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Philip Seymour Hoffman,
Clifton Collins Jr.,
Chopper tells the intense story of Mark "Chopper" Read, a legendary criminal who wrote his autobiography while serving a jail sentence in prison. His book, "From the Inside", upon which the film is based, was a best-seller.
Based on the true story of Valerie Solanas who was a 60s radical preaching hatred toward men in her "Scum" manifesto. She wrote a screenplay for a film that she wanted Andy Warhol to ... See full summary »
In 1965, Bob Crane, who had achieved some earlier success as a television supporting actor, was working as a successful morning radio DJ at KNX Los Angeles. Despite enjoying his work, photography (especially of the female form) and drumming, Crane wanted to be a movie star. So it was with some reluctance that he accepted the title starring role in a new television sitcom called Hogan's Heroes (1965), a WWII POW comedy. To his surprise, the show became a hit and catapulted him to television stardom. The fame resulting from the show led to excesses and a meeting with home video salesman and technician John Carpenter, with who he would form a friendship based on their mutual interests, namely excessive sex (for Crane, purely heterosexual sex) and capturing nude females on celluloid. His fame allowed Crane to have as much sex as he wanted, which was incongruent to his somewhat wholesome television friendly image, and the way he portrayed himself to almost everyone except Carpenter and his... Written by
The LED watch that Carpenter uses to entice women throughout the movie is inspired by an actual watch sold in the back of pornographic magazines in the 1970s-80s. Offered by a company named Leasure Time Products, the watch was gold toned with a black faux-lizard skin band; unlike the watch in the film, it was analogue, and its' face was emblazoned with the phrase "TIME TO FUCK," which would illuminate red every thirty seconds. The watch retailed for the modern equivalent of ~$150. See more »
Toward the end of the film, John Carpenter says that everyone's getting into "Betacam". However, that video format was introduced by Sony in 1982 for professional use, four years after Bob Crane's death. What they meant to say was "Betamax", the consumer format, which debuted in 1975. See more »
Written by Byron Craig Atkinson, John Byrne, Roy Joe Chaney, Ken Ellner and John S. Michalski,
Performed by Count Five
Courtesy of Original Sound Record Company, Inc.
By Arrangement with Celebrity Licensing Inc. See more »
Believable - but tepid - exploration of a minor celebrities' slide in to bad company and sexual obsession.
Bob Crane was a well known TV face whose lopsided grin and cheeky-chappie personality took him to fame and (modest) fortune with the 1965-71 TV series Hogan's Heroes (a family safe rip-off the film Stalag 17); but like many that have passed before him, his human weaknesses - in his case towards free love, porn and sleaze - provided his ultimate downfall.
This is 1,000 word review that could go, exclusively, many ways: The most obvious would be simply to review the film as an entertainment piece, which while fair and valid, wouldn't tell the whole story. The second would be as an exploration of the moral questions raised, taking on the very nature of "addiction and obsession." A third would be to review the nature of show biz itself and how - like Crane - you can easily go from "flavour of the month" to being "last year's model."
In many ways the above debates are more interesting than the film itself: which while being both credible and interesting, never bursts in to full flame. Indeed it spends long periods not really going anywhere or doing anything other than following Crane and his self-styled "best friend" John Carpenter (not the famous director!) - played by the oddball part specialist William Dafoe - from one sexual encounter to the next.
(The filming of these sexual encounters, while true and unquestioned, adds nothing to my understanding of Crane himself. The act would have happened, filmed or unfilmed. Indeed I never did learn whether he had any REAL interest in photography - which he claims in the film proper - beyond using it as a device for gaining extra sex gratification. Equally how expensive is the early video equipment and his all-embracing sex hobby? Are these the only reason he is broke after six years playing the lead in a hit TV show? )
Some of this party-to-party time would have been better spent explaining the early life of Crane, allowing us to understand "where he comes from" better. Is he a classic case of someone who married too young and ended up spliced to his "mother?" And like real mother's they are always finding embarrassing items hidden around the house!
(However even this argument becomes devalued when you consider his second marriage - to a contrasting blonde libertarian sex pot - also ended in acrimony and divorce!)
Given that this is a film of "best guesses", mine would be that Crane never really had a proper teenage life (he came from a strict Catholic household) and wanted to live his out decades after the fact. This film wants to portray him as someone who was lead astray by others, simply because that is easier to explain than someone who changes course dramatically of their own freewill.
Crane was approaching middle age when he first met the techno-wizard (and fellow sexual traveller) John Carpenter, his sexuality and taste simply couldn't have been influenced by any outside parties so late in life. Outsiders could only have been facilitators to living it out. Nevertheless his wider actions show a curious lack of maturity, who else would skip off work on a prime-time TV show in order to play drums behind some cheap stripper?
Director Paul Schrader (of Taxi Driver fame) has obviously being watching a lot of TV movies recently and scratching his balding pate over how to cover familiar material (family man presented with temptation, rise and fall, wages of sin, etc.) without cliché. Not to mention filming what is unfilmable: The inside of another man's head!
He has come up with only partial answers and a few professional fudges: Starting with a very standard approach (complete with horrible "cold fact" giving voice-over about Hogan's Heroes) before slowly sliding in to the modern "creeping hand-held camera with filters" approach and technique.
(Something that works quite well with some productions, presumably because we are used to documentary and news being presented in this manner. Maybe we, subconsciously, mistake poor production quality with reality? Here it adds little.)
Greg Kinear does an excellent job portraying not only Crane the ham actor, but also Crane the daydream believer and sex junkie. While going a little glassy-eyed and unfocused is in the scope of most actors, Kinear never goes over-the-top while slowly losing the plot. He also remains strangely sympathetic while exploiting his own fame and position for sexual purposes: A male perspective, but all I have.
The film starts with Crane - the LA DJ - spouting the happy-go-lucky banalities that radio professionals go in for, before being further introduced as a bouncy "success story" who is "going places in radio-land." However he want to act and employs a ("touch wood") agent to find him the right part. The upshot is an unlikely comedy about an unlikely German concentration camp.
He is a non smoking, non drinking, church going Christian, who rushes straight home - post radio show - to his long time straight-laced wife and picture-perfect children. In other words, a great place to start a sexual and moral slide from!
Crane, like many empty men that stumble in to things that make their heart go boom-bang-a-bang for the first time, hasn't the wit and wherewith all to see the limits and short comings of their new found hobby. He didn't realize that not everybody took his easygoing view of casual sex and by not being selective he alienated people.
No one should die because they enjoy casual consenting sex or cheat on their wives, but Crane died never having learnt there was (and is) a life beyond cheap thrills and that your casual actions can hurt the ones you love the most. A simple message, but Auto Focus takes 105 minutes to get it across.
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