The Screengrab : olivia de havilland

Summer of ’78: “The Swarm”

Scott Von Doviak — Mon, 14 Jul 2008 17:00:00 GMT

Each Thursday this summer (or Monday, if the disc is late from Netflix) we’ll hop in the Screengrab time machine and jump back thirty years to see what was new and exciting at the neighborhood moviehouse this week in…The Summer of ’78!

The Swarm

Release Date: July 14, 1978

Cast: Michael Caine, Katharine Ross, Richard Widmark, Richard Chamberlain, Fred MacMurray, Henry Fonda

The Buzz: Bees! Get it? The “buzz” is “bees”! I wasn’t even trying to do that! The funny just slipped out of me!

Keywords: Killer Bee, Disaster Film, Mass Child Killing, Child Driving Car, Flamethrower, Science Runs Amok

The Plot: Mysterious doings at a military facility outside the small town of Marysville, Texas have left hundreds of soldiers dead. General Slater (Richard Widmark) arrives on the scene to find a British civilian, entomologist Dr. Brad Crane (Michael Caine) already there. He claims the base has been attacked by a swarm of deadly African bees, but Slater would prefer to believe it’s some sort of commie plot. Slater is further disgruntled when the White House checks in and puts Crane in charge of the entire anti-bee operation. In Marysville, a young boy’s parents are killed by the swarm while picnicking and he narrowly escapes. Later he returns to the scene with some friends, who have the incredibly dumb plan of heaving Molotov cocktails at the swarm. This only angers the bees, who descend on Marysville and kill a bunch of young children in the schoolyard, always a good time at the movies. Proving itself resistant to even the strongest pesticides, the swarm then makes its way toward Houston.

The Test of Time: One of the things I spent way too much time worrying about as a young lad in the ’70s was the swarm of killer bees that we were always being told was making its way up from Africa or South America. It was always about a year or two away – somewhere in Mexico, maybe – and since I had suffered a couple of allergic reactions to bee-stings, resulting in my feet swelling up into purple blobs, I figured this would be the end of me. These fears were fueled by the book The Swarm (not a novelization in this case), but I didn’t see the movie until now. It is, of course, an Irwin Allen production from the tail end of the disaster movie cycle Allen spearheaded. You know, the kind of movie where the poster has a row of boxes with photos of its big name cast running along the bottom, and you expect the last one to say “And Henry Fonda as The President.” (Close; it actually ends with “And Henry Fonda as Dr. Krim.”) Even by Allen’s lax standards, this is one incredibly boneheaded botch – a disaster movie in every sense of the term. The bloated running time extends past the two-and-a-half hour mark, technical incompetence runs rampant – The Swarm features some of the worst day-for-night shots in the history of cinema – and plotlines (courtesy of Oscar-winning screenwriting Stirling Silliphant) tend to vanish without a trace. Although there are hints at some sinister connection between Crane and the bee attack, we never find out how he made his way into the military base. A hokey love triangle subplot involving Fred MacMurray, Ben Johnson and Olivia de Havilland comes to a rather abrupt conclusion when they are all killed in a train derailment. It appears that Allen had some fire-suits left over from The Towering Inferno, which is basically recreated in a battle between flamethrower-wielding soldiers and killer bees. Crane’s solution to the bee crisis is to lure them over the Gulf with the amplified sound of a simulated mating call, then have a bunch of oil tankers dump their loads and set them aflame. I think this could qualify as one of those cures worse than the disease. The Swarm is recommended to all who enjoy laughing at tremendous wastes of time and resources, particularly the DVD version with the deadly serious making-of documentary in which we are informed that “all Irwin Allen movies are rooted in reality” and that, yes, the killer bees will be here any day now.

Quotable Quote: It’s too hard to choose between Caine’s “I never dreamed it would be the bees. They’ve always been our friend!” and Widmark’s “Houston on fire. Will history blame me or the bees?”

2008 Equivalent: This is too easy. Disaster movie + eco-terror + unintentionally hilarious dialogue can only mean The Happening.

Previously on Summer of '78: The Bad News Bears Go to Japan

Grumpy Old Actresses: de Havilland-Fontaine Feud Enters Its Ninth Decade

Phil Nugent — Tue, 20 May 2008 14:30:00 GMT

A year ago, we ran a Screengrab Top Ten devoted to the greatest Hollywood feuds of all time. Somehow, we neglected to mention the long-running animosity between two real-life sisters--Olivia de Havilland and the younger sibling, Joan Fontaine, both Oscar winning actresses, both big stars in the 1940s, and both reputedly liable to laugh themselves to death if they ever got the chance to see the other step on a roller skate and ride it into an open manhole. Now Rupert Cornwell of the Independent rubs salt in the wound by informing us that both ladies, now 91 and 90 years old respectively, would still like nothing better than to ring each other's doorbell and run. According to Cornwell, the scab got flicked off recently when "the Academy of Motion Pictures which organises the Oscars held a bash honouring the late actress Bette Davis on the 100th anniversary of her birth. Naturally, Joan and Olivia, among the closest surviving contemporaries of Bette Davis were invited. According to insiders, Olivia – who lives in Paris – at first let it be known she could not manage so long a trip. Upon learning her sister would not be coming, Joan agreed to attend. Then Olivia decided after all she would be there in person to commemorate Davis, her friend with whom she had worked in films such as Hush Sweet Charlotte. So Joan in the end took a pass."

