Starring: Joel Courtney, Elle Fanning, Kyle Chandler

Director: J.J. Abrams

“She used to look at me… this way, like really look… and I just knew I was there… that I existed.”

Summer, 1979, in the small town of Lillian, Ohio. While 13-year-old Joe Lamb and his friends are making a zombie movie on a Super 8 camera they witness, and barely survive, a horrific train crash. Shortly afterwards, strange things start happening in the town and Joe begins to suspect that something less than human was on that train.

One suspects that J.J. Abrams always fancied himself as a natural successor to Steven Spielberg, and this collaboration with the Grandmaster of fantastical cinema really does go a long way to proving that assumption true. Abrams, of the same generation as this reviewer, grew up during the heyday of Spielberg and his ‘movie brat’ contemporaries and Super 8 is nothing less than a beautifully crafted love letter to those magical cinema experiences of the late seventies and early eighties.

In paying homage to his hero and, in this instance, mentor, Abrams gives us what almost amounts to a greatest hits of Spielberg themes. Small town Americana, broken families, kids who are much smarter than the adults, an oppressive military and a heart as big as the alien intruder abroad in suburbia. All are present, correct and served with the kind of loving nostalgia that could only be brought to life by someone whose inner-child was there at the time. And, in turn, it’s impossible for the inner-child of the viewer not to be carried back to that sense of wonder which permeated the movies of that time.

The young cast are uniformly excellent, and Abrams certainly seems to share Spielberg’s knack for bringing the best out of his adolescent actors. Joel Courtney, as the reserved, wide-eyed Joe and Elle Fanning, as the confident, sassy Alice are both engaging and sympathetic leads. And if the adults sometimes feel a little one-dimensional it’s only because this is not really their movie. They’re just there to make the kids look smart. Which, of course, they do.

Abrams manages to bring his own style to proceedings while still shooting the movie and moving the camera as if he were the young Spielberg. Indeed, it often feels as if you are watching Spielberg’s lost movie, made somewhere between Close Encounters of the Third Kind and E.T., but with shades of Cloverfield thrown in.

You think these haircuts suck, boys. Be thankful the movie wasn’t set in 1985.

However, it’s this overwhelming nostalgia, and accurate imitation of a style of moviemaking long gone that will probably be the making or breaking of Super 8 for much of its audience. Many of a younger generation will doubtless find it a little too passive and a little too otherworldly for their liking, whereas those a generation behind them will be reminded of a time when movies didn’t need to smack you round the face, or leap out of the screen, to bring into their embrace, enthralled and enchanted, for two hours of whimsical fun.

Advertisements

Every director starts somewhere. There’s always that first picture. For many directors, their first movie is either a trial-by-fire (see David Fincher and Alien3), a promising start (see Neil Marshall and Dog Soldiers) or something that they, and we, would rather forget ever happened (see James Cameron and Piranha II: Flying Killers).

There are some debuts, however, that announce a new talent completely. These are not just first movies, but manifestos. They scream out ‘this is what I can do, keep watching this space’. After this, the filmmaker either makes good on his promise or spends his career struggling to escape the shadow of it. That is the double-edged sword of a great debut. It really can be a blessing or a curse.

Here, for your delectation and sport, are my ten favourite directorial debuts. It was a tough one to whittle down. What would you have added, or subtracted, from the list?

_________________________________________________________________________________

10. Night of the Living Dead

George A. Romero (1968)

The movie which, along with Psycho, is credited with giving birth to the modern horror film, George Romero’s Night of the Living Dead is a master class in low-budget success. With its simple premise and unpretentious style, Romero creates a gripping, chilling experience which has influenced every zombie movie since. Made for only $114,000, Night of the Living Dead was also one of the first movies to feature a black lead actor in a predominantly white cast.

Romero has continued adding to the zombie movie canon with no less than six entries in his ‘Dead’ series, inspiring the likes of Edgar Wright who paid homage with Shaun of the Dead.

Went on to make: Dawn, Day, Land, Diary, and Survival….of the Dead

_________________________________________________________________________________

9. Confessions of a Dangerous Mind

George Clooney (2002)

When original director Bryan Singer dropped out of making this story of the life (fictional or otherwise) of game show host, and CIA spy, Chuck Barris, actor George Clooney stepped in. Clooney brought to the movie not just a keen eye for a shot, and a some entertaining panache with his scene changes, but also a refined sense of 60s and 70s period detail brought with him from his childhood spent with father Nick Clooney, who actually had his own game show during that period. Look out for the quick, very funny, cameo appearances from Brad Pitt and Matt Damon.

