Saturday, 12 July 2008

On location: DAWN OF THE DEAD (1978) - picture heavy


I enjoy visiting shooting locations from my favourite films, and I also enjoy shopping more than I should. Here was a chance to do both at the same time - looking around the shopping mall where half of George Romero's Dawn of the Dead was shot thirty years ago.


When I first saw the film in 1980, shopping malls were pretty new - I'd not even seen any in the UK. The concept of having everything under one roof was interesting, but using a mall as a post-apocalyptic hideout really impressed me. It seemed more of a fantasy than a nightmare (once all the zombies had been cleared out, that is).

Today the Monroeville Mall, a few miles east of Pittsburgh, can still be explored following the action in the film. The lack of windows obviously made night shoots easy - all they had to do was avoid shooting the high skylights.

All the stores except J.C. Penney have now changed hands. But luckily, Penney's is the main store featured in the film - the escalators, the inside aisles and the main interior doors were all featured.

Despite the decorating changes to the floors and balconies, the ‘psychological’ layout of the building remains. Physical layout is often cheated in movies, with additional sets and editing that alter the spatial relationships. The story usually inhabits a space that never existed. For example, the Psycho house is a fascinating building that never existed as you see it. The layout is well-known - from Norman Bates' attic room down to the apple cellar - but it could never actually be explored the way the characters do.

The mall is still popular, there's a couple of empty units but it's still very full, and is surrounded by other stores round the perimeter of the car park.

The layout stretches east-west, with three huge department stores accessible from the west (Boscov's), east (Macy's) and south (Penney's). The central north entrance is now at the bottom of a street between two new buildings, collectively known as The District. One side is restaurants, the other is a large Barnes & Noble bookstore.


This north entrance used to lead into the ice rink, instead it now leads to the food court.

The mall has two levels, with three atriums each with two escalators. It's easy to tell the atriums apart because the escalators are laid out differently in each one.


These look like the old lights, but there aren't many left.

Macy's dominates the east end of the mall.

View from the south side.

Ths is the bus stop, at the south side of the mall.


These trucks outside the back of Macy's reminded me of the lockdown scene.


This new lift is in the food court, where the ice rink used to be.


Just inside the remodelled north entrance is the only bank.

Just keep repeating, "It's only a mall, it's only a mall..."

This reminded me of the final shot in the film.

This is looking out of the lower level at the bus stop - the view is crying out for a large zombie, dressed only in his shorts.

The Boscov atrium, where the fountain used to stand. This was also the end where the clock tower was.

The escalators were positioned over to one side to make room for where the fountain was. The trampoline rig was cleared to make space for the special screening of Dawn of the Dead inside the mall.


The passage to the hideout is on the upper level.


Along the passage today is a nursery, rest rooms, and your chance to sign up! You can see the fire exit at the end.


The view out from the passage.


The central atrium (looking south).


Central atrium (looking east), JC Penney is off to the right.


The escalator slide in Penney's.


The only elevator I could find in Penney's - on the second level...

...and on the first level.

The big fountain has gone, but this pond and bridge remain.

Looking west, towards where the clock tower stood.

A security guard who has worked here since the film was shot, told me that this unit, at the west end of the second level, was the gun store in the movie.


The Macy's atrium now has a Mr Roger's Neighbourhood!

Some of the less busy entrances are rather scary.


Even more atmospheric at night... (I was in there for the Dawn of the Dead screening, not looting)


A gallery of old publicity posters in the lower level passage included this blaster from the past...

Yes, this is my idea of a holiday.


Dusk of the Dead

I visited Monroeville Mall while at the Pittsburgh Horrorhound Convention, where I met actors from Day of the Dead, Dawn of the Dead and Zombie Flesh Eaters... my coverage of the convention is here.

At the convention I saw an early cut of Paul Davis' documentary Beware The Moon: Remembering An American Werewolf in London. My review of that event, attended by David Naughton and John Landis can be found here.


EMPIRE OF THE WOLVES (2005) - Jean Reno in action


EMPIRE OF THE WOLVES
(2005, France, L'Empire des Loups)

Partnership with the devil

This recent thriller was directed by Chris Nahon, who’s currently finishing work on the live-action Blood: The Last Vampire. I only recognised Jean Reno in the cast, but isn't that enough? Certainly it's an indication of something interesting, at least in French-language movies.


The movie starts off with two parallel storylines: Anna, a Parisian housewife, is suffering such a massive memory loss that she can't even recognise her husband's face. As her experimental therapy fails to get results, she secretly goes to an analyst, Mathilde, to try and unlock her past.


Meanwhile a young detective is investigating some very, very nasty serial murders of young Turkish 'illegals'. Because these rank as low priority with the homicide division, he resorts to consulting disgraced cop 'Shifty' Le Shiffre (Jean Reno), an expert on the Turkish underworld operating in France. Joining forces, the closer they get to the truth, the more danger they find themselves in. Shootouts, mystery assassins, exploding bath-houses... can they handle the truth, and what does it all have to do with the amnesiac Anna?


Reminiscent of The Bourne Identity, this is a rewarding, twisty thriller which gradually reveals its many mysteries. It's hard-edged too - as Anna tries to regain her memory we see horrific images of disfigured faces, better suited to a horror movie, and the serial killer sub-plot is similarly nasty.