There are a couple of schools of thought on the subject of the sibling feud. Some believe that it has been going on for seventy years and has its roots in the women's competition for good roles and awards in an industry that has never made it easy for its actresses. Other believe that it's been going on for, oh, say ninety years, and has its roots in the sisters first getting a look at each other. Certainly whatever fires may have already been burning were fueled when Joan was nominated for the Academy Award for Best Actress for Rebecca, in a role that her sister had sought for herself. One year later, Joan won the award for another Hitchcock film, Suspicion, and this time, her sister was one of her fellow nominees (for her work in Hold Back the Dawn--Olivia, now the last surviving major cast member of Gone with the Wind, seems to have had a thing for sappy, four-word titles). Remembering the golden moment when she beat her sister like a drum on Oscar night, Fontaine later wrote that "the hair-pulling, the savage wrestling matches, the time Olivia fractured my collar bone, all came rushing back in kaleidoscopic imagery. My paralysis was total ... I felt age four, being confronted by my older sister. Damn it! I had incurred her wrath again." (Cornwell notes that "In a historical context, it is even more remarkable. If Rebecca was indeed the match that lit the fuse of rivalry, the sisters have been at it since Hitler invaded France. But by Joan's account, the feud extends from the 1920s; in other words they were fighting with each other when Charles Lindbergh first flew the Atlantic.") The psychodrama of the de Havillands would continue to serve as a thread linking Oscar nights yet to come, most notably in 1946, when Joan, pressed into service as an Oscar presenter, wound up handing Olivia the Best Actress award she won that year (for To Each His Own) and looking very much as if she'd like to club her with it. Both ladies have been pretty much retired since some TV work about twenty years ago. But somebody should really move heaven and earth to get them together in a remake of Whatever Happened to Baby Jane? before it's too late.

DVD Digest for April 1, 2008

Paul Clark — Tue, 01 Apr 2008 14:00:00 GMT

In a slow week for new DVDs, there are no real world-beaters being released today. However, there are a number of solid picks for movie lovers of various stripes, and if nothing else there should be fewer flubs in this column than there were last week.

Easily the most interesting recent film to come out on DVD this week, Tim Burton's Sweeney Todd: The Demon Barber of Fleet Street (Paramount) is being released by Paramount in both single- and double-disc editions. The big difference, as usual, is one of special features, as the extra disc includes a number of new featurettes, including spotlights on the history behind the Sweeney Todd legend and a doc on Stephen Sondheim's music. But the real keeper is the film itself, a legitimately dark creation, easily the most despairing Burton film to date. Burton's vision complements the already strong material so perfectly that it more than compensates for the not-quite-up-to-snuff singing by stars Johnny Depp and Helena Bonham Carter, who are pretty great otherwise. Sweeney Todd is the filet of this week's new films on DVD, although with such competition as Alvin and the Chipmunks (Fox, also Blu-Ray) and Resurrecting the Champ (Fox), that's pretty faint praise.

Also of note is Warner's The Bette Davis Collection Volume 3, the latest in their exhaustive assembling of box sets featuring the studio era's biggest stars. Normally the selection in these sets are pretty dire, comprised largely of films that weren't ready for a standalone release. However, this set looks unusually strong. Included in the set are the Davis fan favorite Deception, 1943's Watch on the Rhine (which won Davis' costar Paul Lukas a Best Actor Oscar), and In This Our Life, a pre-Hush, Hush... Sweet Charlotte collaboration between Davis and Olivia De Havilland. Other titles in the set are The Old Maid, All This, and Heaven Too, and The Great Lie. As usual, Warner has dug into their vaults and paired each film with their "Warner Night at the Movies" programs, including classic newsreels, cartoons, and trailers. Eventually the well will have to run dry on Davis films as it does with all stars, but this collection should be worth a look.

The only other intriguing DVD release this week- that is, unless you're clamoring for Martin: The Complete Fourth Season or Murder, She Wrote Season 8- is Koch Lorber's trio of new DVD editions of films by the Italian filmmakers Paolo and Vittorio Taviani. Among the films is the American DVD debut of 1993's Fiorile and 1984's Kaos, plus a new edition of their 1982 classic Night of the Shooting Stars. Koch Lorber's DVD releases can be dicey, both in terms of variable picture quality and the lack of special features. However, for those who've been waiting for more of the Tavianis' films to get released on DVD, the wait is over.

Finally, our old pal David Huddleston has returned from his vacation just in time to voice his condolences to the following HD-DVD releases:

Appleseed Ex Machina (Warner)
August Rush (Warner)

Because nothing says "watch this on a bigass HDTV" than a box-office flop about a musical prodigy. Who's with me?