Clooney followed Confessions of a Dangerous Mind with the equally accomplished Goodnight and Good Luck, again paying homage to a magic era of television.

Went on to make: Goodnight and Good Luck, Leatherheads

_________________________________________________________________________________

8. This is Spinal Tap

Rob Reiner (1984)

Rob Reiner, son of director Carl, didn’t just direct his debut movie, but also shared the writing credit with its three stars as well as taking a lead role. The now legendary mockumentary follows fictional English band Spinal Tap on tour in the US to promote their album ‘Smell the Glove’. Along the way the pretentious, dim-witted trio paint an hilarious picture of the shallowness and ridiculousness of the music industry. With endlessly quotable dialogue, mostly ad-libbed, This is Spinal Tap is the very definition of ‘cult movie’.

Reiner enjoyed a fantastic spell for the next decade, but his output has waned in the last ten years.

Went on to make: The Princess Bride, When Harry Met Sally, Misery

_________________________________________________________________________________

7. Citizen Kane

Orson Welles (1941)

Having terrorised half of America with his radio production of War of the Worlds, Orson Welles turned to cinema and produced what has become the default No.1 in many a movie critic’s list of top movies. The tale of a fictional newspaper magnate, Citizen Kane is an astounding debut feature. Welles’ extensive use of deep-focus and low-angle shots was innovative, as was the non-linear narrative told from multiple viewpoints. And, despite the real-life magnate William Randolph Hearst’s attempts to kill the project through his own media empire, Citizen Kane has gone on to become one of cinema’s greats.

Although Welles made some other great movies, topping Citizen Kane was a very tall order. A lot of crap followed.

Went on to make: The Magnificent Ambersons, Touch of Evil

_________________________________________________________________________________

6. Airplane!

Jerry and David Zucker, Jim Abrahams (1980)

An extremely rare triple debut here, with the two Zuckers and Abrahams (or ZAZ) sharing both writing and directing duties on their hugely successful and influential comedy. Spoofing the disaster movie genre in general, and the 1957 movie Zero Hour! in particular, ZAZ created one of the most popular and oft-quoted comedies of all time. Featuring inspired turns from an array of 60s and 70s icons and a joke at least every 30 seconds, Airplane! has an inexhaustible energy which doesn’t let up until the credits have stopped rolling.

The movie set the pattern for the bulk of ZAZ’s work, but only Jerry Zucker achieved the same level of success again with Ghost.

Went on to make (between them): The Naked Gun movies, Ghost, Hot Shots

_________________________________________________________________________________

5. Night of the Hunter

Charles Laughton (1955)

Actor Charles Laughton’s one and only movie still counts as a debut. And what a debut it is. Dark, brooding and nasty, Night of the Hunter features a career best performance from Robert Mitchum as the psychopathic Reverend Harry Powell, who charms his way into the family of widow Willa, in an attempt to locate the whereabouts of her executed husband’s stolen loot. Heavily influenced by German expressionism, Laughton paints stark, surreal vistas and fills the movie with a cloying sense of paranoia and fear.

Poorly received on its release, Laughton never made another movie and died seven years later. This was a real loss to the medium, such is the wealth of talent on evidence here.

Went on to make: Nothing

_________________________________________________________________________________

4. The Evil Dead

Sam Raimi (1981)

It’s amazing what you can achieve with just $375,000, a swimming pool worth of fake blood and Bruce Campbell. In Sam Raimi’s case you can achieve one of the most successful, and creative, horror movies of the 80s. When five friends go to stay in an old cabin in the woods, they become possessed by demons, one by one, until only one of their number remains to survive until morning. With no access to expensive special effects or equipment, Raimi demonstrates remarkable ingenuity with his camerawork.

The Evil Dead gave cinema its first glimpse of Raimi’s love for over-the-top, slapstick violence, dizzying camera movement and torturing Campbell.

Went on to make: The Spider-man trilogy

_________________________________________________________________________________

3. Donnie Darko

Richard Kelly (2001)

Given his big break by Drew Barrymore’s production company, Richard Kelly produced one of the most original movies to have come along for years. Donnie Darko is a strange brew, mixing time-travel, high-school angst, 80s nostalgia, existentialism and Patrick Swayze in a haunting, complex and sometimes downright bemusing tale. This was Jake Gyllenhaal’s breakout role and he’s the perfect fit for the troubled, intense and disjointed Donnie. Kelly later released a Director’s Cut which didn’t really improve on the original.

