from the grave ...

Film I'll be back soon. Meanwhile, it's good to know that Robert Altman's still directing films from the grave ...

"An archaeologist"

TV Right, stop whatever you're doing for ten minutes and watch this. It's the animated prequel to the next audio series of Doctor Who spin-off Professor Bernice Summerfield. And I'd make it full screen:



Some back story for the uninitiated: created by new series writer Paul Cornell (Father's Day, Human Nature) and voiced by Lisa Bowerman, Summerfield's adventures began in the pages of the original Doctor Who novels published in the late 90s when the was "terminally" off air (she was the companion in the original novel version of Human Nature), and was a companion of the Seventh (McCoy) Doctor. After splitting with the character she continued in her own series of books which then transferred to audio drama cd for the Big Finish company and were instrumental in getting them to the license to produce original stories featuring the classic Doctors.

The audio adventures for Bernice have run for over ten years; I haven't heard most of them, but the style is rather closer to the British comic book tradition, very 2000 AD. An archaeologist, she's somewhat an forerunner to River Song though she's only rarely been reunited with the Doctor and always seemingly in the right order. She's shifted away from her day job in recent years and this short film is an attempt to draw her back in that direction, smartly referencing Lara Croft to a degree and producing the kind of chase which couldn't be accomplished as well in audio. Smart.

Her nemesis it seems is now Irving Braxiatel, her one time boss, owner of private museum, the Braxiatel Collection (mentioned briefly in the classic series Paris set story City of Death). Brax is a timelord and loomed large in the spin-off Whoniverse having been a major character in both the Bernice plays and the Gallifrey series (about Romana II's presidency) oscillating between malevolence and benevolence and is voiced by Miles Richardson, Ian's son (and sounds exactly like his father when he's playing the older version). Oh and he's the Doctor's brother. Best mention that too.

"history"

Music Jewel Kilcher and Sarah Palin. The secret "history".

Betwixt The Music: Jewel & Sarah Palin from Jewel

I still have that poetry book.

a direct translation from the original Swedish

Film On to the Swedish film sequel, The Girl Who Played with Fire. Leaving aside the sexual content which some viewers might still find disturbing, with the exception of one particularly titillating scene, here's what I thought went right, or at least what I thought directly after watching it this afternoon:

#1: Naomi Rapace who plays "goth" computer hacker Lisbeth is still a star in the making and this film is probably more entertaining because it’s her story right the way through, even if that story is a Swedish version of The Fugitive. The sense of danger which accompanies her presence in most scenes raises the film beyond its more obvious tv origins. As the revelations about Lisbeth’s past tumble out, it makes her performance across the two films even more impressive since it was all implicit in performance in The Girl With The Dragon Tattoo.

#2: The title makes better sense this time (because it’s a direct translation from the original Swedish) and there’s a scene were we can see the visceral nature of fire as the camera lingers on a blaze, it’s given the symbolic importance that a director like Vincent Ward or Cédric Klapisch would be pleased with. Of course, in a crime thriller such symbolism recedes in importance, but this is a “film” which is happier in its own skin as a noir b-movie (useful coincidences and emphatic intercutting included) unlike the first piece which took material which seemed better suited to this style and approached it like, well, a truly evil Midsummer Murders.

#3: It’s just the right length as a "film" and it's less obvious as to where the extra material had been cut out for the running time. The shift from the first to the second episode of the original television version is less obvious and my guess is that what we have here is the lions share of the second with much of the time spent by a young journalist in researching his article and the police side of an investigation were both casualties. It also ends rather abruptly in a nice 70s manner, which suggests it has lost a wrap up scene.

#4: It's much better structured at least in terms of character. By keeping the two leads apart for the whole film, it makes each of them seem as prominent as the other, though obviously Blomkvist spends most of his time filling in back story and explaining some of Lisbeth’s actions so actually on this occasion Lisbeth keeps most of her narrative agency. The Empire Strikes Back looms large for various reasons. It also just about passes The Bechdel Test unless there’s a special sub-clause rooted in the queer theory branch of film studies.

#5: It's better structured its story development, with most information hard fought for and with a sense of peril. Over and over again when the investigation reaches a stand-still, Lisbeth mostly leaves the comfort of cyberspace and has to physically follow the trail of information geographically. It shares plenty of elements with the Sandra Bullock headliner The Net, though Lisbeth is far more pro-active in hitting against the force that done wrong her.

#6: It’ll be interesting to see how the film translates as a US remake, since it’s difficult to see Daniel Craig spending quite so much time sitting around looking at files and chatting with witnesses. I can see at least one character whose participation will be reduced to give Craig one decent action sequence since that’s what the audience will be expecting; the Swedish versions are still generally perceived to be art house, whereas the US version is very much a Hollywood genre production.

