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Posts Tagged ‘The Winged Serpent’

At one point during the recent trip to New York, Significant Other and I found ourselves enjoying the truly spectacular views available to visitors to Roosevelt Island, looking south and east towards Manhattan and the bay. I was particularly impressed by the fact that so many iconic buildings were in such close proximity to each other, and – feeling, as ever, that knowledge is best shared – thought I would pass on a few pertinent facts about their history.

‘There’s the UN building, which was demolished by Godzilla in Destroy All Monsters in 1968. Just behind it you can see the Empire State Building, which was vandalised by King Kong in 1931. And there’s the Chrysler Building, which was decapitated by the army while fighting Godzilla again in 1998, and also where Q the Winged Serpent was roosting in 1982…’

That tell-tale glazed quality which people so often develop when talking to me about not-entirely-mainstream movies had crept into Significant Other’s eyes, and it occurred to me that while nearly everyone knows what’s what if you mention Godzilla or King Kong, when it comes to a movie like Q (aka Q – The Winged Serpent), you have kind of gone down the rabbit hole a bit. If the movie has attracted a bit more attention recently, it is for the lamentable reason that its creator, Larry Cohen, recently passed away.

Cohen was the kind of film-maker who never really achieved anything more than a kind of cult status, even though his name was frequently on films and TV shows that most people have heard of: he created and wrote the first episode of The Invaders, but moved on when the producers decided to focus more on sci-fi action adventure than the paranoid thriller he had envisaged; he also wrote episodes of Columbo, The Fugitive and NYPD Blue, and a lot of exploitation movies, such as It’s Alive – possibly the greatest killer mutant baby film ever made – Phone Booth, and Captivity. Cohen’s favourite of his own movies was apparently Q, though, and it is easy to see why:  put together in under a week after Cohen was fired from another film but left with a pre-booked hotel room in New York, the film has a kind of mad energy about it which is very engaging.

Q opens with a cheerful scene of a man cleaning the windows of the Empire State Building, forty floors up: apparently this role was played by the building’s actual window cleaner, presumably because no-one else would go out in the harness. Anyway, the man’s attempts to flirt with an office worker run into trouble when something swoops down on him. His decapitated corpse slumps against the window, gorily. Hard-bitten cops Shepard (David Carradine) and Powell (Richard Roundtree) are soon on the case, but find themselves baffled by the absence of the key body part. ‘I don’t know! Maybe his head got loose and came off by itself!’ cries Shepard.

Meanwhile, small-time crook, would-be jazz pianist and all-around craven coward Jimmy Quinn finds himself pressured into participating in a diamond robbery by his underworld associates (the target of the heist is a company named ‘Neil Diamonds’), but things go awry and he finds himself on the run from both the police and his former colleagues. While attempting to visit his lawyer, whose offices are in the Chrysler Building in midtown Manhattan, he finds himself up in the building’s iconic art-deco spire – but he is not alone there, as he discovers a number of bloody skeletons and a large nest containing an even bigger egg…

People are continuing to vanish from the tops of high buildings – we are treated to various scenes of people in the street reacting unconvincingly to fake blood and viscera raining down on them from the sky – and Shepard’s investigation has linked up with another case: that of various people turning up mutilated (skin flayed off, heart cut out, and so on). He comes to the conclusion that an Aztec death cult is operating in New York and has summoned an avatar of the god Quetzalcoatl into existence – it is this dragon-bird-god which is chewing its way through the city’s high-altitude populace. But can he persuade his superiors of this? And just what is it going to take to persuade Jimmy to give up his information about the location of the monster’s lair? (A heap of money, the copyright on all the photos of the creature, and having his picture taken with Rupert Murdoch, apparently.)

A movie like Q should, obviously, be a disaster: the story sounds like a rejected Kolchak script written by someone who’s eaten too much cheese, while the film’s central conceit – an enormous monster flying around present-day New York without anyone noticing, snatching people off rooftops and devouring them – is clearly far beyond the scope of a budget of only $1 million. However, the monster itself, while used very sparingly on screen, is a pretty good one – if there are problems, they arise more from the iffy back projection than the stop-motion special effects themselves.

More important to the film’s success is the way that it is clearly meant to be a tongue-in-cheek, deadpan comedy as much as a serious film. I don’t think anyone, himself included, would ever have described David Carradine as one of the world’s greatest actors, but his chilled-out demeanour and laconic line-readings are exactly right for some of the dialogue he has to deliver – he goes from the stock arguing-with-his-pen-pushing-boss scenes to discussions about deeply unorthodox theology and somehow his performance is pitched just right for both. Carradine is superficially taking it seriously while really not taking it seriously at all, which is basically this film in a nutshell: the script does just the barest minimum possible to explain why millions of people haven’t noticed a dragon flying around New York (apparently the monster makes sure people are blinded by the sun when they look in its direction: hmmm), but you buy into it because you don’t really have any other choice.

On the other hand, the extraordinary thing about Q is that Michael Moriarty seems to be taking the whole thing so seriously it almost becomes ridiculous in an entirely different way. This is, as noted, a tongue-in-cheek horror movie about window cleaners and high steel workers being snatched by a huge flying monster, and yet Moriarty turns in the kind of performance that – in a different genre – could well have attracted awards nominations. He seems to think he’s in a John Cassavetes movie or something like that, obviously giving his absolute all to make Quinn a plausible character. The clash of acting styles between him and Carradine should be very ugly, but again somehow it works.

Now, there are some elements of Q which are great because they work so well, and there are some elements of it which are great because they’re so knowingly cheesy, but this does not quite result in an entirely great movie. The two main plot threads, about the monster’s reign of terror and Quinn’s various travails, are both fine, but there’s an additional storyline about an Aztec cult carrying out human sacrifices which never quite feels fully fleshed out; the way this plot line is resolved also feels like a bit of an afterthought.

This is fairly small potatoes compared to the sheer entertainment value the rest of the film provides. It is gory, sometimes crude, and unashamedly an exploitation movie, but also enormously fun. This isn’t really a message movie, but the plot is obviously tied up with the power of prayer – and it really does seem to me that the existence of the film, especially given its sheer quality, is some kind of miracle.

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