Kelly’s penchant for inscrutable storytelling continued with his next two movies, but escaping the shadow of his debut has proven difficult so far.

Went on to make: The terrible Southland Tales and the intriguing The Box

_________________________________________________________________________________

2. Withnail and I

Bruce Robinson (1987)

Bruce Robinson’s 1987 directorial debut is one of those that can curse a subsequent career. Not because it is bad, but because it is brilliant. An extremely tough act to follow. Based on Robinson’s unpublished novel, which in turn was based on his own experiences as a young actor, Withnail and I is without doubt one of the best British comedies of all time. Anchored by a magnificent performance from Richard E. Grant as the manipulative, drunken Withnail and littered with an array of bizarre characters, Withnail and I has since gathered a huge cult following.

Robinson reunited with Grant for 1989’s How to Get Ahead in Advertising but, as yet, has not achieved the same success as he did with his debut.

Went on to make: Very little.

_________________________________________________________________________________

1. Duel

Steven Spielberg (1971)

Fresh from directing stints on various TV shows, the young Spielberg was handed his first feature-length assignment, a made-for-TV movie based on a Richard Matheson short story, which was in turn based on the writer’s own experience with a particularly nasty truck driver. Spielberg took the story of a travelling salesman’s (Dennis Weaver) relentless pursuit by a truck and crafted a tense, stylish movie which was eventually rewarded with additional shooting time and a cinema release.

Duel demonstrates much of the themes that would become signature for the director; the everyman protagonist in an extraordinary situation, action scenes on the move and the relentless, pursuing monster. It is to the movie’s credit that you never see the face of the truck’s driver.

Went on to make: Everything

_________________________________________________________________________________

.

.

A visual list of the many in-jokes in Joe Dante’s Gremlins! Now showing on Celluloid Zombie!

I got tagged by Peter at Magic Lantern Film Blog for this Meme. The mission? Come up with 15 filmmakers that helped shape the way I look at motion pictures. These are the filmakers whose movies not only inspired (or fanned the flames of) my passion for cinema, but taught me the rich language of the genre. The education never ends, of course, which is why I love it so much.

I’m running late, due to a two week holiday, but here I am and here it is. Enjoy, discuss, mock or admire.

1. Steven Spielberg

If you were to perform some crazy chemistry experiment and dilute cinema down to its purest form you would probably end up with a Steven Spielberg movie in a test tube. You can write him off as a bubblegum filmmaker if you like, but few directors can boast such a distinctive style and absolute grasp of the visual medium as this guy can. Able to inject his work with simple human warmth or terrifying human cruelty with equal ease, Spielberg understands his audience and how to entertain them. His influence is everywhere, in a generation of talent, and his adoration for the moving image is tightly woven into every frame he shoots. Absolutely peerless.

Signature movie: Raiders of the Lost Ark

2. David Fincher

One of the most striking and unique filmmakers to emerge in the last twenty years, Fincher’s lens peers into the darkness and brings it to life. He survived the studio and star nightmare of Alien 3, picked himself up and moved from strength to strength. Unlike many of his imitators, Fincher combines style and content, making intelligent and brooding films. Innovative title sequences, dizzying camera work and stark imagery that burns itself into the mind are the hallmarks of a Fincher movie. That, and his often surprising project choices. Frankly, he’s the only director who could make me interested in seeing a movie about Facebook.

Signature movie: Fight Club

3. John Carpenter

Carpenter has waned considerably over the last twenty years, and yet I still look forward to his upcoming The Ward simply because this could be the movie where he gets his mojo back. And Carpenter with his mojo is a force to be reckoned with. With Halloween, Carpenter demonstrated a mastery of suspense that few have matched. Of all the carbon copies that followed, not one ever measured up. And they’re still trying 32 years later.

Signature movie: Halloween

4. Alfred Hitchcock

Obvious choice, of course, but how can you avoid this one? Hitchcock may or may not have been the greatest filmmaker of all time , but he was certainly one of the most inventive. Without Hitchcock there might never have been the Dolly Zoom, director cameos, the slasher movie or Brian DePalma. Hitchcock constantly came to blows with the censors and pushed the boundaries of what was acceptable, plausible and possible in filmmaking, paving the way for modern cinema.

