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Posts Tagged ‘Patrick Swayze’

Were you aware they’d done a remake of Point Break? I’m guessing it’s really not a very good movie, seeing as it’s so obscure. When I first became aware of it the other day, my immediate thought was ‘that’s a pretty new movie to be getting a remake’ – but then, of course, I thought about it and realised that Point Break – the Kathryn Bigelow version, that is – is thirty years old this year. Thirty! I can scarcely believe it.

On the other hand, while all great movies have a timeless quality, that doesn’t preclude them from also being essentially of the time they were made, either, and there is something quintessentially early-90s about Point Break: it’s not brash and excessive like an 80s movie, but neither does it have that slightly chilly slickness you get in a lot of films from the following decade. The sense of a changing of the guard is only emphasised by the presence of iconic 80s heart-throb Patrick Swayze (in a very questionable but also authentic hair-style) and also Keanu Reeves, a man for whom the 90s were a defining decade.

The film opens with scenes of Swayze hanging ten and catching waves (etc), and looking majestic doing so, while Reeves struts his stuff on the FBI academy firing range. Keanu is playing football-star-turned-rookie-FBI-agent Johnny (made-up name) Utah, whose first assignment sees him join the bank robbery section in Los Angeles. Utah is a bit buttoned-down, but not yet a fully-fledged pen-pusher like his boss. He is partnered with a world-weary veteran named Angelo Pappas (Gary Busey) who has become a laughing-stock around the office: charged with catching an elite gang of robbers nicknamed the Dead Presidents, Pappas has become convinced that they are surfers, based on their schedule (they’re only active in summer, California’s surf season) and a few shreds of forensic evidence. Someone needs to go undercover on the beach and see what’s going down…

Well, it’s obviously not going to be Busey, so Keanu buys a board and is soon getting surfing lessons from a nice young woman named Tyler (Lori Petty). Through her he has his doors of perception well and truly opened up when he meets top surfer, free spirit, and near-as-dammit spiritual guru Bodhi (Swayze) and his gang of followers. Not only that, his buttons are loosened, his screws are undone and he takes to wandering about inside the FBI building carrying his board. He even turns up late for a raid after some night-surfing (and a spot of the old whoa-ho with Petty) takes the place of the recommended early night. But could Bodhi and his pals be getting up to more than some extreme sports?

It sounds rather generic when you write it down that way, and indeed one of the things that makes Point Break such an intriguing movie is the fact that it has almost exactly the same basic plot trajectory as the original The Fast and the Furious film while still feeling like a stylish and classy film for grown-ups, right down to the central character dynamic. One plot summary I’ve seen of this movie suggests that Keanu finds his mission complicated when he falls in love with Swayze’s ex-girlfriend. The film itself is rather more ambiguous on whom the exact object of Keanu’s affection is, something which Hot Fuzz recognised with typically forensic accuracy when one character summarised a key sequence: ‘Patrick Swayze has just robbed this bank, and Keanu Reeves is chasin’ him through peoples’ gardens, and then he goes to shoot Swayze but he can’t because he loves him so much and he’s firin’ his gun up in the air and he’s like ‘ahhh!” It’s all very subtextual, naturally, but Swayze is very sinewy and macho and Keanu is still at that point where he’s often sort of blankly bovine and – there’s not really another mot juste in this case – pretty.

Nevertheless, Keanu is showing signs of improvement, and this is surely the first film to establish his potential as a genuine action movie star: he runs and fights and chucks himself about with great aplomb. And he always has that same Reevesian charisma – he is a still point of total calm on the screen, which you somehow cannot help but fill with your affection for the lad. At one point in Point Break, the film (which has hitherto been relatively restrained and naturalistic) requires Keanu to hurl himself out of a plane in flight, without a parachute, and apprehend his quarry in free-fall. Even at the height of Bondian absurdity, Roger Moore was excused this sort of thing, but Keanu – well, he doesn’t exactly sell the bit outright, but he makes you indulge the film in it.

