This week: an underrated crime thriller based on the same true-life story as a Hitchcock classic; an investigation of the trauma left by conflict in a film I’ve nicknamed “Gulf War Rashomon”; and a test of this “just post my notes already” roundup format with one of my favourite films I watched in 2018.
Richard Fleischer | 99 mins | TV | 2.35:1 | USA / English | 12
Based on a novel that was based on the Leopold and Loeb case (which has also been the inspiration for various other films, most notably Alfred Hitchcock’s Rope), Compulsion is the story of two students who think their intellectual superiority will allow them to get away with the perfect murder.
Playing the students, Dean Stockwell and Bradford Dillman are both fantastic. They’re two different types of well-to-do prodigies: Dillman charming and cocksure; Stockwell both awkward and supremely confident of his own exceptionalness. Their performances keep things compelling, even as the events unfolding are a foregone conclusion. You should and will hate them — even if they weren’t murderers, they’d be insufferable pricks (they sound like any number of modern-day politicians, don’t they?); that they’re cold-blooded killers just makes them worse. But even though you’ll never root for them, they’re still addictively watchable. Also, bearing in mind when the film was made, there’s a strong undercurrent of their homosexuality. It disappears as the film goes on, becoming more concerned with the case than the relationship between the two guys, but it’s discernibly there at the start.
And then Orson Welles turns up. Despite getting top billing, he has more of a third act cameo that turns into the film’s most grandstanding moment: his closing speech at the trial; a real tour de force against capital punishment. Apparently it was issued on vinyl, it’s that good. The three stars got and get all the recognition (they shared Best Actor at Cannes that year), but there are also fine supporting performances from Martin Milner and Diane Varsi as a couple of fellow students who get caught up in the case in different ways; and E.G. Marshall is very good as DA Horn, the man who eventually catches the guys and therefore becomes Welles’ courtroom nemesis. He’s particularly understated during Welles’ big speech, gradually shifting from annoyance and hatred to agreement, ultimately rising to his feet at the end as if in a silent standing ovation.
Aside from that obvious Big Scene, there are several other memorable ones: Dillman calmly talking to his teddy bear while Stockwell frantically searches for misplaced glasses, for example; or the cat-and-mouse scenes where the DA interviews the lads separately. Much of it is fantastically shot, too. There’s an occasional showy bit (like focusing on glasses on a nightstand as it gets dark outside, then showing the culprit and investigator reflected one in each lens), but also a general level of quality that often helps emphasise the darkness in the lads’ souls.
I don’t think Compulsion is widely discussed anymore (it has fewer ratings on IMDb than Love on a Leash!), but I thought it was a brilliant film; one that can withstand comparison to more-acclaimed versions of the same story. It’s definitely underrated today.
Michael Lehmann | 103 mins | Blu-ray | 1.85:1 | USA / English | 15 / R
Heathers was one of my favourite films I watched in 2018 (it placed 5th on my list of The 26 Best Films I Saw For the First Time in 2018), but I didn’t make any notes on it at the time, and (obviously) it’s now two years since I watched it. Oh dear.
So, in the spirit of the point of these roundups (to clear old unreviewed films, regardless of how much or little I have to say about them), we’ll have to make do with repeating my brief summary from the aforementioned “best of” list. Though I’ll also add that I watched this on Arrow’s then-new Blu-ray edition, which comes from a 4K restoration and looks absolutely fantastic.
“The darkness that’s barely concealed beneath the pleasant veneer of American high schools is exposed in this pitch-black comedy, which mixes violent teen wish fulfilment with a certain degree of societal satire to boundary-pushing effect. It’s not as transgressively shocking 30 years on as it might’ve been back in the ’80s, but it’s still so very.”
Edward Zwick | 108 mins | TV (HD) | 1.85:1 | USA / English | 15 / R
It’s “Gulf War Rashomon” when a traumatised tank commander (Denzel Washington) encounters conflicting accounts of what happened while he investigates whether a helicopter pilot (Meg Ryan) deserves to be posthumously awarded the Medal of Honor, which would make her the first woman to receive it. As higher-ups put pressure on him to just push the honour through, he remains committed to uncovering the truth…
The mystery of what really went on is not as clever or engrossing as the film thinks it is, but it still works as a meditation on how we acknowledge wartime heroism and the place of truth in doing so. It’s also a consideration of how many people are affected, in different ways, by the sacrifices of war.
There are some decent performances along the way: Washington is always good value, and a before-he-was-famous Matt Damon demonstrates his commitment to the profession by losing a ton of weight between filming the flashback and “present day” scenes (endangering his health in the process) to portray a medical specialist indelibly affected by what went on ‘over there’. Apparently Mark Kermode said the casting of Meg Ryan as a chopper pilot was “the benchmark for a casting decision so ludicrous that it takes the viewer out of the film,” but I suspect that says more about how she was regarded at the time (best known for romcoms) than her actual performance (she’s no standout, but she’s fine).