Signature movie: Vertigo

5. Francis Ford Coppola

If you need a lesson in the pitfalls and insanity of filmmaking, look no further than the CV of Francis Ford Coppola. From the daily battles with studio execs which haunted the production of The Godfather (where Coppola was often shadowed by a replacement director in case he was fired) through the Hurculean task of getting Apocalypse Now made (a production so troubled it got its own documentary), to the single-minded madness of One From the Heart (the cost of which eventually bankrupted him), Coppola is the guy who gets what he wants on film, at any cost.

Signature movie: Apocalypse Now

6. Martin Scorsese

The little guy with the big talent, Scorsese is the director you would want as a mentor. A walking encyclopaedia of cinema, he talks with the same frenetic pace that his movies use to tell their stories. With incredibly long tracking shots, slow motion zooms, fast zooms and quick cuts, Scorsese’s camera is an extension of the man’s boundless energy and is rarely still. He is also one of the industry’s best arrangers of soundtrack music, always choosing the perfect song to complement his scene.

Signature Movie: Goodfellas

7. Ridley Scott

His style has mellowed a little of late, his movies becoming grander in scale, but early on in his career Scott was one of the most visually unique directors around, producing two of cinema’s most influential Science Fiction films. Taking a B-movie script called Star Beast, Scott added his inherent eye for design, a desire to elevate the movie beyond the B, and gave us the outstanding Alien. He followed this with Blade Runner, which set the standard for visions of the future for years to come. Design has always played an important part in Scott’s work, and it is an area in which he excels.

Signature movie: Blade Runner

8. John Hughes

As a kid developing a passion for movies in the 80s, it would have been impossible for me not to include the late John Hughes in this list. Hughes was a capable talent behind the camera, but his true strengths lay in his screenwriting, his ability to coax career-best performances from his teenage casts and the warmth he instilled into his movies. Few filmmakers before or since have possessed Hughes’ skill for representing teenage angst without falling into the more patronising traps of lesser efforts. Hughes was a man of his time, who struggled when that time was over, but he was the best at what he did.

Signature movie: The Breakfast Club

9. The Coen Brothers

From the release of Blood Simple onwards, the Coens have continually marked themselves out as true originals with a remarkable record of hits. Save for only one or two exceptions, every Coen movie has been both singular and excellent. The next Coen project is always worth looking forward to. As accomplished as screenwriters as they are as directors, you are guaranteed cracking dialogue, inspired visuals and characters that are just a little larger than life. You will also most likely get screaming fat people, repetition of a single line for comic effect and at least one speedy tracking zoom. There’s no movie quite like a Coen movie.

Signature movie: The Big Lebowski

10. Sam Raimi

Joel Coen began his career helping out on the editing of a friend’s debut movie. That movie was The Evil Dead, and the director was Sam Raimi. Made on a shoestring budget, The Evil Dead showcased the arrival of an inspired, and rather crazed, talent. Raimi delivered the kind of camerawork usually reserved for those with far more expensive equipment at their disposal, and a few of his techniques can be seen in subsequent Coen movies. However, Raimi’s anarchic style seemed a little lost in mainstream cinema until the arrival of Spider-man.

Signature movie: Evil Dead II

11. Terry Gilliam

The least seen member of the Monty Python team, Gilliam makes movies brimming with the singular and surreal imagination which was present in his Python animations. Usually working with the most meagre of budgets, allowing him to retain creative control over all his work, Gilliam has sometimes struggled to get his projects completed. However, when they are completed they have a magical style and a sensibility all their own. They usually feature characters whose imagination is too large for the world they live in, crushed by the mechanics of a clockwork society. The irony is clearly not lost on Gilliam.

Signature movie: Brazil

12. Sergio Leone

The man who made Clint Eastwood famous with his trilogy of ‘Spaghetti Westerns’, Italian director Leone took the western genre and made it look ugly. Rejecting the good guy/bad guy set-up of classic American westerns, Leone’s contributions were simply filled with varying shades of bad guy. Even Eastwood’s ‘Man with No Name’ is merely the best of a corrupt bunch. The characters are unwashed, morally vacant and greedy, the landscapes unforgiving and barren. Leone’s frontier is a harsh place to be. Often utilising both extreme close-ups and haunting long-shots, Leone has long been held by Eastwood as a major influence on his own directorial style.

Signature movie: Once Upon a Time in the West

13.  John Landis

During the 80s, Landis was responsible for some of the best comedies of the decade, including The Blues Brothers and Trading Places, but it was when he introduced horror into the mix with An American Werewolf in London that he really reached his peak. Landis made comedies that looked as good as any of the more high-brow movies, each littered with his unmistakeable trademarks (static shots of watching statues or paintings, and references to ‘see you next Wednesday’). His career tailed off toward the end of the decade, but perhaps the forthcoming Burke & Hare will be a return to form.