I appreciate that this is another lazy list and not some fully formed film criticism, but unlike Philip French who as ever manages to spoil the first three quarters of the run time in the space of a paragraph (and mention EM Forster), I’ve decided that it’s the kind of work which needs to be experienced with as little foreknowledge as possible. I’ve probably given too much away already. Reading through the comments and reviews elsewhere, there’s as wide a spectrum of opinion for this as Inception from the very kind to the downright hostile. Though the praise for Naomi Rapace is pretty universal.

The next film is out in November followed presumably by another blu-ray. After that, the smart marketing idea would be for a release of the longer Swedish Millenium television series with English subtitles either for broadcast on BBC Four or the home market or both. Certainly they’re the version I’ll be waiting for, to see if the lesions in narrative of the first film are explained and what the extra hours runtime in the second is filled with. Like the six-hour version of Das Boot, the two can exist separately; but I suspect that once I’ve seen the longer version, these cinema editions will seem less important somehow.

you still had to visit a shop

Music Following on from the news of the downing of Blockbuster USA, here's something I really didn't know. At some point in the early nineties they attempted the Spotify model of music distribution, though rather than having unlimited music on your desktop, you still had to visit a shop:

"In 1992, the suits at Blockbuster Inc. realized music was another viable form of entertainment people liked to spend money on. Thus, they bought up two already existing retail music chains—Sound Warehouse and Music Plus—and founded Blockbuster Music. The gimmick at Blockbuster Music was you could listen to any album in the store before you bought it. Actually, the way I remember it, you could listen to every album in the store if you had the time, even if you didn’t buy squat. Each BM location had a lengthy bar set up in the outlet’s center; you picked out one or three or eight CDs, brought them up to the sullen teenage employee “tending” the bar, plopped your ass on a stool, put on the headphones, and let the collected works of John Fogerty or any given Sparks bootleg wash over you like so much warm gin. There were no predetermined time limits, you weren’t really pressured to buy what you were listening to (at least I never was), and the space was large enough to comfortably accommodate plenty of greasy music nerds with questionable hygiene.

Unsurprisingly the chain was sold off not long afterwards. People weren't buying the music as well.

"what YouTube was originally set up for"

Memes 0 Views: The Best of the Bottom of the Barrel is tumblr blog which collects together videos with zero or next to no views. It should be horrible, but instead demonstrates the fleeting and random nature of web fame and that anyone could be Paul "Yosemite Bear" Vasquez or like, whoever.

It's also a reminder of what YouTube was originally set up for, which contrary to popular belief wasn't watching Orm & Cheep at one o'clock in the morning but to allow ordinary people to upload slithers of their lives, or the version of their lives they want the world to see.

Clips like this:



Of course, once they've been posted on 0 Views their non-obscurity is assured [via].

"you know this Dr Pam, I don't know too much about her"

Showbiz I'm not really a fan of these kinds of stories, but I am a fan of misunderstandings. The Guardian reports that Katie Price pulled out of an interview with Dr Pamela Connelly at the Edinburgh Festival today. They don't add much detail as to why, but they don't really have after including the following three paragraphs in an interview with Price last Monday which was presumably the point of the interview last Monday given that The Guardian is sponsoring the event:

It is in this context, then, that she will give a live televised interview to Dr Pamela Stephenson Connolly at the Edinburgh television festival later this month. Connolly's Shrink Rap series of celebrity encounters are notionally psychotherapeutic, and more searching than the OK! interviews with which Price is more familiar, so I'm curious to know why she has agreed to it. But it transpires that Price is under the impression that her interviewer will be someone else altogether – an agony aunt called Dr Pam from a commercial radio station.

"Now, you know this Dr Pam, I don't know too much about her, did she used to do Heart? Was she the agony aunt from that? She's got long blond hair? Yeah, I used to listen to her on Heart, she's got an American accent? Yeah I used to like listening to her, she was quite reasonable." I ask if she has laid down any advance parameters or rules for the encounter.

"No, I never do that, never," she says flatly. "I don't mind anyone asking me any questions, I've got nothing to hide. I like it to be as real as it is, that's what I call an interview. I'm not someone who's like right, you can't ask this, that, this, that, this, that. It's got to be a real interview. I've literally got nothing to hide. You can ask any question you like."

Oh dear. Was it after the interview? When the interview was published? Or was it when she reached Edinburgh? At what point did Katie change her mind and will we see it in an ITV2 documentary?

smug-ass

Film This FARK post about the death of the US flavour of Blockbuster Video predictably allows visitors to swap stories about the service they've received:

"I was in there recently, and asked the guy behind the counter if they had "The Girl With The Dragon Tattoo". He told me, "We don't carry adult films, sir", with this smug-ass look on his face. Rather than argue the point, I went and tracked it down myself-- it had been placed in a weird spot, not in alphabetical order amongst the Blu-rays-- and then wandered back up front and rented it.

