Tag: Arnold Schwarzenegger


1982 was a great year to be alive if you had a thing for burly men, scantily clad women, massive edge weapons and fantastical shenanigans galore. It may not have been the year responsible for starting the Sword & Sorcery craze of the 1980s – 1981 had EXCALIBUR and CLASH OF THE TITANS going for it – but it is certainly the banner year for the genre with films like THE BEASTMASTER, THE SWORD AND THE SORCERER and CONAN THE BARBARIAN all seeing release. It was a rather strange genre, targeted at a very specific (i.e. male) audience that wasn’t all that discerning about age. For every family friendly fantasy romp like CLASH OF THE TITANS, there were at least a half dozen hard R rated films like EXCALIBUR or CONAN THE BARBARIAN. And none were quite as iconic as Conan.

June 22, 2009 / / Main Slate Archive

The Long Goodbye – 1973 – Dir. Robert Altman

The late, great Robert Altman once again lends his distinctive, experimental style to what has come to be regarded as this definitive interpretation of Raymond Chandler’s The Long Goodbye. It’s a winner!  Thirty-six this year, the film still plays as fresh and as contemporary as it did the year it was made.  The tale of a double murder and the unfortunate detective who gets dragged, kicking and screaming, into the thick of it is filled with a permeating cynicism, underhanded absurdities and shattering acts of violence.  Crime author Raymond Chandler, like his contemporaries Dashiell Hammett and Ross McDonald, created glamorous worlds of danger and intrigue where a usually hapless, albeit decent guy, finds himself way over his head in the soup. Here, Chandler’s anti-hero, Phillip Marlowe, is helmed by the underrated Elliott Gould. A huge star in the 60s and 70s (Bob and Carol and Ted and Alice, M.A.S.H.), Gould brings a bizarrely effortless spin to a  role played in more traditional ways by everyone from Bogart to James Garner.  His dopey, befuddled schmuck look assists him ably in Altman’s clever conceit of placing a 1950s-style detective into a 1970s-style world.  It is as if this “Rip van Marlowe”, waking from a long slumber, has been transported via some private eye time tunnel twenty years into the future — a future he does not understand and is more than a little bit lost in.