Review: Albert Pyun's Bulletface

One of the first interviews I did for this blog was with cult director Albert Pyun about his upcoming film Road to Hell (you can read it here).

Now he's released Bulletface, part of the grand tradition of films created in a ridiculously short period of time, in this case five and a half days (twice as long as Corman's original Little Shop of Horrors, for a frame of reference). Written by Randall Fontana, it's a revenge tale of a corrupt DEA agent (Victoria Maurette) furloughed from a hellish Mexican prison to take down her old crew before they unleash a new, lethal street drug, and in the process avenge her brother's death. Low budget, digitally shot, it embraces its status rather than trying to deny it, and finds its power in its least likely places.



Dara Maren (Maurette), the "Bulletface" of the title after she's scarred, is a deceptively quiet creature, small and chain-smoking, perpetually greasy even when dressed up for a rave. You'd be quiet, too, if you'd endured what Dara has: gang rapes by both men and women in prison, brutal and bloody encounters that are definitely not titillating. Yet she retains her own brutality and willingness to kill, letting it out when provoked.

Maurette's performance is a gem of understatement in a role that could easily swing into parody, and that's the biggest surprise here: what works best are not the action scenes, but the quiet ones between Dara and the other characters. Maurette finds the reality in Dara's damaged psyche: her eyes dart, she fidgets, and the way she slaps away an intended tender touch has the vivid truth of an abuse victim.

The other actors contribute the same understated seriousness. Lydia Castro, as a heart-of-gold prostitute neighbor, finds a core of strength and depth in that cliche'd character. Morgan Weisser and Scott Paulin, as Dara's onetime friends, convey both real affection and the coldness of killers. Most interesting is Jenny Dare Paulin as Dara's former girlfriend; she and Maurette create a convincing edgy chemistry. Steven Bauer (Scarface, Thief of Hearts) is the name actor on hand, and he's adequate; it's easy to see how he'd feel unmotivated to try very hard, but as a result he's blown away by the other performers.

Fontana's script hits some disturbingly gratutious notes that Pyun's execution manages to almost redeem. For example, every woman who crosses Dara's path makes a play for her, a male-centric view of lesbian relationships, to say the least. Diminutive Dara also physically overpowers professional criminals double her size, often incapacitating them with one blow. But where Bulletface really suffers is in the editing: freeze-frames, color bleeds and split-screens take you out of the reality the actors and director create, and the constant bombardment of names and places, rather than clarifying things, just makes you feel the need to take notes.

If you can get past that, there's a lot that's good in Bulletface. This is exploitation, certainly, but it's made with care, heart and a serious effort to do good work. Pyun gets performances far above the call of duty from his cast, and Victoria Maurette takes fearless risks to bring Dara to twitchy life.

Interview: Albert Pyun, director of Road to Hell

Albert Pyun has been working steadily as a director since his 1982 debut, The Sword and the Sorcerer. He’s got over forty credits under his belt, and has worked with actors such as Dennis Hopper, Charlie Sheen, Burt Reynolds, Natasha Henstridge and Teri Hatcher. Now he’s putting the finishing touches to Road to Hell, a homage to one of my favorite films, Streets of Fire (see my reminiscence about Streets here). He was kind enough to speak to me about the project, and his memories of the original film.

Alex: We're both ginormous fans of Streets of Fire. Can you tell me about the first time you saw it? What's your favorite moment?

Albert: I first saw Streets of Fire at a Universal private screening before its release in 1984. I thought it was landmark cinema; it changed the language of film. I loved it from first frame, first note. My favorite moment was the telegraph scene and Cody arriving on an empty E train.

What was the reaction of the rest of this invited audience?

The screening reception was muted. I also saw the film when it opened and the theater was like a ghost town. Of course, I also went to the opening of The Rocky Horror Picture Show and there were six people in the audience. Both films found their audience eventually.

You've made a lot of films; what was the biggest challenge of Road to Hell?

Catastrophic loss of picture due to a defective hi-def camera. The flagship camera created a ghost that corrupted virtually every frame of the film. It continues to be challenging to correct every single shot.



This is your first time working with Michael Pare'. He was quite a bit younger the first time he took on a role like this in Streets of Fire; how did you approach getting the same sort of iconic performance from him now?