Of course, if we’re talking about pretty – and yes, this is a fairly shallow and spurious bit of linking – then we should also mention that Lori Petty is in this movie too. She always struck me as someone extremely smart and watchable, but – on the face of things, at least – the failure of Tank Girl dealt her career as someone who could lead a movie a mortal blow. Here, you just wish she was given a bit more to do than be a plot device: as noted, the central relationship in the movie is between Reeves and Swayze, so she ends up sidelined and barely appears in the third act of the movie.

Most of this is chasing and shooting, which Bigelow handles with her characteristic muscular efficiency: she’s had a distinguished career, but one where good films just haven’t had the success which they deserved, with some quite substantial gaps in her filmography as a result. On one level Point Break feels like it occupies some peculiar narrative space between The Lost Boys and The Fast and the Furious – Patrick Swayze (who surely gives the best performance of his career here) as the somewhat unlikely missing link between Kiefer Sutherland and Vin Diesel – but at the same time the film has a class and a quality which elevates it above the level of simply being a popcorn genre movie. I’m not sure it has any genuine depth to it, but it certainly gives that impression. A great thriller, deserving of its cult status.

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Yes, it’s true: my significant other turned up with Dirty Dancing on DVD for our latest interlude together (at the risk of over-sharing, we are in one of those long-distance relationship things, currently made even complicated by the viral situation). ‘How wonderful,’ I said when she broke the news of this surprise. This is a movie we have occasionally discussed in the past, the conversation usually running along the lines of ‘I can’t believe you’ve never seen this movie!’ – ‘I find this fact to be entirely credible’, and so on.

Given some of the horrors (literal and metaphorical) I have inflicted on Significant Other over the years, I could not refuse to watch this one small movie with her without experiencing considerable negative relationship feedback. So down we sat, and after all the reasonable bodily restraints had been clamped and locked into place, we were off: Emile Ardolino’s 1987 legendary (it says here) classic (ditto) Dirty Dancing.

The movie kicks off with credits running over grainy footage of people dancing in a way which I would characterise as intense but not necessarily ‘dirty’ per se. From here we are off into voice-over land as our main point of identification, a character named Frances ‘Baby’ Houseman (Jennifer Grey), waxes nostalgic about the summer of 1963 and her family’s trip to what looks like a pretty grim resort hotel somewhere in upstate New York. She is youthful and innocent, and the apple of her father’s eye. Said father is played by Jerry Orbach, in a role which does not stretch him much – on the other hand, none of the acting here requires a great deal of pliancy, as most of the characters have been issued with one expression or posture (two at the most) which they assume throughout the movie as required. In Grey’s case this involves just standing there with either a look of glimmering burgeoning sexual awareness in her eyes or angst and outrage at some injustice or other. For Orbach it is basically paternal pride or disappointment.

Anyway, not long after arriving at the resort, Baby’s holiday takes a different turn when she stumbles, almost by accident, into the throbbing demi-monde of the below-stairs staff, who appear to spend all their spare time engaging in suggestive dancing. Masters of this shadowy realm are show-dancer and tutor Johnny Castle (Patrick Swayze) and his female opposite number Penny (Cynthia Rhodes). Rhodes’ character’s signature move is go about attempting to kick people in the eye socket while dancing with them; Swayze’s is to perform whole-body pelvic thrusts, which Baby seems to take a particular interest in.

Well, the plot thickens (or at least manifests) when it turns out that Penny has been impregnated by a snobby waiter at the hotel, and can’t take the time off to go and have an abortion without losing her job (and costing Johnny his). But wait – could somebody learn the routines and dance with Johnny, thus letting Penny slope off somewhere and get herself seen to? Could be!

I knew all the things about Dirty Dancing that a reasonably culturally-literate person who’d never actually seen the movie could be expected to know: setting, rough thrust of the plot, the odd well-worn line of dialogue, some people standing in a lake, the song from the finale, and so on. Given the film’s impressive reputation, though, I was expecting something a bit more polished and, well, substantial than the thing I actually ended up watching.

