Cohen

THE FLICKS: You’ve got classic auteurs like Bergman, Truffaut and John Ford. Modern guys like Kubrick, Scorsese and Copolla. Even the quirky independent minded fellas like Cronenberg, Lynch, and the Coen Brothers. But what the hell do you do with someone like Larry Cohen? Here’s a guy who arguably has put up just as impressive a body of work, but gets none of the credit. Laboring on genre pictures like blakxsploitation, shoot-em-ups, and monster-on-the-loose flicks, just to name a few, that garner little or no respect from mainstream critics. While the big names walk away with all the awards, Larry Cohen’s work is more subversive; changing the genre from within, adding a twist where another director would walk a straight line. One has only to take their pick of Blue Underground’s three new releases to get an idea of what his unique style of guerilla filmmaking is capable of. BONE is Cohen’s rarely seen (even during its initial release) skewering of California fantasies; its false-fronts and dirty laundry captured in satirical style as Bill (Andrew Duggan) and Bernadette’s (Joyce Van Pattan) Beverly Hills’ marriage is put to the test. Yaphet Kotto (“Alien”) stars as Bone, who takes the couple hostage during a home invasion and sends Bill out to empty their bank accounts. When the accounts turn up empty, and Bill never comes back, things begin to get interesting. Bernadette and Bone come to a mutually satisfying sexual and financial arrangement that leads to murder, deceit, and a glimpse at the skeletons in the family closet. Meanwhile, Bill jumps from one quirky character to the next (including “Match Game” regular Brett Sommers as the widow of a man who committed suicide by overdose of dental X-rays) as he wanders the streets of LA looking for a way out of his problem. Like two mixed up jigsaw puzzles, it seems the pieces of BONE will never fit together. But somehow, the challenge the film presents to the audience makes it all work, keeping the big picture under wraps for maximum effect. The best comparison might be Scorsese’s “After Hours” filtered through the anti-authoritarian hippie films of early Brian De Palma. It’s funny, it’s shocking, it’s quirky, raw and crude. But BONE never ever goes where you think it will. And that’s what makes it unique. GOD TOLD ME TO is sure to top the list of most fans’ favorite obscure 70’s horror flicks, although, like most of Cohen’s work, the genre label doesn’t quite fit. An early sniper scene reveals the germ of the idea behind the current film “Phone Booth” (which the director also wrote), but jumps off from there into a high-concept story of gods, demons, and extraterrestrials. NYC is under siege from a series of high profile murders, the only common link being the assailants’ ominous phrase, “God told me to.” Joe LoBianco is a sensitive cop with a mysterious past out to solve the case, tracking down a mysterious golden-haired stranger who seems to be behind it all. But the answers he finds have more to do with himself. Is the world really ready for a Messiah from the Bronx? Cohen’s film is so ambitious, the fact that he even pulls off half of it is a minor miracle. The key is his writing, full of juicy scenes that reveal a bit of backstory, but leave just as much in the dark. GOD TOLD ME TO is that rare film that understands what an audience doesn’t know makes for a much more interesting story. Equally important is Cohen’s visual style; gruff, gritty seat-of-your-pants camera work that matches the almost improvised delivery of the actors. This low budget under the radar approach makes buying into the outlandish plot almost a foregone conclusion. You’re there. It’s happening. Believe it. Q – THE WINGED SERPENT is more problematic, although it’s almost redeemed by Michael Moriarity’s out-there performance as a small-time crook who finally gets a taste of power. As a tribute to low-budget monster films past, Cohen squeaks by (the winged serpent itself gets precious little stop-motion screen time). Q is more successful when it focuses on Moriarity’s lovable loser as he attempts to use his knowledge of the monster’s whereabouts to make a name for himself. With second tier stars like David Carradine and Richard Roundtree on hand, Q has an enjoyable bad B-movie vibe, where the laughs are never quite intentional. And once again, Cohen ambitions are admirably on display (some of the shots at the top of the Chrysler building are so authentic they’re disorienting). But his films always play best at street level, not soaring somewhere above the five boroughs. THE FEATURES: As you would expect from Blue Underground, all these releases sport terrific transfers, and in the case of “Q” and “God Told Me To,” remixed Dolby Digital and DTS soundtracks. But if ever one needs to prove that a DVD commentary can be just as enjoyable as the film itself, give ‘em Larry Cohen phone number. Along with moderator (and BU founder) Bill Lustig, each disc contains a knock-out commentary track. “Bone” is probably the most serious, concentrating on the difficult sell the film presented. But there’s also one of a kind anecdotes, like Cohen not casting a young Susan Sarandon because his dog didn’t like her. The tracks on “God Told Me To” and “Q” are even better. Whether it’s neophyte performer Andy Kaufman’s unruly antics during a St. Patrick’s parade, firing Robert Forster for chewing gum, or incorporating Michael Moriarity’s scat-jazz piano hobby on the spot, Cohen never leaves a dull moment. If there’s a better commentary on DVD today, I’ve yet to hear it. Trailers, posters and stills are included on each release. But “Bone” packs in a bit more, like 30-minutes worth of aborted 16mm footage (with some different actors and dialogue) and an interview with producer Jack H. Harris (who speaks about his various attempts to package the film successfully...none of which worked). “Q” also contains press kits and transcribed reviews on DVD-ROM, including star David Carradine’s interview on Good Morning America. FINAL SCORE: Each of these releases showcases Cohen innovative blend of urban cinema and old fashioned escapism. “Bone” is the unexpected winner of the group, “God Told Me To” is a close second, while “Q” is the guilty pleasure. But they all prove that you don’t have to walk away with an Oscar to be an autuer.