Michael and I have known each other since the mid-90’s. We talked over the years about making a film together. In the back of my mind I wanted to put something together for characters like Cody and Eddie [Wilson, from Eddie and the Cruisers]. I picked Michael’s brains about who they were for him and what it was like back then. Our plans began to solidify when our paths crossed in Estepona, Spain where Michael received awards for Lifetime Achievement and Best Actor. In a series of meetings prior to shooting Road to Hell, discussions centering around who and what he was back then enabled Michael to feel the emotions and relive the thoughts from the 80’s. His performance in Road to Hell, you see him reflecting back on the past, not just his past characters but who he was at that time. His performance reflects a richness and depth because of all he has lived since then.

When I talked to screenwriter Cynthia Curnen (see interview here) she said you and she took the climax of Streets of Fire entirely differently: she saw it as tragic, while you found it romantic. She said that might simply be a difference in male and female outlooks. Do you agree? Have you changed your opinion on that since working with her on the screenplay?

Characters don’t need to get together for a romantic film; that’s basically the different between our two perspectives. The moments where he had flashbacks of her singing and when he took out her worn out picture from his wallet indicate that she was always with him. A guy like Cody would not have told her he would always be there for her if he didn’t mean it.

But I don’t believe he would always be with her, except as the ‘one who got away’. If he had stayed with her she would have wanted to go back to rock and roll. He had to let her go because he held an idealized version of her in his head that she could never live up to. The real Ellen was too shallow and sour; she couldn’t be bothered with the feelings of other people. She never thanked McCoy for saving her; she exploited Fish when she kissed him to hurt Cody. Cody was all about Ellen and Ellen was all about Ellen. He let her go so she could fulfill herself. Even when she said she’d leave it all for him, it was to get what she wanted then but she would eventually have thrown or driven him away. For someone like Ellen, the unavailable is more attractive than the available. Deborah Van Valkenburgh’s character wanted him to hook up with Ellen in so she could stabilize him. His sister chose Ellen for Cody to keep him off the Road to Hell.

No, I have not changed my opinion but Cynthia may have changed hers.

(Note from Cynthia Curnan: I agree with Albert’s take on the characters and their motives. I would call it a romantic tragedy, but it’s still tragic through and through. I see that Cody’s idea of Ellen kept him believing in the possibility for redemption. From Carl Jung’s perspective Cody needed to keep Ellen in his psyche in an attempt to be a whole person. She provided the ‘anima’ in his unconscious necessary to maintain a measure of self-control.)

Thanks again to Albert Pyun and Cynthia Curnan for talking to me about Road to Hell. The film is in post-production and the release date is still pending.

...to the Road to Hell: Interview with Cynthia Curnan

A couple of days ago, I blogged about my affection for the 1984 film Streets of Fire, and my excitement at learning a follow-up, Road to Hell, was in the works. While Road isn’t an official sequel (the makers term it a “dark tribute”), it does have Michael Pare' back in that duster, and promises a unique riff on the original.



Screenwriter Cynthia Curnan was kind enough to speak to me about the project, and patiently endured my endless fanboy speculation.



Alex: The film Streets of Fire took its title from a Bruce Springsteen song. Does Road to Hell reference the Chris Rea tune?

Cynthia: I had not heard Chris Rea's song until reading your question. I told Albert [Pyun, director]; he knew of the song but hadn't heard it either. We just looked it up on YouTube and we both love it.

You brought back the characters of McCoy, Tom's sister and Ellen. Why not Raven as well?

The Road to Hell characters are their own people; they are not resurrected from Streets of Fire. Viewers expecting this will be disappointed. That said, when you see the movie you might notice a small indication of a family tie.

You mention on the official website that "Albert thinks it (Streets of Fire) is the most romantic film ending ever. I thought the ending was tragic and wanted them to get together." I confess I share Albert's view, especially in context: to me the climactic song, "Tonight is What It Means to be Young," comments ironically on Cody, who seems doomed to be stuck in perpetual adolescence. After all, Ellen was willing to give up her career and run off with him, but he "ain't the kind of guy to be carrying your guitars around." How do you read the original film's climax, and how did that give you a jumping-off point for Road to Hell?

This difference of opinion about the ending to Streets of Fire might just be a guy/girl thing. It was a tragedy for me because star-crossed love causes me pain. But I did understand why they could never get together. That said, I saw both of their futures, without each other, as ultimately tragic.

