"Fictional Dystopias Better Than the One We're Living In" in Booth

My latest conceptual piece, "Fictional Dystopias Better Than the One We're Living In" has been published in the January 2020 issue of Booth, the literary journal of Butler University.

Only now does it occur to me... MAVERICK

Only now does it occur to me... that MAVERICK is a real "Donner Party."  By that, I don't mean that it involves cannibalism, torture, or Mel Gibson Jesus-poses,

Though if this isn't in his contract, I'll eat my hat.

instead I mean that its director, Richard Donner, has packed the film with actors and references from other "Donner" films.

Obviously, it stars Mel Gibson (of 4 Donner LETHAL WEAPONS and a CONSPIRACY THEORY), but there's plenty more where that came from.

Margot Kidder (Donner's SUPERMAN 1 & 2, he also produced her appearances in TALES FROM THE CRYPT and DELIRIOUS) shows up as a grouchy spinster obsessed with a stolen wedding dress:

Alfred Molina (Donner's LADYHAWKE) appears as a recurring villain and instrument of Gibson-torture:

Stephen Kahan ("Captain Murphy" from all 4 LETHAL WEAPONS, but also appeared in Donner's SUPERMAN, INSIDE MOVES, THE TOY, SCROOGED, CONSPIRACY THEORY, 16 BLOCKS, RADIO FLYER, TIMELINE and a few TALES FROM THE CRYPTs) plays a riverboat card dealer, who shares an unusual interaction with Mel Gibson, whereupon he congratulates him on his win (with familiarity), and takes the chair with him as he stands, prompting Mel to nearly crack up.

Then, for the piéce de résistance:  Mel Gibson and Geoffrey Lewis are shootin' the shit inside a bank when three robbers bust in to relieve them of their wallets and blow the safe.  The lead robber piques Mel Gibson's interest and there is a note of recognition.

 

He pulls down the robber's bandana to reveal Murtaugh himself, Danny Glover:

And to the strains of the LETHAL WEAPON theme, they share a moment, then decide––nahh, this ridiculous.  Glover goes on his way, revealing the rest of his gang:

Corey Feldman (of Donner's THE GOONIES, and the Donner-produced THE LOST BOYS and BORDELLO OF BLOOD), country musician Hal Ketchum, and apparently transportation coordinator John M. Woodward, who coordinated such on LETHAL WEAPONS 2-4, CONSPIRACY THEORY, and TIMELINE.  I think that qualifies as a Donner Party!

Oh yeah, and even in the Wild West, Danny Glover is getting...

...too old for this shit.

BONUS QUIZ:  Can you identify which of the following pictures are screen captures from MAVERICK (featuring the lush cinematography of Vilmos Zsigmond), and which are Western Americana picture postcards?

A.

B.

C.

D.

E.

It's a cheap trick question––they're all screen captures from MAVERICK!

PS––and apparently, the brilliant Linda Hunt (THE YEAR OF LIVING DANGEROUSLY, THE BOSTONIANS, KINDERGARTEN COP) and my fave glam rocker Alice Cooper had their scenes deleted (damn!) as "The Magician" and "The Town Drunk," respectively.

Only now does it occur to me... MAD MAX: BEYOND THUNDERDOME

Only now does it occur to me... that Mel Gibson's entire directorial output may have been inspired by his experiences on set of MAD MAX: BEYOND THUNDERDOME.  It has facial disfigurements like THE MAN WITHOUT A FACE, the majestic and patriotic Gibson-wig from BRAVEHEART:

torture and desert suffering like PASSION OF THE CHRIST:



Mayan fashion and gauntlets of brutality like APOCALYPTO:

and I see Gibson even has a new film in pre-production called HACKSAW RIDGE, and I gotta say– MAD MAX has always had plenty of hacksaws!  Clearly, therefore, the auteurist "Genesis," if you will, of the Gibsonian worldview was born... in the THUNDERDOME!

Speaking of which, the Thunderdome is terrific.

It's like TEXAS CHAINSAW MASSACRE meets BLOODSPORT at a postapocalyptic S&M dungeon...

Is that a human catapult/sex swing?

...though I have to tell you, for a movie called BEYOND THUNDERDOME, there's only one scene set in the Thunderdome.  Bit of a disappointment, there: I wanted a full, feature-length Aussie/Ozzie kumite.

This is a fascinating film, however; and while it's possibly the weakest of the MAD MAX trilogy, it's never uninteresting– it's like Terry Gilliam and Alejandro Jodorowsky collaborated on an 80s grindhouse flick that thinks it's LAWRENCE OF ARABIA (they even hired the legendary Maurice Jarre to do the score, and he inexplicably quotes LAWRENCE, WEST SIDE STORY, and the "Klingon Theme" from STAR TREK: THE ORIGINAL SERIES)

and then somebody invited Tina Turner to the party, telling her to wear Princess Leia-cocktail strainer buns and a chainlink shirt (as opposed to the chainlink sweater from COMMANDO)

and she forces Mel Gibson audition to be her backup dancer (or maybe it was her assassin?  all I remember is that she said "You're the first to survive the audition!").  

Anyway, that's just about all I have to say, except to add that there's an actor in it whose first name is "Angry" (Angry Anderson, singer and activist), and that counts for something.  Here's hoping for an eventual sequel called, MAD MAX: 100% THUNDERDOME.

Only now does it occur to me... CONSPIRACY THEORY

Only now does it occur to me...  that CONSPIRACY THEORY is one of the best documentaries of the 1990s.

It presents a complicated portrait of its subject, Mel Gibson, who, between films, supplements his income by working as a cabbie in New York City and peddling conspiracy theories to anyone who'll listen.  It explains how it was traces of government mind control conditioning that led to his mastery of the crazy-eye in the LETHAL WEAPON series (and beyond)
 

And how he used the art of collage to mend his wounded mind.
 
In its torture scenes  (this documentary contains not one, but two lengthy Gibson torture scenes!), it reveals the reasons behind Gibson's life-long obsession with sadomasochism (LETHAL WEAPON 1-4, RANSOM, PAYBACK, BRAVEHEART, THE PASSION OF THE CHRIST, et al.)
 
 The 'ole scotch tape on the eyeballs maneuver 

and in its capturing of the paranoid mindset, it shows that there are truly sinister cabals everywhere,

mostly of the sort that cause Gibson to wander out of a hospital and pop up, unannounced, in the backseat of your automobile.

In closing, it certainly ranks high among other Joel Silver-produced documentaries– such as the story of cryogenically frozen supercop John Spartan (as explored in DEMOLITION MAN), the quirky study of a musically inclined cat burglar (in HUDSON HAWK), and the exploits of a brassy bouncer who tames dirty bars (in ROAD HOUSE).