Signature movie: An American Werewolf in London

14. George Lucas

As a director, George Lucas is included in this list on the basis of one film, and one alone. But what a film. Star Wars changed everything. It’s impossible to gauge exactly what impact that movie had on the 7-year-old kid I was, but I know it was profound, as it was with almost every kid around my age. Star Wars was like saying hello to the wonder of cinema for the first time. We’d never seen anything like it. There were a few flashes of that directorial skill in the three prequels, but for the most part those films were engineered rather than directed and Lucas would not have made this list based on those. But for changing the way we viewed cinema, his one contribution cannot be underestimated.

Signature movie: Star Wars

15. John Lasseter and Pixar

Before Toy Story, the feature length animated movie industry was sputtering along at an uninspired pace. Disney’s output had suffered a gradual slump in both quality and popularity, boosted only by the success of The Lion King. Pixar, a computer company which was originally part of Lucasfilm, had been experimenting with computer animation for years and entered into a deal with Disney to produce three computer animated movies. Toy Story was the first, directed by John Lasseter, and the rest is history. Not only did Pixar revolutionise how movies were animated, but they also completely modernised the storytelling. Suddenly, animated movies were not just for kids, but were written with a sophistication which could appeal to all ages. Pixar kick-started animation, with other studios quick to follow suit, and they are yet to produce a bad film.

Signature movie: Toy Story

.

Okay, my turn to tag. Apologies in advance if you’ve already done it and I missed it.

Cantankerous Panda at Back in the Day

Rory Dean at Above the Line

John at John of the Dead

Dan at Top 10 Films

Sometimes they are mini-movies in themselves, sometimes they are scene-setting primers for what is to come, and sometimes they are actually the best thing about the movie. Either way, the title sequence is an overlooked art form. Hitchcock would often bring in established artists, like Saul Bass, to create his titles, such importance he placed on them. They are the doorway into the movie, a taste of what is to come. They run, tragically ignored while the audience settles down, stops rustling the damn tubs of popcorn and chatting and generally getting up my nose…

Sorry, wrong blog.

Anyway, for your consideration, my top ten title sequences. Enjoy.

.

10. Shaun of the Dead

A short one, this, but the opener for Edgar Wright’s Shaun of the Dead is a little work of genius. It gives us an amusing perspective of everyday life in Britain, before most of the population are transformed into shambling zombies. The question it postulates is very simple; what’s the difference? The fact that Simon Pegg’s Shaun later nips to the Newsagent without noticing the walking dead around him, and you totally believe it, just reinforces the gag.

Vodpod videos no longer available.

.

9. Vertigo

Most people choose North by Northwest as their favourite Hitchcock title sequence, and while that one is certainly highly influential (see David Fincher’s Panic Room opener) I’ve always preferred Vertigo. Saul Bass created what could be the signature title sequence for all Hitchcock’s movies. The fixation on a woman’s frightened features, turning blood red as the title appears, mixed with Bernard Herrmann’s spooky score, tell you all you need to know about the big man’s favourite pastime; basically, torturing beautiful blondes. Naughty Alfred. The spirals signify James Stewart’s fear of heights, his uncontrollable compulsions, and are also reflected in the hair of Kim Novak.

Vodpod videos no longer available.

.

8. Contact

Not, strictly speaking, a title sequence at all, but still one of the most effective openers to a movie. Robert Zemeckis’ underrated adaptation of the novel by Carl Sagan immediately shares with us Ellie Arroway’s (Jodie Foster) awe at the expanse of the universe, and the unimaginable possibilities of what may exist out there. For me at least, the sequence truly inspires a sense of wonder, but also a feeling of the crushing loneliness and isolation of our tiny little planet. Is anyone out there listening? Brilliant.

Vodpod videos no longer available.

.

7. Alien

Ridley Scott ditches Jerry Goldsmith’s original score, keeps it simple, and it works a charm. This is the dark side of Contact’s sequence, in that it perfectly encapsulates the despair, foreboding and the unknown dangers of deep space. The skeletal score, nothing more than a series of strange noises and a random tune, does indeed seem alien. This is a frightening place, very far from home and you feel it. Rarely has a title sequence so perfectly suited its title.

Vodpod videos no longer available.

.