In the song "Tonight is What it Means to be Young," Ellen heads straight for the next best thing. If she can't get an angel she can still get a boy and a boy is the next best thing. I see Cody as an angel, not from Ellen's world. My Cody is not a 'Peter Pan' boy; he's larger than life. Cody came arrived on an empty subway because he came from another dimension to which he must return.

As much as he might want to stay with her he knows he can't. She was willing to give up her career because she didn't yet know what that would mean to her or to them. He knows Ellen's situation better than she does. She has stardom in her future and if he tried to fit in, carrying her guitars is all he'd be doing. He knows it's too soon for her to know what she wants; he can't let her make a deal neither of them could live with. But if she ever needs him, he'll be there.

I think you underestimate Tom Cody; at least my Cody. Back to the guy/girl thing: Maybe I fell in love with Cody and you fell in love with Ellen?

You've got two new characters described as "spree killers." Can you describe them and how they fit into this world?

Road to Hell takes place in its own world. The spree killers fit in that world.

Finally, I'm a huge fan of Michael Pare', and according to the website this film sprang from a conversation you and Albert had with him. Was he involved in the writing process at all? How did he feel about the way you saw the character a quarter-century on?

Michael Pare' was not involved in the writing process but he was involved in the character development. He understood that Albert wanted to see him return to his iconic roots with characters like Eddie [from Eddie and The Cruisers] and Tom Cody in a story reminiscent of early noir thrillers.

Michael Pare's performance is astonishing - much darker, more nuanced and mature than Tom Cody's character from Streets of Fire. He's less pretty, more handsome and sexier because he's more dangerous.

***

Thanks to Cynthia Curnan for taking the time to talk to me. Road to Hell is currently in post-production with the release date to be determined.

From Streets of Fire....

In 1984, director Walter Hill was riding high on four successes in a row: The Warriors, The Long Riders, Southern Comfort and the mega-hit 48 Hours. Having earned carte blanche, he used it to create a strange, one-of-a-kind pet project that blended genres, eras, and musical styles in what he termed a "rock and roll fable," Streets of Fire. His high concept description: "The Leader of the Pack kidnaps the Queen of the Hop, until Soldier Boy comes to the rescue."



And how did it do?

It tanked. Man, did it tank. Produced on a then-hefty budget of $14 million, it took in a paltry $5 million at the box office. It confused critics and audiences alike. I saw it during its theatrical run, and could feel the audience around me having a collective WTF moment.

I loved it. I thought it was the coolest thing I'd ever seen. I mean, hell:




it's a musical....








...with a sledgehammer duel.








Here's the trailer:



And time has been kind to it. Whereas in 1984 the contemporary influences (clothes, hairstyles and music) jarred against the Fifties retro elements, they now blend seamlessly; after all, twenty-five years and sixty years both qualify as "old." The main musical numbers by Jim Steinman, of Meat Loaf and "Total Eclipse of the Heart" fame, now sound bombastically timeless instead of crassly contemporary. Ry Cooder's buzzing guitar score, sadly unreleased to this day with the exception of one track on a compilation, rocks harder than any comparable soundtrack. And the film has acquired an all-star cast: subsequent Oscar nominees Diane Lane, Amy Madigan and Willem Dafoe, as well as Rick (Ghostbusters) Moranis and Bill (Titanic) Paxton.

More crucially, even nearly a quarter of a century later, the film remains unique. Nothing else has come close to this combination of music, action and filmmaking style, which doesn't so much embrace MTV cliches as sidestep them and approach the same sort of material as if from a parellel universe. In fact, to my knowledge no one has even tried.

Until now.

Director Albert Pyun and screenwriter Cynthia Curnan are putting the finishing touches on Road to Hell, what they term a "dark tribute" to Streets of Fire. Only Michael Pare and Debra Van Valkenburgh return from the original cast, but the other main characters (sidekick McCoy and rocker Ellen) are back, played by new actors. Jim Steinman songs will again be featured. And while it's not an "official" sequel, it's as close as we're likely to get, and more than enough reason for Streets of Fire fans to get excited.



Click on the links to read exclusive interviews with Road to Hell screenwriter Cynthia Curnan and director Albert Pyun.