“Christine” is about possession. In adapting Steven King’s unique to the camouflage, director John Carpenter and writer Bill Phillips streamline King’s story to focus on the correct star of the book and film–the car itself. “Christine” tells the fable about a nerdy high school senior (Keith Gordon in a very strong performance) who can’t do anything accurate but his best friend college jock Dennis(John Stockwell) seems to do everything fair. So when Arnie finds the perfect car that he can rebuild and establish his cherish into, the car nicknamed “Christine” by its customary deceased owner more than returns that love–she gives Arnie a thug makeover and turns him into a monster as awful as the the kids that stale to beat Arnie up. Needless to say, Christine has some special abilities of her acquire and she becomes–so to speak–the vehicle for Archie’s revenge and vice versa.
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Dennis tries to intervene but once Arnie becomes possessed by Christine, he and Arnie’s original girlfriend Leigh (the pleasing Alexandra Paul in her first film role) are unable to approach him. A local police detective (Harry Dean Stanton) becomes suspcious but isn’t able to display that Arnie had anything to do with a mounting body count consisting of high school students from Arnie’s school.
The sparkling transfer here manages to skip many of the flaws that have become a Columbia Tristar trademark; the edge enhancement is minimal and the bright, detailed recount has luminous rich color recalling the modern view of the theatrical chop of the film. The high definition transfer is as intelligent as a rebuild car after a top notch paint job.
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Duplicating the amazing format that director John Carpenter has musty on “The Thing”, “Stout Peril in Runt China” and “Dash from Recent York”, the audio commentary features both the director and star Keith Gordon (now a director himself) discussing the nuts and bolts of making the film. Gordon provides a novel perspective as both the film’s star and also an acclaimed director of shrimp, independent films.
While I also like King’s books, I’d like to point out that to create a feature film of a unusual would seize (as writer Bill Phillips astutely points out in the special features part) 20 hours or more so novels have to be streamlined in the hopes of capturing the feel of the film. It’s hoped that the visul style brought to the film will effect up for the memoir threads that are lost and Carpenter’s film does objective that. While LeFey the previous owner of Christine played a major role in the book, it seemed as if he was the one driving the action. Carpenter and Phillips decided that Christine was honest born poor and that deplorable spilled out to bear their owners as well. I found Carpenter and Phillips choices in turning the unusual into a film to be very edifying ones.
Laurent Bouzereau’s three safe featurettes focus on the plan of the film all the scheme through the production and release. Oddly enough, though, Columbia has them listed out of order under the special features part starting with “Christine Snappy & Inflamed”, “Christine Effect Line” and “Christine Ignition” presented in that order. You should really glance the last one first, the first one second and the second one last. Of course, you can click on them in any order (they play individually) but it does seem a exciting choice to explain them this blueprint. We also bag 20 deleted/alternate scenes that provide an attractive addition to the unique film. While Carpenter wisely chose to prick some of them, a minute part of the deleted scenes would have made a stout addition to a “Director’s Cleave” of this film. Since Carpenter is technically “retired” (as he jokingly points out in his commentary), he certainly could spent the time to reintegrate key scenes. Unfortunately, it’s doubtful that this special edition had the budget for such an undertaking. Regardless, I’m contented that Columbia Tristar elected to achieve out this special edition in the first station.
We also score the usual Columbia Tristar previews as well. This special edition provides a classic Carpenter film a second change on DVD. While the film was critically well received (Time called it “Carpenter’s best film since ‘Halloween’) for the most fragment (many criticized the deplorable language. Writer Bill Phillips discusses how Columbia’s executives asked him to add more inappropriate language so the film could net a hard “R” rating. He laughes as he recalls that “Scarface” would soon replace “Christine” with the most despicable lanugage in a two hour movie), it only did shapely box office business. It’s nice to sight this classic bit of Carpenter-King-Phillips entertainment finally the contrivance it should be presented.
Stephen King’s novels have formed the basis for a ample many terror films over the last quarter century. Some have been superlative (CARRIE, THE Lustrous), others impartial bad (PET SEMATARY, MAXIMUM OVERDRIVE) . CHRISTINE can be counted among the superlative ones. Under the expert hands of HALLOWEEN director John Carpenter, this film provides the requisite chills and atmosphere minus a lot of unnecessary blood and gore.
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Keith Gordon stars as a geeky high school student named Arnie Cunningham who is always getting picked upon by the local school bullies (sound familiar? ) . But when he eyes a rusted venerable 1957 Plymouth Fury, his life really turns around. Over the objections of his best friend (John Stockwell), he fixes it up at a local garage (hasten by a salty-tongued Robert Prosky) to a point where the car is as helpful as recent. Gordon even starts up a relationship with the high school dream queen (Alexandra Paul) . There’s unbiased one pickle, though. Christine won’t let it go that far.
For this ‘57 Fury is definitely possessed, and delicate soon it takes possession of Gordon. When the school bullies retaliate against Gordon by trashing Christine, the car repairs itself and goes after the perpetrators one by one. But the car also reacts in a jealous and homicidal method against Paul, who nearly chokes on a hamburger at a drive-in with Gordon. And when Paul and Stockwell approach to realize that Gordon is indeed totally over the edge, they space to waste the car, using a bulldozer inside Prosky’s garage. Unfortunately, Gordon dies in the final melee. And although Christine itself seems to be crushed to a metal cube, in the effect demolish scene, a metal share can be seen repairing itself…
Although the setting of the film is changed from King’s recent (there, it was western Pennsylvania; in the film, it’s southern California), CHRISTINE for the most fragment stays upright to the basic essentials of the book in its depiction of high school bullies and teenage life during 1978-79, which is the era depicted. There is a positive appropriateness to having Christine’s radio play nothing but early rock and roll records, like Petite Richard’s “Hold A Knockin’”, and Thurston Harris’ “Small Bitty Comely One”, while most of the other songs are of the tedious 70s (”Runaway” by Bonnie Raitt, “Terrible To The Bone” by George Thorogood and the Delaware Destroyers) .
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Carpenter makes obvious that the emphasis on the movie is on the situations in Gordon’s life that lead him to Christine, and how letting his life glean totally dominated by that car eventually scares the living daylights out of Stockwell and Paul. Furthermore, he does this in the same suspenseful fashion that made HALLOWEEN work to such a tee. His and Alan Howarth’s synthesizer-dominated music acquire lends further atmosphere to the proceedings. Some may complain about the limited excess of profanity in the screenplay, but it is typical of King’s work and appropriate in the plan it depicts teenage behavior.
CHRISTINE does, as many point out, gain a resemblance to the remarkable underrated (or mighty maligned) 1977 thriller THE CAR. But it is novel in its possess contrivance. And for those seeking something more than exasperated slashers and buckets of blood, CHRISTINE is well worth watching.
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