6. Indiana Jones and the Temple of Doom

Steven Spielberg had long wanted to shoot a Busby Berkely style showstopper, and with his second Indiana Jones movie he got the chance. Set on the stage of Club Obi-Wan (one of the series’ many in-jokes), Kate Capshaw’s small scale rendition of Anything Goes, in Cantonese, soon escalates into a massive, glittering dance routine. Yes, it’s a little ridiculous that the tiny stage can suddenly accommodate this huge production, but this is a director indulging himself a little. If Spielberg (all praise his name) wants to give his future wife a huge entrance (snigger), who are we to deny him?

Vodpod videos no longer available.

.

5. Zombieland

Zombies again, this time from the other side of the pond. It’s ridiculous, it’s gruesome, it’s fun! Yay! Ruben Fleischer’s Metallica backed title sequence couldn’t set you up better for the insanity to follow. The madness of zombie attacks, in ultra slow-motion, is somehow inherently funny and Fleischer milks it for all it’s worth. Add to this the movie’s continuing interaction between the real world and the words onscreen, and you have a good old, undead chuckle fest.

Vodpod videos no longer available.

.

4. Ed Wood

Tim Burton’s celebration of Hollywood’s worst ever director, Edward D. Wood Jr., had the perfect opening sequence. This is such an affectionate homage to the tacky, B-movie ethics of its subject, that there’s no doubt the man himself would have adored it. Howard Shore’s Theremin laced score is absolutely spot on, and the construction of a miniature Hollywood for the final tracking shot is breathtaking. Burton at his best.

Vodpod videos no longer available.

.

3. Watchmen

Zack Snyder’s adaptation of the graphic novel opens with this master class in condensing an entire back-story into a short sequence. Giving us the story of this alternative universe’s superheroes, right up until the main movie’s 1980’s setting, we see a history of the 20th century as it may have been with the addition of masked vigilantes and a superhuman. Bob Dylan’s classic folk song makes the perfect accompaniment to the beautiful, slow-motion scene-setting, and every frame looks like it was ripped straight from the pages of a comic book.

Vodpod videos no longer available.

.

2. Lord of War

Andrew Niccol’s study of a morally conflicted arms dealer (Nicholas Cage) was a fairly average movie, but what it did boast was this outstanding title sequence. Almost a mini-movie in itself, the POV journey of a single bullet from production to ultimate use is original, telling and ends with a depressing suddenness. The CGI already looks a little dated now, but that in no way detracts from the scene’s effectiveness. Very clever opening sequence.

Vodpod videos no longer available.

.

1. Seven

So many subsequent thrillers have imitated Seven’s dark, twisted title sequence that the power it held at the time may seem somewhat diminished. However, David Fincher’s opener to his second movie is still the Daddy of all title sequences. Unnerving, sinister and bleak, this left you in no doubt as to what you had in store. Part of its genius is that many aspects of what you are seeing are not revealed in their meaning until the second viewing, when you realise who it is you are watching. Coupled with a totally stripped down version of Nine Inch Nails’ Closer, this is the mind of a lunatic at work and play. Chilling.

Vodpod videos no longer available.

The Movie

Raiders of the Lost Ark is my all time favourite celluloid experience, bar none. There’s no other movie like it. Any collaboration between George Lucas and Steven Spielberg had a high chance of providing something special, and although none of the sequels lived up to the magic of this first crack of the whip, Raiders was a shining nugget of movie gold. There are certainly other movies that have connected with me more on an emotional or intellectual level, but no film quite gives me the pure chills, the goosebumps, that I get from Raiders of the Lost Ark. No other movie so effortlessly reminds me why I love cinema quite like this one. And no scene is a better example of why than the opening scene.

The Scene

South America, 1936. Indiana Jones (Harrison Ford) and his companion Satipo (Alfred Molina) have located a remote, hidden temple. We’ve already had a taste of what kind of character this guy in the hat is after he’s seen off an armed traitor in his group, using just a bullwhip. Classy.

The two men enter the temple…

Vodpod videos no longer available.
.

Why I Love It

The Idea

What an opening scene for a movie. What a way for a character to introduce himself. What a piece of pure, unpretentious, fluid cinema. There are few directors so adept at making the ridiculous seem plausible like Steven Spielberg, which is what made him the perfect choice to make Raiders of the Lost Ark. The idea was to bring back the old Saturday morning adventure serials, with their cliff-hanger endings and preposterous scrapes. In this, they succeeded and then some. The opening scene immediately drops us into Indiana’s life at its most exciting, almost as if we have just caught the end of last week’s episode.

