MCN Columnists
Gary Dretzka

Dretzka By Gary DretzkaDretzka@moviecitynews.com

The DVD Wrapup: 45 Years, 10 Cloverfield Lane, London Has Fallen, Wenders/Franco, La chienne and more

Once upon a time in Hollywood, movies that featured elderly characters played by venerable stars could be counted on to attract a decent-sized slice of the box-office pie and command the attention of awards voters.

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The DVD Wrapup: Janis, Triple 9, Princess, Wim Wenders, City of Women, Blood Bath, Human Tornado and more

For as long as I can remember, someone has been trying to make a biopic about Janis Joplin. The closest anyone has come is Mark Rydell’s 1979 The Rose, which was loosely based on the Texas songbird’s troubled life, career and premature death to a heroin overdose nine years earlier. Because Joplin’s family wasn’t yet ready to commit to a specific Hollywood suitor, The Rose could only tease audiences with allusions to known facts. Since then, Lili Taylor, Pink, Zooey Deschanel, Brittany Murphy, Renée Zellweger, Amy Adams and Nina Arianda have had their names attached to film and theatrical projects that hit roadblocks along the way for similar reasons. The wait, in large part is over. Amy Berg’s comprehensive and legitimately affecting documentary, Janis Joplin: Little Girl Blue, succeeds because she was granted the access the other hopefuls were denied. Still, it took eight years to complete.

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Dretzka

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“I was 15 when I first watched Sally Hardesty escape into the back of a pickup truck, covered in blood and cackling like a goddamn witch. All of her friends were dead. She had been kidnapped, tortured and even forced to feed her own blood to her cannibalistic captors’ impossibly shriveled patriarch. Being new to the horror genre, I was sure she was going to die. It had been a few months since I survived a violent sexual assault, where I subsequently ran from my assailant, tripped, fell and fought like hell. I crawled home with bloody knees, makeup-stained cheeks and a new void in both my mind and heart. My sense of safety, my ability to trust others, my willingness to form new relationships and my love of spending time with people I cared about were all taken from me. It wasn’t until I found the original The Texas Chain Saw Massacre that something clicked. It was Sally’s strength, and her resilience. It was watching her survive blows to the head from a hammer. It was watching her break free from her bonds and burst through a glass window. It was watching her get back up after she’d been stabbed. It was watching her crawl into the back of a truck, laughing as it drove away from Leatherface. She was the last one to confront the killer, and live. I remember sitting in front of the TV and thinking, There I am. That’s me.”
~ Lauren Milici On “The Final Girl”

“‘Thriller’ enforced its own reality principle; it was there, part of the every commute, a serenade to every errand, a referent to every purchase, a fact of every life. You didn’t have to like it, you only had to acknowledge it. By July 6, 1984, when the Jacksons played the first show of their ‘Victory’ tour, in Kansas City, Missouri, Jacksonism had produced a system of commodification so complete that whatever and whoever was admitted to it instantly became a new commodity. People were no longer comsuming commodities as such things are conventionally understood (records, videos, posters, books, magazines, key rings, earrings necklaces pins buttons wigs voice-altering devices Pepsis t-shirts underwear hats scarves gloves jackets – and why were there no jeans called Bille Jeans?); they were consuming their own gestures of consumption. That is, they were consuming not a Tayloristic Michael Jackson, or any licensed facsimile, but themselves. Riding a Mobius strip of pure capitalism, that was the transubstantiation.”
~ Greil Marcus On Michael Jackson