This week at IFC News:
Vincent Ward’s vision of the great beyond (based, with some significant
alterations, on the novel by Richard Matheson) is best known for its
intense imagery, from the pastoral beauty of Robin Williams’ heaven to
the abject horror of of Annabella Sciorra’s hell. But the ultimate
message is less about how things look after death and more about how we
see them. Sciorra’s character Annie is sent to hell not because she
chose to commit suicide after the death of her children and her husband
Chris (Williams) but because those who commit suicide are so utterly
despondent that they cannot accept the reality of their own death. It’s
only by coming to grips with her own mortality that Annie can escape
her fate and rejoin her husband. Of course, after all that effort, they
decide to get reincarnated anyway, and do the whole living thing over
again from stem to stern. Obviously they were a very sequel-minded
It’s funny, I find this collaboration so fascinating because of your
tastes. I’d sooner associate you with Cole Porter than Bruce
That’s because I did a lousy movie with Cole Porter music… "At Long Last Turkey."
Are you really that down on "At Long Last Love"? I usually find that
the most notorious commercial bombs tend to be better than the masses
like to give them credit for.
Well, you know, it wasn’t good enough. It should’ve been better. I’m
going to see if Fox will put it out in a correct version, because there
have been, like, six versions of it. But I’m not dying to put it out.
It’s okay, it’s a curiosity.
No one has yet made a thoroughgoing case for Corman as an
auteur, and it’s easy to see why: Corman himself has never professed to
be anything but a money-monger, and his boasts over more than a
half-century of prolific culture-making have always been about how
cheaply and quickly his movies were made. (His merciless thrift is also
what allowed him to become something of a film school brat intern
factory, giving low-paying first jobs to Francis Ford Coppola, Jonathan
Demme, George Armitage, Monte Hellman, Peter Bogdanovich, et al.) But
even the most profit-minded producer/director, if he personally churns
out an average of seven films a year for more than a half-century,
stands a good chance at stumbling into disarming originality and
resonance on occasion, and Corman’s own hunger to capitalize on social
trends brought him to many rich arenas.
On the podcast, we survey movie vampires through the ages.
And Chris Bonet has what’s new in theaters.