Set in a Paris that's forever in the rain, the lush visuals and locations never overpower the story. The cast are uniformly excellent, and help sell the more ludicrous action. But what's with French films and women trapped on ledges in their underwear? Is it compulsory?


Although fast-moving and stylish, some scenes are undermined by an inappropriate choice of hardcore club tracks used for the score. The effect seems to be aiming just for excitement, even though the action is supposed to be shocking or dramatic.

Empire of the Wolves is recommended, and available in the UK and US on DVD, with English-dubbed dialogue as an option.

ANATOMIE 2 (2003) - thrills but no chills


ANATOMY 2
(2003, Germany, Anatomie 2)

A new way to build muscles...

Anatomy (2000) was
a stylish and unusual thriller. Stefan Ruzowitzky returned to direct this sequel, approaching the central premise of the first film from the other direction, rather than repeat himself. Instead of Heidelberg, we’re in a huge hospital in Berlin, here a young doctor is invited to join the inner circle of renegade surgeons.

The members of this secret society are experimenting on themselves with synthetic implants as well as performance-enhancing drugs. But it's not for the sake of life-saving advances in medicine, but to score academic prizes and lucrative drug patents. Also using methods completely against their codes of ethics, the foundations of their professions and the law. None of them can afford to get caught.


We follow the intern, Dr Hauser (Barnaby Metschurat), as he leaves his wheelchair-bound brother, who’s suffering from a muscular wasting disease, to go and work in the capital city. There's a cleverly edited montage as he starts his gruelling shift work in the casualty department.

But when he bends the rules to save the life of a little girl, he attracts the attention of the renegade researchers who think he might want to join their secret clique. The initiation test involves an overly thorough examination from Viktoria, in an echo of the bizarre sex scene in Anatomie.

The surgeons have used implants to enable each member of their inner circle to achieve different feats, while Viktoria excels at cocktails of medication to support the group’s various enhancements. They persuade Hauser to try implants for himself and his legs are tuned up - very useful when he's playing soccer. But while artificial super-powers are very seductive, it’s not a good idea if anyone changes their mind and wants out, and that's not the only catch...


Plotwise, this branch of the secret society was pretty slack in its methods and forever dangerously close to keeping its secrecy. No wonder Franka Potente (in a cameo role) wasn’t on their heels sooner.

It's an inventive story, but too unlike the first, making it a thriller with a little gore, less horror and less sex. Though there’s curiously still plenty of man-flesh on display. It’s fun while it lasts, but runs out of surprises by the end.

Anatomy 2 is on DVD in the US and UK from Columbie Tristar.

Wednesday, 9 July 2008

THE CAR (1977) - sworn enemy of road safety

THE CAR
(1977, USA)

Steven Spielberg's taut TV movie Duel (1971) may have prompted a few spin-off genre of 'road movies' that were crossbred with horror films. There was TV movie with a killer bulldozer, naturally called Killdozer (1974), the unbeatable Death Race 2000 (1975), and the creepy Race with the Devil (1975). This was when car stunts were cheaper and more convincing than horror special effects. I saw The Car in July 1977 in the UK, on a double bill with William Girdler’s Day of the Animals.

The Car probably looked like a complete gamble on the printed page - hats off to the cast for signing up. But despite the offbeat scenario, it works in a weird way. The Car is thoroughly menacing, working on our fears of evil as well as our experiences as pedestrians and cyclists...


It starts in a dusty Utah town, when a mysterious black car bumps off two innocent victims (bumps them off a high bridge, that is). After further hit-and-run deaths, the local sheriff is shocked to hear that no driver was seen inside, and bullets can't touch it.

A weird wind precedes each deadly appearance. In the distance, a dust trail slowly comes nearer, and there’s the sound of an increasingly ominous car horn... (heavily referenced in the Futurama episode 'The Honking').

What does it want, where is it from, and can it be stopped? As the killer car shows no sign of slowing up, the local police start believing the worst...


With some spectacular stunts, the action is mostly low-rent but inventive (the Car rarely kills the same way twice), and the cinematography highlights the spectacular desert locations.

The Car rarely gets more than creepy, but works well as a mystery, as long as you’re not expecting a thorough explanation at the end. The premise is more like Jaws on land, than The Exorcist on wheels. It's not at all like John Carpenter's adaption of Christine, which rolled up in a similar vein six years later.

The brave bewildered sheriff is played by James Brolin, (inbetween leading roles in Westworld and Capricorn One). Spunky Kathleen Lloyd (of It Lives Again) plays his wife. As police deputy, Ronny Cox has some great emotional scenes but a low, low billing - this was halfway between his memorable characters in Deliverance and Robocop.

A few years ago, the unique design was celebrated with a beautiful 1:18 die-cast replica from ERTL.

But the star is the car - a cool, fearsome creation from George Barris, who also styled the original Batmobile for the Adam West Batman TV series (1966). From its super-darkened windows to the pedestrian-unfriendly double chrome bumpers, this is one sight you wouldn't want in your rear-view mirror.

The Anchor Bay DVD artwork for the 2000 release

Newly remastered by Universal for DVD in the US, The Car has never looked better, the 2.35 image never looked crisper. My only gripe is that the opening titles were originally in a different colour in the cinema release (and in the Anchor Bay DVD released in 2000), where they were a deep electric blue rather than a pale green.

DVD Beaver has a bunch of framegrabs from the new transfer, with shots of the stars and a great shot of the terrifying tail-gating scene...