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| The A Bomb |
Joe Dante is by far the most mischievous of the filmmakers spawned by exploitation maestro Roger Corman. Unlike his contemporaries Dante has made fewer films. His oeuvre is characterised by a darkly satirical edge and his nightmarish representations of American suburbia have run contrary to the mainstream. Consider the way he smuggles a creepiness about Reagan’s America into a populist film like Gremlins but all with a sense of anarchic fun. Dante’s mischief did him no favours with the studios so it was lucky directors turned producers like Spielberg shared such zany and cartoonish tendencies. Both Gremlins and Innerspace were backed by Spielberg and Amblin. Dante’s finest satire is his 1993 film Matinee and it is a terrific genre film that deals with three of my favourite cinematic themes; childhood, politics and cinema. The backdrop is the cold war era and the Cuban missile crisis. As tension between America and Russia escalates, a small town in Key West Florida anticipates the arrival of B movie horror director Lawrence Woolsey (a riff on Hitchcock and played by John Goodman) with his latest shlock flick Mant (a man who is exposed to radiation and an ant). A young boy Gene, whose father is part of the US navy assigned to defend American waters, is a lover of cinema especially bad horror movies. Gene prefers his movies to girls and when Woolsey comes to town Gene confesses an unhealthy love of the horror genre. Dante juxtaposes the imminent threat of the atom bomb to the way cinema offers fictional solutions and escapist diversions; it’s a potent satirical combination since Woolsey’s horror creation Mant is an anxious manifestation of nuclear radiation. Woolsey makes no excuses for the way he exploits and benefits from the pervasive climate of cold war anxiety, producing films that are hyperbolic and demented. The local cinema, owned by a neurotic manager, has only one screen and caters to mostly the adolescent school kids who converge on the screening of Mant turning the auditorium into a controlled chaos. Woolsey’s plans of self promotion involves placing buzzers under seats, using his own state of the art Rumble-rama and getting the town’s delinquent to don a rubbery Mant suit. In case you’re wondering, yes, all three succeed in convincing an observant cinema chain owner to invest in Woolsey’s taste for theatrics. Dante’s nostalgic depiction of cinema going is one to be savoured as it is the cinema theatre that becomes a microcosm of the town’s various social, political and personal dilemmas. The ending is also powerfully self reflexive demonstrating with great fun the way audiences can be duped so easily by the most seductive of illusions. Also watch out for the terrific cameo by director John Sayles.