What Dirty Dancing most reminds me of is the kind of movie that was being aimed at teenagers at around the time it was made – or even a few years earlier: an exploitation movie aimed at a teen audience, with a strong moral message, plenty of popular tunes, and nothing too likely to outrage the sensibilities of any parents who might inadvertently find themselves watching it. For a film which is supposedly searingly erotic, this struck me as very tame stuff indeed, with only a handful of moments (and much of the subplot about the abortion) that made it feel like a movie from the 80s rather than the late 50s. On the other hand, the nostalgia element of the movie is one of its most successful – the goings-on at the hotel are amusingly shabby and unimpressive, although the odd classic tune makes it onto the soundtrack.

Of course, at fairly regular intervals, some sort of melodic time warp seems to manifest in the Catskills and music from the actual 1980s starts playing in 1963, usually just in time for Swayze and Grey to start dancing to. Needless to say I did not find this especially immersive, but on the other hand it was much of a muchness with a film which I honestly found to be unexpectedly primitive in a number of departments, primarily the script and direction. For a romantic melodrama (let’s not argue about it, this is a melodrama) there isn’t much sizzle going on, and no sense of developing romantic tension between the two leads: Grey abruptly declares her interest in Swayze, with no real foreshadowing. The burgeoning womanhood of Grey’s character is likewise not handled with any real subtlety: she goes from frumpy mouse outfits to something rather abbreviated and clingy in the space of a montage sequence. The romance plot is resolved and Grey and Swayze’s happy ending assured by a supporting character acting like a complete idiot for no reason other than the pacing of the film demanding it.

However, you may be pleased to hear I am still in a relationship and this is largely because I did find Dirty Dancing to be fairly entertaining to watch, albeit not in the way its makers were probably hoping, and this was enough to satisfy Significant Other. There is something oddly pleasurable about clunky and obvious storytelling, weird continuity and melodramatic plotting – I found the climactic sequence to be especially entertaining, particularly the moment where a bit of dodgy editing makes it look like a guy with a trumpet is playing a sax solo.

Even so, I think this is a movie which you have to be a thirteen year old girl to really appreciate, and (spoiler alert) this is not a constituency to which I have ever belonged. Thirteen year old girls have the right to have their own movies just the same as the rest of us, and while I could hope they received something better than Dirty Dancing, I suppose it will do for them in a pinch. It’s one of those films which suggests that a movie can be a classic while still not actually being any good. Or perhaps that’s too harsh: this is a hard film to dislike despite its various deficiencies. Harmless, silly fun.

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A German woman writes:

Being the girlfriend of one of the biggest movie fans and film bloggers in Great Britain really gives you some special responsibilities. Your beloved regular correspondent has a special relationship with all kinds of King Kong movies and died a few deaths while watching Peter Rabbit a couple of years ago, but now I think the time has come to give him a real challenge. You know what heroes do for their girl: they jump out of helicopters, they swim through ice-cold water and they carry the girl they love into the sunset. Or they watch a chick flick with their lady!

If you are a man who wants to score points with your woman, please think about watching one of the most romantic movies, absolutely beloved by women everywhere. For those of you who like facts, it is not just my opinion that Dirty Dancing is the women’s movie. A survey from May 2007 listed Dirty Dancing as number one on the list of women’s most watched films, above the Star Wars trilogy, Grease, The Sound of Music and Pretty Woman [I expect it just edged out The Human Centipede: Full Cycle – A].

If you have ever asked yourself what women do when they get together in a group [Frankly, that falls into ‘best not comtemplated’ territory for me – A] while you drink beer with your friends [Bit sexist – A] [Nothing wrong with a good cliche – GW], here is the answer: we put a lot of cream on our faces, wear cosy pyjamas, eat quite unhealthy food and watch Dirty Dancing for the forty-seventh time.

In 1987 this movie premiered at the Cannes Film Festival and was released in the US on the 21st of August. The director was Emile Ardolino who also made Sister Act. He won an Academy Award for Best Documentary Feature for 1983’s He Makes Me Feel Like Dancing. The main song, ‘I’ve Had the Time of My Life’ won a Golden Globe, the Oscar for Best Song, and a Grammy award. [Yeah, but Peter Rabbit won an AACTA gong, which shows how much you can trust awards ceremonies – A] Let’s not forget that lead actor Patrick Swayze sang ‘She’s like the wind’ which he co-wrote with Stacy Widelitz.

