Reverse Angle:
The invisible hand of ‘Poltergeist’
Did Spielberg direct “Poltergeist”? 25
“Wish Upon” filmmaker John Leonetti, who was first assistant cameraman on “Poltergeist,” recently threw his weight behind long-held suspicions that Steven Spielberg, not credited director Tobe Hooper, directed that 1982 horror favorite.
Over the years, many have questioned who did what on the original “Poltergeist.” When one compares the visual styles and certain thematic proclivities of the directors in question, the film looks much more like Spielberg than Hooper (“The Texas Chainsaw Massacre,” “Lifeforce”). Spielberg’s love of horror is also well documented (“Duel,” “Something Evil,” “Twilight Zone: The Movie”).
There has been widespread speculation that a clause in Spielberg’s “E.T. The ExtraTerrestrial” contract prevented him from directing something else while prepping that eventual megahit. But some involved in the “Poltergeist” production, including cast members and composer Jerry Goldsmith, have referred to Spielberg as its de facto director, or at least its dominant co-director.
Appearing on the Blumhouse podcast, “ShockWaves,” this month, Leonetti said, “Steven Spielberg directed that movie. There’s no question. … Hooper was so nice and just happy to be there. He creatively had input. Steven developed the movie, and it was his to direct, except there was anticipation of a director’s strike, so he was ‘the producer,’ but really, he directed it.”
An interesting research piece on Spielberg and “Poltergeist” is at https://tinyurl. com/yas525xd.
Martin Landau RIP
Martin Landau collected the supporting-actor prize for his portrayal of Bela Lugosi in Tim Burton’s “Ed Wood.” Though the late actor’s idiosyncratic work as the fading screen legend was sympathetic and indelible, it might not have been Landau’s finest performance.
His turn as desperate, scheming ophthalmologist Judah in Woody Allen’s “Crimes and Misdemeanors” (1989) was a key factor in making that film an effective drama.
Judah is a liar, cheat and eventually a murderer, yet in Landau’s (and Allen’s) hands, he ends up despicably human in a morally unmoored universe.
Landau, who also starred in TV’s “Mission: Impossible” and was a highly respected acting teacher, died July 15 at age 89.
A 1990 interview with Landau about “Crimes” is at https://tinyurl.com/ya5hmq js.
Trivia question
Landau turned down a TV role that became iconic. When Landau later left “Mission: Impossible” in a contract dispute after three Emmy nominations, the actor who took that role essentially took Landau’s slot on “Mission.” What was the role Landau turned down and what actor took it?
George Romero RIP
George A. Romero, who died July 16 at age 77, is best known for starting the cinematic zombie-apocalypse craze with “Night of the Living Dead” in 1969. Perhaps he should be equally recognized for the social consciousness of his films.
In the documentary “Nightmares in Red, White and Blue,” Romero said “Night” was about “revolution. … We were ’60s guys and … sort of pissed off that the ’60s revolution didn’t work. ‘Peace and love’ didn’t solve anything in the end, in fact, [expletive] was looking worse.”
Romero consistently used the metaphor of the zombie apocalypse for social commentary. Often, as it turns out in “Night,” humans are the worst monsters. “Dawn of the Dead” (1978) was a delirious gouging of consumerism, with zombies mindlessly returning to their mecca — a shopping mall. Romero described “Land of the Dead” (2005) — with its classwarfare backdrop and an enthusiastic appetite for “eating the rich” — as a tale of complacency and too much faith in government.
In a 2010 Time magazine interview, Romero said, “If there’s something I’d like to criticize, I can bring the zombies out. … So I’ve been able to express my political views through those films.”
A clip of Quentin Tarantino presenting Romero with the “Mastermind” Award at the 2009 Scream Awards is at https://tinyurl.com/yaxhnlrt [NSFW].
Trivia answer
That would be Mr. Spock on the original “Star Trek,” which of course made Leonard Nimoy famous.
Michael Ordoña is a Los Angeles freelance writer. Twitter: @michaelordona Atomic Blonde Charlize Theron dazzles as a British agent sent to East Berlin in 1989 to recover a missing list of double agents, helped by fellow agent James McAvoy. The hand-to-hand combat comes fast and furious in this colorful, fabulously entertaining, although thinly plotted and sometimes tedious, action film. With this film following “Mad Max: Fury Road,” Theron is now the top action actress in the movies. Rated R. 115 minutes.
— G. Allen Johnson
Baby Driver Edgar Wright’s action movie, starring Ansel Elgort as a talented young getaway driver, is propulsive and fun, full of surprises and delights. The gimmick of a very pervasive soundtrack wears a bit, but this is an entertaining genre movie. Rated R. 113 minutes. — M. LaSalle
The Big Sick Kumail Nanjiani co-wrote (with his wife, Emily V.
Gordon) and stars in this romantic comedy, based on his own life, about a romance that is interrupted by the woman’s getting sick and falling into a coma. Funny, unexpected, human and appealing, it features winning performances by Nanjiani and especially Zoe Kazan, who is asleep for most of the film. Rated R. 120 minutes.
— M. LaSalle
Cars 3 The third entry in this Pixar series is one too many, with Lightning McQueen — the red car voiced by Owen Wilson — going through a midlife crisis having to do with not being as fast as he used to be. This is a long film that feels longer, with many sequences consisting of nothing but racing, but Pixar’s sterling production values give it something of a lift. Rated G. 119 minutes.