The Icky Factor

Spielberg understands that as well as ‘oohs’ and ‘ahhs’, audiences also enjoy the odd ‘yuk!’ The Indiana Jones movies are crawling (literally) with moments such as these. Having already given us an army of tarantulas, we are then treated to the nasty fate of Dr Jones’ predecessor, Forrestal. He even makes squelchy noises as his decomposing head turns Indiana’s way. Yes!

.

Walking the Traps

A bunch of faces which shoot poison darts? No problem. Just don’t tread on the darker, diamond shaped stones. This should seem like a breeze when you think about it, but thanks to Spielberg’s slow tracking shot along the wall of faces, and John William’s steadily building score, it seems more like the worst ever drink driving test.

.

The Intimate Zoom

Having reached the Golden Idol, Indy stops for a moment. With Williams’ music reaching a crescendo, Spielberg takes time for a slow zoom onto the Archaeologist and his prize. For Indiana Jones at that moment, there is nothing in the world but he and the Idol. It’s the perfect little moment of character illustration. Then, we pull out again and it’s back to business. Gives me a shiver every time.

.

Ford Falls Over

The boulder rolling down toward Jones has long since become an iconic image, but what I love about this part is the fact that, having done 10 takes of Harrison Ford outrunning the huge fibreglass ball, Spielberg kept the one take where Ford fell over. It gives the scene a little sprinkle of authenticity, and I’m sure the panic on Ford’s face is genuine.

.

Trivia

There is a continuity error at the beginning of the scene. As Indiana Jones and Satipo enter the temple, they pass through a huge cobweb. When Jones leans downwards to walk through the web, there are spiders clearly visible on his back. Cut to a shot from behind the pair, and we can see that Indy’s back is now clear. Then Satipo notices spiders on Indy’s back! Magic South American disappearing tarantulas or Continuity Editor’s day off?

.

It doesn’t matter, of course. One small continuity error can’t stop this being my favourite scene from my favourite movie. Long may it give me goosebumps and bring a cheesy smile to my face!

They say the best movie soundtracks are the ones that you don’t notice are there. They feature music that enhances a film but never tries to compete for your attention. That’s all well and good, but personally I like the soundtracks that do both; the music that you find yourself humming later on and then buy because it is good enough to survive on its own.

I’ve been listening to soundtracks for as long as I’ve been watching movies, and that’s a long time. Sometimes I’ll listen because the music is excellent in its own right, sometimes because it’s just great music to daydream to, and sometimes because a particular score is the perfect inspiration for the writing of a screenplay. I once wrote an entire script around the music to a single scene in Aliens. Thanks for that, Mr James Horner.

Selecting a paltry five soundtracks from the plethora I admire was no easy task but eventually, after much hand-wringing and begging for forgiveness from the aforementioned James Horner, I settled on my Top Five. These are the soundtracks which I believe best represent the art in all its forms; as beautiful music in its own right, as the perfect enhancement to the story and visuals, and as examples of craftsmen at the top of their game.

.

Alien – Jerry Goldsmith

1979

Long considered one of the most successful and enduring movie composers of all time, Jerry Goldsmith has been around since the Fifties and continues to work sporadically today. The story of his music for Ridley Scott’s Alien is one of disagreements and disappointments, but there is no denying the beauty of his work for the classic Sci-Fi/Horror movie. Hired by Scott at the ‘suggestion’ of 20th Century Fox, Goldsmith and the director clearly had differing ideas about how the movie should be scored. As a result, much of the music Goldsmith wrote was omitted from the final cut of Alien. The romantic, sweeping and eerie theme originally written was rejected by Scott and replaced by the composer’s second effort; a simple series of unnerving sounds which, it must be said, are extremely effective. Scott also chose to use a pre-existing piece of classical music for the end credits, further alienating Goldsmith. The original score is available in its entirety, but what remains within the film is deeply unsettling, beautiful and dark. Elements of his original opening theme survive in scenes where the Nostromo lands and takes off, making the process of landing a spaceship seem like an adventure in itself. And, taking the title of the movie to heart, Goldsmith creates ugly, unnatural sounds whenever the creature appears. Don’t ask me what they are, I prefer not knowing.

See also: Chinatown, Star Trek: The Motion Picture and The Omen.

.