What is the movie about, you may ask, especially if you are similar to your regular correspondent and haven’t seen Dirty Dancing. Maybe films from this time may seem old and obscure to adults in their twenties (I myself have been officially 28 for over ten years). Dirty Dancing did celebrate its thirtieth anniversary a few years ago, after all. It may seem to you like a very old movie. [GW seems to think the regular readership of this blog is teenage boys, which I strongly doubt – though if you are a teenage boy reading this, drop us a line and say hello – A] Let me give you a bit more historical context.

The movie was released in Germany in 1988. At this time Germany was divided into East and West Germany following the Second World War. [Light-hearted film review blog – A] Berlin in particular was a divided city – can you imagine? A wall through the whole city. [This is turning into The World at War – A] When I visited a city in East Germany for the first time in November 1989, I remember seeing a poster for Dirty Dancing at a cinema.

Back to the movie. It is early summer in 1963, in America. Frances ‘Baby’ Houseman (Jennifer Grey with her original nose, before having the plastic surgery which showed that we girls and women should think twice before having this sort of procedure) [Miaow – A], her parents (Kelly Bishop and Jerry Orbach), and her sister (Jane Brucker) are on their way to a holiday in a resort called Kellerman’s. At this time there are big social divides between the guests and the employees. The waiters who are in contact with the guests are mostly students doing a holiday job to finance their study. All the other employees are effectively second-class citizens or worse.

Guests spend their time playing different games during the day, taking part in competitions, playing golf or taking dance classes. In the evening every day is a big elegant dinner, perhaps a bit like on a modern cruise, but without the ship. Johnny Castle (Swayze, 34 years old and a former dancer) is a dance instructor. His dance partner and friend Penny (Cynthia Rhodes) is pregnant by one of the waiters, Robbie (Max Cantor). He doesn’t want to help her. She would like to have an abortion, but doesn’t have enough money. Baby discovers this situation and asks her father for the money, without telling him the reason.

At the same time Johnny and Penny are due to give a show dance, so Baby agrees to fill in for her, practising for days with Johnny before the performance. The abortion goes wrong, leaving Penny in a lot of pain, and Baby has to call in her father, who is a doctor. He thinks Johnny made Penny pregnant and is angry with Baby for not telling him the reason why she borrowed the money. He also orders her to stay away from Johnny. But she meets with him secretly and their relationship starts to get intimate.

A bored older woman (Miranda Garrison, also the film’s assistant choreographer) wants to get intimate with Johnny, too, but he rejects her offer and in revenge she accuses him of stealing her husband’s wallet. The owner wants to fire Johnny, but Baby gives him an alibi. The real thieves are caught, but now Johnny is fired for having a relationship with Baby. He has to go.

As you can imagine the overall mood is not great now. On the last day of the holiday there is a big talent show for all the guests. Robbie [For no obvious reason – A] admits to Dr Houseman that he got Penny pregnant, which leads to Houseman angrily withdrawing the medical school recommendation he had provided. Johnny arrives with a few other dancers and announces that he is the one who traditionally dances the last dance of the season, and he’s going to do so this year too, with Baby. They get on stage and dance successfully. Baby’s family is stunned by her talent. Slowly everybody starts to dance and Dr Houseman apologises to Johnny for being dismissive of him earlier.

And where are the watermelons? They appear when Baby meets Johnny for the first time. If you have ever been in an awkward situation where you thought ‘why did this happen to me?’, think of this scene and you will immediately feel happy again.

(While writing this review it was my pleasure to do some research, and I learned the crew had to battle with extreme weather conditions and high temperatures. People passed out, and Patrick Swayze hurt his knee doing his own stunts. All of this delayed the shoot, they had to spray the Autumn leaves green again, and the famous scene in the lake was filmed in October.)

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