Tag: tattoo

On the Original PLANET OF THE APES Films

A brief look back at the original 1968 classic and its essential sequels

Recently, I took my three little boys to see a revival screening of what is still one of my all-time favorite motion pictures and a work of daring, groundbreaking popular science fiction that has long ago attained the status of myth. I’m speaking of Planet of the Apes, a picture I was obsessed with as a child and – thanks to the nurturing influence of my Uncle and his own passion for the movie – became part of the fabric of my life. The toys, the sequels, the short-lived television show, the mass-merchandising and most importantly, the dark, cerebral moralist spine of the series, one that was put in place by a draft of the script penned by my hero, The Twilight Zone architect Rod Serling. Sure, Pierre Boulle’s novel “Monkey Planet” was the source of the story, but that book trades in social satire while the resulting hybrid motion picture and the legacy of entertainment that followed, was most assuredly a byproduct of the late-60’s and early 70’s cultural fixation of future-shock tales of terror. Indeed Planet of the Apes was my first real taste of heady, grimly prophetic and sophisticated fantasy filmmaking, one that was charmingly washed down with those iconic make-up designs, lively dialogue, primal action and appealing – to a child – genre tropes. It was and remains a work of startling art and the films that followed both built on, fumbled and re-directed its messages in fascinating ways.

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On TATTOO

A look back on the controversial and lurid erotic psycho-thriller

While re-watching Quentin Tarantino’s magnum 65mm, locked-door mystery/giallo/western/morality tale THE HATEFUL EIGHT, I was once more struck by how damn good actor Bruce Dern is in that film. It’s a deceivingly simple performance, mainly because the then 78-year-old performer never leaves the chair in which he sits, from the first time we see him to the point in which he loses his miserable life at the barrel of Sam Jackson’s vengeful Smith & Wesson. But it’s perhaps the most layered turn in the picture; subtle and oddly dignified despite the fact that his character is a coward hiding behind racist, patriotic bravado and by the end, even somewhat sympathetic.

But that’s Dern. He’s one of Hollywood’s finest character actors and an artist who rarely gets the credit he’s due. Not a traditionally “good looking” man, Dern has his own thing going on; a pointed look, almost rat-like, and when he opts to play an unsavory character (as in H8, HBO’s BIG LOVE, THE COWBOYS et al) he is a fiend without peer. And when he’s given the task to actually carry a film himself, the results are startling.

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