Edward Scissorhands – Danny Elfman

1990

The fourth collaboration between composer Elfman and director Tim Burton, Edward Scissorhands remains one of the most influential scores of the last twenty years. Elfman began his career in film by scoring his older brother Richard’s movie, Forbidden Zone, and soon after began his creative relationship with Burton working on Pee-Wee’s Big Adventure. Utilising a 79 piece orchestra and a choir, the music for Edward Scissorhands is rich, dreamlike and perfectly encapsulates the bittersweet themes of Burton’s most personal film to date. In addition, Elfman creates a hilarious tick-tock theme for the bland suburbia into which Edward appears, and a signature bombastic march which touches on the near insanity of the inventor (Vincent Price) and his bizarre machines. Elfman and Burton represent a perfect understanding between director and composer, and even if Burton’s work isn’t always accomplished, Elfman’s usually is. They say that imitation is the highest form of flattery, and it is a measure of this soundtrack’s success that its music-box chimes and soulful choral voices have become the signature sound for fairy tales and Chanel advertisements ever since. It has even been adapted into a ballet.

See also: Midnight Run, Batman Returns and Big Fish.

.

The Fog – John Carpenter

1980

John Carpenter has always been a curious rarity as a filmmaker. Not only does he direct and, more often than not, write his movies but he also composes and performs the soundtracks. Not even Spielberg can do that (all praise His name). So, as sole creator of every component, Carpenter’s synth-based scores have always been the perfect accompaniments to the action on the screen. Often using a heartbeat thump as the base, Carpenter’s soundtracks heighten the tension considerably. His most famous is probably Halloween, but my personal favourite has always been The Fog. Carpenter uses very little in enhancing the eerie atmosphere of his coastal ghost story, but every fog horn sound and every light stoke of piano key burrows deep under the skin, priming the viewer for the experience. The thumping sound as the fog rolls into Antonio Bay mimics the pounding on doors, the noise which announces the spectres before they strike. It is one of the greatest horror movie scores of all time, by a composer who fully understands the genre. Carpenter’s band, The Coup De Villes, also provided the somewhat cheesy tunes which play on the radio, or serve as jingles for the KAB Radio station.

See also: Halloween, Escape From New York and Big Trouble in Little China.

.

Jaws – John Williams

1975

If you mention Jaws in conversation, one of the first things that will come to mind is the theme tune. Dum dum dum dum, etc and so forth. Effective and iconic as that theme is, it sometimes results in the rest of the soundtrack being overlooked. This is a shame because, beyond the ominous strings which more than compensate for the killer shark’s rather rubbery presence, Jaws enjoys one of the most accomplished scores in cinema history. John Williams has been working in the industry for half a century, and is responsible for some of cinema’s most recognisable theme tunes, including Star Wars and Indiana Jones. Jaws marked Williams’ first collaboration with Spielberg, a collaboration that has now spanned 35 years and 19 movies. By turns haunting, joyous, foreboding and terrifying, Jaws is a master class in writing music to accentuate the moving image. Williams’ strings make the ocean seem filled with dread, he quietly adds atmosphere to Quint’s tale of the USS Indianapolis, and the cheerful sea shanty which accompanies the Orca’s doomed pursuit of the Great White strikes a gloriously upbeat note in the midst of the peril. It was the perfect start to such a successful collaboration.

See also: Raiders of the Lost Ark, Star Wars and Schindler’s List.

.

The Mission – Ennio Morricone

1986

The chances are there is at least one Ennio Morricone score that you love, and probably more. Morricone has been producing music for film for over 50 years, across a diverse range of genre and language. He gained wide acclaim for his work with Sergio Leone on the Spaghetti Westerns of the Sixties and managed to write a score for John Carpenter’s The Thing which sounded like a Carpenter score. However, when I hear the name Morricone I immediately think of one movie: The Mission. Roland Joffé’s story of Spanish Jesuit missionaries in 18th century South America, and their struggles with the Spanish and Portuguese colonial governments, was graced with some of the most beautiful music ever composed for film. Morricone mixes classical Baroque orchestra, South American Guaraní instruments, Spanish guitars and haunting choirs to magnificent and often heartbreaking effect. The emotional punch of Morricone’s work even filters down to the simple tune which Father Gabriel (Jeremy Irons) plays on his oboe, a tune later reprised with full orchestra for the track On Earth As It Is In Heaven, which is breathtaking.

See also: The Good, the Bad and the Ugly, The Untouchables and Once Upon a Time in America.

.

The Also Rans:  Star Trek II: The Wrath of Khan – James Horner, The Bourne Identity – John Powell, The Assassination of Jesse James by the Coward Robert Ford – Warren Ellis and Nick Cave, Psycho – Bernard Herrmann, Solaris – Cliff Martinez.

.