous final shot that could have used more of an even structure. Still, in an era of Hollywood movies that recycle and reboot everything, it is a breath of fresh air to see a political movie with more brains than CGI. A little more empathy would have been nice too.

Donal Logue eliminates his desire

THE TAO OF STEVE (2000)

Reviewed by Jerry Saravia

(Original review from 2000)

Romantic comedies continue to multiply in Hollywood and the independent scene (the last couple of good ones I can recall on an independent scale are "Chasing Amy" and "The Brothers McMullen".) "The Tao of Steve" is harmless time filler, likely to provoke some light laughs on a rainy Saturday afternoon. Its major selling point is the casting of the sweet Donal Logue at its center.

Logue does not play Steve, in fact the title is a philosophy carried around by Dex. Logue plays Dex, a sweet, likable slacker with a prominent gut who has his own agenda on how to seduce women. No, it is not seduce and destroy but rather do not let on you are seducing, then let them go after you have sex. First rule is to eliminate your desire. Second rule is to be excellent at something in their presence (camping is not an option). Third rule is to withdraw. This philosophy, known as the Tao of Steve, is based on the ancient Chinese philosopher Lao-tzu whom Dex reads avidly. The name "Steve" is used because it is the coolest name, and its claim to fame is from the coolest of all movie stars, Steve McQueen. The least coolest name is Stu (ironically the name of the coolest character in "Scream" but that is a moot point).

The film begins at a ten-year college reunion where Dex was once known as Elvis, hence the most popular of all the students. He chuckles as he mentions that now he is a fat Elvis. At the reunion, he meets Syd (Greer Goodman), a set designer for the Santa Fe Opera whom Dex has literally forgotten about, including their own tryst years ago. Most uncool for Dex and so anti-Steve. Dex naturally falls in love with Syd, and does not eliminate the desire - he makes it plainly known, even telling her he is falling in love with her.

"The Tao of Steve" has some measured moments of truth about Dex's nature and about relationships in general, but it peters out to a hasty resolution that seems false and predictable. Let's just say that it is the kind of ending more attributed to Hollywood than an independent film of this kind. There are also frequent pop-culture references to "Hawaii Five-O," "Six-Million Dollar Man" and other TV shows of yesteryear, complete with music from said shows. It all feels contrived and unnecessary, simply marking time. And the cinematography is a little too muddy for my tastes considering the beautiful location - Santa Fe, New Mexico may be a bit overcast at times but it is ripe for high contrasts in terms of cinematography.

Still, there is a genial warmth to the film thanks to Donal Logue (who won the Special Jury Prize Award for Best Actor at Sundance). He could be a mean-spirited, viciously verbal macho male yet, as written by director Jenniphr Goodman and co-writers Greer Goodman and Duncan North, the screenplay opts for gentler tones of body language and a sensitivity in Dex that makes him instantly likable. He is so damn sweet that it becomes infectious - how can a woman resist the temptations of a philosophical male who speaks of lust as a primary way of living? So what if he works part-time and smokes marijuana daily for breakfast!

"The Tao of Steve" is not a total success because it travels on safer terrain rather than truly exploring what motivates someone like Dex. He is the kind of guy that can surprise you, lead you to think he's less clever than he looks. The film's homespun philosophy is that love rules the day over lust, and a lover like Don Giovanni would eventually come to realize this. I feel Dex is a unique enough character that he would only make you think he has realized this. Sometimes those who see the error of their ways continue making the same errors.

Footnote: The opening sequence of "The Tao of Steve" is set at a supposedly four-year college where a ten-year reunion is taking place. Actually, it is Santa Fe Community College, a two-year school that would not likely have a reunion. The setting looks familiar enough since I attended that very same school for two-and-a-half years!

'Tell the Court I love my wife'

THE LOVING STORY (2011)

Reviewed by Jerry Saravia

It is extraordinary how the Lovings managed to keep their composure in the face of ridiculous scandal. The Lovings, Richard and Mildred Loving, were arrested and almost spent a year in jail. They did not commit murder or larceny. Nope, their crime was being married to each other. How could this be? Richard was a white man married to a black woman, or in the parlance of its Civil Rights day, a colored woman.

One night, late at 4 a.m., the Lovings were arrested in their own bedroom by the sheriff! The charge was violating Virginia's Racial Integrity Act of 1924 (the anonymous tip sent to the sheriff was that an interracial couple was having sex, also a crime). The married couple is sentenced to one year in prison, with the sentence suspended for 25 years on condition that the couple leave the state of Virginia. The hope is that the state's anti-miscegenation laws will be changed so they can remain in their own piece of Virginia land (Central Point) that they call home. Though they were married in Washington, D.C. which carried no anti-miscegenation laws, they prefer to live near their family. It takes a letter to Senator Robert Kennedy, the support of the ACLU and an eventual Supreme Court decision to right all wrongs. Meanwhile, Virginia Klansmen and other bigots spouse their lack of support - they want to keep America white and bright. Even a Circuit Court Judge makes the alarming generalization that God intended all races to be from different continents with no integration. Ouch! My eyes hurt just from reading that statement - I am afraid I will go blind if I read it again.

Most of "The Loving Story" is told through 16mm film footage by filmmaker Hope Ryden and cinematographer Abbot Mills as they capture the Lovings in their home and catering to their children. We also see the two bright, enthusiastic lawyers who take their case to the Supreme Court, Bernard Cohen and Philip Hirschkop - both are nervous about this landmark court case that can either make or break their careers. It is important to note that the defense lawyers do not share any of this animosity or racism that others carry - they do not understand how these laws can still exist.

"The Loving Story" is a remarkable, honest and bittersweet documentary, shifting from some poignant photographs and film footage to the lawyers' own backbreaking work of defining and defying all odds to alter ancient laws. The film is really a close examination of two people in love who defied the authorities to stay close to home to be together. A tragedy did occur that resulted in the death of Richard due to a drunk driver's collision with their vehicle - they were living together legally only 8 years after the Supreme Court decision prior to this car crash. Mildred survived, losing an eye, until she passed in 2008.

Ultimately,The Lovings didn't set out to change the world. They just wanted what everyone else had - family, home and hearth and a future. Director Nancy Buirski proves in a revelatory and touching manner that marriage is indeed color blind.