47 FILMS: 35. BLUE COLLAR

In our continuing series of ’47 Films to see before you’re murdered in your dreams’, we look at Paul Schrader’s hard-working Blue Collar.

Films about the working class in American cinema are pretty rare. As a matter of fact we don’t even like the words working class. We prefer to call everybody middle class and in that way pretend that dentists and dock workers, lawyers and lettuce pickers, studio execs and gaffers are all in the same boat together. Paul Schrader’s 1978 directorial debut Blue Collar knows there’s a working class and he goes right into the heart of it. Three pals – the loudmouth Zeke Brown (Richard Pryor), tough guy ex-con Smokey James (Yaphet Kotto) and Jerry Bartowski (Harvey Keitel) – work on the production line of a huge auto factory in Detroit. Their complaints and gripes range from the trivial to the fundamental and their union rep pays lip service but little else. Despite working full time, they’re all squeezed for money with Jerry working two jobs and Zeke running various scams to pick up more dough and them both trying to support their families. Meanwhile, an investigator is prowling the after work bars looking for dirt on the union which is considered one of the most corrupt in the city. At the end of their collective tethers, they decide to knock off the safe in their local union office and split the money three ways. Cue a low paid caper like something out of Palookaville with the least appropriate dime store masks as disguises.

Of course, everything begins to go wrong and of course their friendship begins to buckle under the strain. The frustration which bubbled under the surface throughout the film begins to rise to the surface in large bubbles of simple rage. This is an angry film which is able to see more than one side of an argument while at the same time knowing which side it is on. No punches are pulled and yet at the same time it is funny, with some of the best swearing ever put on screen. The three leads supply career best performances and Pryor in particular is allowed to truly let rip with the anger that inspired some of his best stand up.

For more of our ’47 Films to see Before you are Murdered in your Dreams’ Click Here.

THE MAKING OF ALIEN

HOLLYWOOD – In the latest in our celebrated Making of… series, we look at the behind the scenes drama that went into the making of Ridley Scott’s Science Fiction Horror film “Alien”.

The Idea

Dan O’Bannon had been writing Science Fiction scripts for some time. He had scripted and had a small part in John Carpenter’s debut movie “Dark Star”, but O’Bannon wanted to branch out and make a realistic drama about truckers driving across America with a cargo of coal. He wrote to his agent John Stutter:

Dear John,

Please find enclosed the treatment for the new screenplay “Alan”. The story is simple. A trucker called Alan is taking a cargo of coal across America. I see this as very much “Convoy”, but with coal and not as escapist as that film. Let me know what you think.

However, Sutter had not properly read the treatment and his note to O’Bannon was apologetic.

Dan,

Sorry to tell you this but I just glanced at the title of your treatment and got straight onto the phone with Fox. I thought the title was “Alien”. I think it was an ink smudge. Bad news, when I read the treatment I thought it deadly dull. Good news, Fox are sold on having a script from Dark Star writer Dan O’Bannon entitled “Alien”!

A disgruntled O’Bannon got to work and he re-used several characters from his coal convoy story along with the grungy feel he had been aspiring to but he resolutely refused to add an Alien which saw the script taken out of his hands and given to Ronald Shusett who added the Alien. Walter Hill’s production company got involved and a British commercials director who had just made an atmospheric Napoleonic drama called “The Duellists” was also interested.

Pre-Production

The key to the film was thought to be the creature of the title and Jim Henson, the puppet master who created the Muppets, was called in. Following Ridley Scott’s instructions to ‘go dark’, Henson produced the face-hugger, the fetus and the final creature in one 48 hour bout of creativity. However, fearing for his child friendly reputation he hired Swiss artist H.R. Giger to present the work as his own, a decision Henson would bitterly regret for the rest of his life.

Production

Tom Skerritt, Sigourney Weaver, Veronica Cartwright,Harry Dean Stanton, John Hurt, Ian Holm and Yaphet Kotto were all cast after Ridley Scott got stuck in a lift with them in a Casino in Las Vegas and was impressed by the way they reacted diversely to the claustrophobic emergency. In keeping with the sense of immediacy Scott attempted to maintain a sense of spontaneity throughout the fourteen week shoot which took place between July 5 and October 21, 1978. Scott gave the actors only selective pages of script and would frequently spring surprises on them. The chest-burster scene was so disturbing that Yaphey Kotto pissed himself with fear. Harry Dean Stanton recalls:

The urine was everywhere and we were skidding around on it and almost falling on our asses, but Ian and John came from the British theater tradition and so they carried right on. And that was the take that Ridley used. Some of the looks of disgust on Veronica’s face for example, are because of the urine on the floor as much as the special effects.

Later filming the final sequence, Sigourney Weaver would shit her pants, though this was later revealed to be a prank she played on the rest of the cast and crew.

Reception

The advertising campaign for Alien was widely seen as one of the most successful of the late 70s although there is some controversy about who came up with the final tag line. Salman Rushdie claimed that he was the author and Gabriel Garcia Marquez said the line was his own. Scott settled the argument when it was revealed that Julian Lennon, son of Beatle John Lennon used to say to his father every night before he went to bed, ‘Remember dad, in space no one can hear you scream’ which would cause some of John Lennon’s most violent ‘bad trips’. The film was deemed a success and in 1987 the library of congress hired a video cassette of it and forgot to take it back the next day, which is considered by some to be the highest mark of honor.

Alien was released in 1979.

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