Trailer Time: Blood Simple (1984)

dir. Joel Coen


As I mentioned in a previous post, updating and "fixing" older films (Herein defined as, "you know, I was watching my directing debut the other day and I realized I would totally edit it differently if I made it today. I should go change it.") is one of my biggest pet peeves, movie-wise. Now, if your movie had been previously compromised by the studio, then, by all means, you should be able to release the version of the movie you would have had it not been sullied by meddling studio hands. But if you just wanna correct your own previous mistakes, I say, tough shit. The movie you already released should stand as the definitive statement of your vision—because it was your vision at the time you made your film; it represents who you were, talent-wise and personality-wise, when you made the film.

When I wrote that previous piece, mentioned earlier, I cited the changes the Coen brothers made to their stunning debut Blood Simple upon its rerelease. They came so close to perfection with this film on their first attempt that their later decision to make the movie even "better" just seemed greedy. (Please don't get me wrong, I really don't mean to shit on the Coens. I am one of their biggest fans. Still, I have to call this shit out.)

It's somewhat fitting, then, that I'm now discussing the two different versions of the trailer for Blood Simple: the original release trailer, and the newer re-release version. Of course, though I am loath to accept a newer edit of a previously released film, I'll grant a little leeway for trailers. You see, these are essentially pieces of advertisement. Yes, I've argued many times on this blog that trailers can also, when done right, function as pieces of art; but still, there's a little less integrity involved. So I can understand when studios make new trailers for films previously released. It requires different instruments in the ol' aesthetic toolbox to lure different generations of people to films. So, if you gotta update a trailer to get more asses in the seats for an older flick, then so be it.

All that being said, how do these trailers stack up? Make no mistake about it, the newer trailer is immensely superior: it is more a work of art than the workmanlike original trailer. Dialogue-free, the newer trailer makes ample use of Carter Burwell's adventurous score. The original is the standard show-characters-talking-about-plot-and-whatnot trailer.

One thing I gotta give the original trailer props for, though, is its attempt at ballsiness. At the 30-second point, a quote slowly unfurls across the black screen, "It is very difficult, very painful, and it takes a very long time..." Then we see more footage from the movie. Wow, this is not the kind of pull quote you generally see for a movie. You don't wanna advertise your movie as difficult, painful, and long; it's just gonna turn people away. And then we see the rest of the quote "...to kill someone." - Alfred Hitchcok. Oh shit, I see what you did there, trailer. Nice fake-out.

[The original trailer:]


[The newer trailer:]

Movie Theme Song Wednesday: Gangs of New York (2002)

dir. Martin Scorsese


"The Hands That Built America" - U2

KL5-FILM Podcast Episode 26 - The King of Kong: A Fistful of Quarters

dir. Seth Gordon


I am joined by Alfred Schulz (@AlfredSchulz) for a discussion of the ridiculously entertaining documentary The King of Kong: A Fistful of Quarters.

Come One, Come All!

Alright, folks, here it is; here's what I was so coyly teasing all last week. I will be hosting my very own movie night at Brooklyn's premier nerd bar The Way Station. Hooray me. As a wise man once said: "This is my happening and it freaks me out!"

If you haven't yet been to The Way Station, this upcoming event will be a great time to check out my new favorite drinkin' spot. As of right now, we still don't know whether this will be a monthly or weekly event. We'll see how this first night goes and take it from there. Translation: Please, everyone, come and drink lots if you want me to be able to keep doing this.

Although future movie nights will focus almost exclusively on cinematic dreck, my first movie night will feature one movie that I consider a genuine masterpiece (Phantom of the Paradise) and another that, although wonderfully terrible, was Oscar nominated (Wild in the Streets). For my first event, though not required, I will highly encourage singing along—that is, if you know the songs. Also, you should get blotto. Don't worry; I'll have some drinking games for y'all, in case you forget how to drink.

Movie Night Date: Sunday, February 12
Start Time: 4:30 PM
Location: 683 Washington Ave (between St. Marks and Prospect Place)
Requirements: Bring your appetite for Sunday night-drinking.

First Feature: Wild in the Streets (1968)
dir. Barry Shear
Length: 97 minutes


Oh, you're in for a treat with our first feature, an anti-hippie propaganda piece that also functions as a rollicking youth revolt movie. Is this a good movie? Who's to say? It was nominated for an Oscar (Best Film Editing), if that's the kind of thing that interests you. Director Barry Shear's groundbreaking film posited a world in which the voting age has been lowered to fourteen. And instead of, you know, not voting because it's like totally boring and lame, the fictionalized youth in this movie send the messianic leader of a swinging rock band to the Oval Office—to the detriment of everyone over the age of 35. Come for the "you've been warned" lecturing; stay for the Dick Clark, Shelley Winters, Richard Pryor, and Hal Holbrook performances.


Second Feature: Phantom of the Paradise (1974)
dir. Brian De Palma
Length: 92 minutes
Start Time: Whenever the first feature ends. I gave you the start time of the event and the running time of Wild in the Streets, so you do the math.


Come see the movie the folks of Winnipeg (the only city that ever embraced Brian De Palma's best feature) deemed worthy of an annual Phantompalooza. As I mentioned on my podcast episode for Phantom of the Paradise, I want to create in New York the kind of following De Palma's feature has received from the generous Canadians. Not only is De Palma's Phantom of the Opera/Faust/The Picture of Dorian Gray rock-musical adaptation a genuine masterpiece, it is bursting at the seams with unapologetically catchy Paul Williams tunes. If you can leave this movie without at least one song stuck in your head, you don't like fun.

Smearing My Love on the Blogosphere (Week of Jan. 23)

Hey, folks, it's the end of the week so that means it's time once again spread the love and share with y'all some of my favorite pieces of writing from around the blogosphere this week. Without further ado:

Over at Self-Styled Siren a discussion of great line readings.

Stacia at She Blogged By Night dissects the career of Neil Diamond. Not movie-related but I don't care; this is good. By the way, this post is long, but well worth it.

John LaRue at The Droid You're Looking For made some beautiful fake Criterion covers for Coen brothers films.

Lauren at Man, I Love Films wrote a piece on movie remakes.

OK, this isn't necessarily a this-week kinda thing, but I wanna remind you once again to check out my friend Matt's web-comic The Man of Many Shades. It's that good.