— M. LaSalle
City of Ghosts This harrowing documentary focuses on citizen journalists who — at great risk — used social media to expose Islamic State horrors in Syria. It’s a daring, often mesmerizing, film. Rated R. 92 minutes.
— D. Lewis Despicable Me 3 The latest installment in the juggernaut series, about an ex-villain who now chases super-villains, has cute characters, some clever set pieces and dazzling animation, but this time around, the story appears to have been lost in the shuffle. It’s competent, but rather joyless. Rated PG. 90 minutes. — D. Lewis
Detroit Kathryn Bigelow’s account of the 1967 Detroit riot, written by Mark Boal, is exceptionally paced and photographed, with one long, harrowing scene at its center, an imaginative re-creation of an event at a hotel, in which a handful of police officers abused and terrorized a group of people. Absolutely riveting (and often maddening) from start to finish. Rated R. 143 minutes. — W. Addiego
Dunkirk Christopher Nolan’s career-best film tells the story of World War II’s harrowing Dunkirk evacuation as experienced on land, sea and air. It’s inspired filmmaking from the first frame. Rated PG-13. 107 minutes. — M. LaSalle
The Emoji Movie Animated comedy about the adventures of emojis who live in Textoplis. With voices of T.J. Miller, James Corden and Anna Faris. Not reviewed. Rated PG. 126 minutes.
Endless Poetry Cult director Alejandro Jodorowsky, who made one of the original “midnight movies” (“El Topo,” 1970), offers a surreal autobiography recounting the growth of his youthful artistic ambitions. As always, he mixes the grotesque and subversive, and the film often resembles Fellini at his ripest. But there’s a certain dated quality to his avant-garde naughtiness. Not rated. 128 minutes. In Spanish with English subtitles.
— W. Addiego Family Life In this Chilean comedy-drama, a sullen loner house-sits for a vacationing family, conducts an affair with a single mom and pretends that the house he is caring for is his own. The film is clearly intended as a comment on conventional families, but it’s unclear how we’re supposed to feel about the main character. Not rated. 80 minutes. In Spanish with English subtitles.
— W. Addiego
A Ghost Story David Lowery’s audacious and methodical fantasy tells the story of a haunting from the standpoint of a sad, disoriented and a rather heart-
broken ghost. The movie is slow and contains very little dialogue. It is completely against the pattern of contemporary popular cinema, but if you’re up for a drastic change, you will find it rewarding. Starring Rooney Mara and Casey Affleck. Rated R. 92 minutes. — M. LaSalle
Girls Trip Regina Hall, Queen Latifah, Jada Pinkett Smith and the very funny Tiffany Haddish play college friends who reunite for a wild long weekend in New Orleans. Lovable and often side-splitting, full of outrageous humor and wellconceived comic situations. Rated R. 122 minutes.
Harold and Lillian: A Hollywood Love Story
This warm and engaging documentary tells the story of a longtime married couple, Harold and Lillian Michelson, who contributed immeasurably to many wellknown films from the 1950s through the 1980s in their respective capacities as storyboard artist and researcher. Directed by Daniel Raim. Not rated. 94 minutes.
— M. LaSalle
Lady Macbeth This is a smart, streamlined reimagining of “Lady Macbeth of Mtensk,” transplanted to rural 19th century England, and a starmaking showcase for young Florence Pugh, who has the turbulence and composure of the young Kate Winslet. Rated R. 89 minutes. — M. LaSalle
Landline Lightweight but honest, this is a mostly likable movie about a family in 1996, with Jenny Slate a particular standout as the eldest daughter having second thoughts about her engagement. Directed by Gillian Robespierre (“Obvious Child”). Rated R. 93 minutes.
— G. Allen Johnson The Last Dalai Lama Director Mickey Lemle’s follow-up to his 1991 Dalai Lama documentary shows a Buddhist leader at peace entering his ninth decade, even with so much uncertainty surrounding the future of the position. MVPs in the slow-moving but engaging film include George W. Bush in an interview, and the Lamainspired musical score by composer Philip Glass and Tenzin Choegyal. Not rated. 90 minutes. — P. Hartlaub
The Last Face One long snore from a talented team — Sean Penn directed and Charlize Theron and Javier Bardem star — this is the story of a pair of doctors working for a relief organization in Africa. They fall in love, but who cares about them when everyone around them is getting shot and blown up? Rated R. 130 minutes.
— M. LaSalle
Letters From Baghdad Absorbing documentary about Gertrude Bell, often called the female Lawrence of Arabia, and her role in the making of the modern Middle East. Taken from actual correspondence and journals by Bell and her fiends and colleagues, with Tilda Swinton as the voice of Bell, and filled with archival photographs and film footage, directors Sabine Krayenbuhl and Zeva Oelbaum intimately evoke Baghdad, Syria and London in the first two decades of the 20th century. Not rated. 95 minutes.
— G. Allen Johnson
The Little Hours Jeff Baena wrote and directed this very funny comedy about three nuns coping with pent-up anger and sexual frustration in 14th century Europe. Aubrey Plaza, Alison Brie and Kate Micucci co-star. Based on Boccaccio’s “Decameron. Rated R. 90 minutes.
— M. LaSalle