I expected some sort of reaction when he saw the title, but dude didn't miss a beat. It was like he'd forgotten all about the conversation we'd had about five minutes prior. Also, he was wearing a Puka-shell necklace, and anyone wearing Puka-shell necklaces should be immediately castrated."

Which is a tad harsh, but I see the point. You'd think someone wearing a puka-shell necklace would have heard of The Girl With The Dragon Tattoo (sorry). Further down the section, someone suggests that when Blockbuster finally goes, it might inspire a resurgence in family/indie rental shops. Let's hope so. I miss Lark Lane Video. Not that I'd cancel my Lovefilm subscription of course. I'd be interested to hear from anyone who still uses UK Blockbuster and what our service is like.

"it’s kind of a different story"

TV I love Misfits, E4's comedy drama about special humans in orange boiler suits so when I heard that the creator, Howard Overman, had been commissioned to adapt Douglas's Dirk Gently books, I was optimistic. Then I read this quote he's given to SFX Magazine:

“What I did was take the character, Dirk Gently, and his detection method, and write a new story. It has elements from the book, obviously, in it, but it’s kind of a different story. Because if you’ve ever read the book, the story in there isn’t really adaptable for TV. Especially not on the budget we’ve been made to do it on, because it involves an alien planet and all sorts of weird and wacky ideas."

Let's review that sentence again:

"the story in there isn’t really adaptable for TV. Especially not on the budget we’ve been made to do it on, because it involves an alien planet and all sorts of weird and wacky ideas."

Harumph. Oh well, we'll see. But aren't the "all sorts of weird and wacky ideas" in Douglas's writing the point? I bet the Electric Monk was the first thing to go ...

extreme embarrassment pressure

Politics I don't if, as Gawker suggests this is the worst on camera interview ever (especially with Jon Snow v. Zac Goldsmith still so recent) but the sight of the presenter trying to keep it together under extreme embarrassment pressure as a mayoral candidate offers another method for running down in the interview time is pretty special. I expect in the British version, the BBC would have been polite enough to allow the guitarist onto the set with Oona King.

"One help point"

Travel Diamond Geezer visits Berney Arms, what may be the remotest station in the country:

"One modern station name sign and one old, the latter reminiscent of an era when a steam train might have pulled alongside [photo]. One tiny wooden shelter, of a size to protect only two waiting passengers from driving rain, containing a map of the local area (mostly empty) and a telephone number to call 'to advertise here'. One help point, consisting of a button and loudspeaker on a stick, plugged in goodness knows where. A cycle rack, with space for only two bikes, although goodness knows who'd be able to ride out this far to use it."

The building of the station was a condition of the landover selling the property to the railways.

theatre on television

TV Never mind Mark Thompson's speech at the Edinburgh TV Festival. BBC Four controller Richard Klein said something really quite interesting too:

"Klein said he as yet to "crack" how to put more theatre on television but said it is a challenge he is determined to win."

The fact that he's even mentioning it is a step in the right direction [previously]

or some such.

TV I've been desperate for the BBC to go on the offensive and fight its corner aginst the likes of the Murdoch media and the Daily Mail criticising how the license fee is spent as though they're defending the rights of the viewer/listener as though there isn't a conflict of interests.

This robust defence from Top Gear producer Andy Wilman, in which he explains why its not a waste of money to stop the identity of The Stig and "the wonderment created about what he might think" being revealed, will do nicely:

"The fact is, the “waste of licence payer’s money” argument gets trotted out many times as a way of attacking the BBC, but the reality is this: the BBC is a massive organisation. It’s naïve to think it can only ever spend money on cameras, tape for the cameras, Daleks or anything else that contributes directly to what ends up on screen. The BBC also has the right to spend money on protecting the intellectual property it created, because the truth is that all that stuff – the Stig, the Tardis, the Blue Peter dog – does belong to the licence payer, and not to some opportunists who think they can come along and take a slice when they feel like it."

More please. Expect article in the Mail along the lines of "Top Gear chief wastes tax payer's money attacking The Mail" or some such. Either way, they'll be after him. Now can we have injunction against the tabloids spoiling the next series of Doctor Who?

"characters" with "stories"

TV Waves of nostalgia as Steve Berry unpicks the Top Ten Big Brother housemates no-one remembers:

"In a last-ditch attempt to save herself from eviction, Justine lounged around the house in a bikini, danced raunchily with other girls and declared she’d once had a threesome. Not enough. Regional telly presenting beckoned, but not for long. She now works in sales."

Wait, what?

TV Reading this 1987 Paramount Memo which reveals the actors who auditioned for Star Trek: The Next Generation is predictably entertaining. Don't know then. Don't know them. Don't know them. Wait, what?

"Beverly

Anne Twomey
Jenny Augutter
Cheryl [Gates] McFadden

There isn't a "Jenny Augutter" listed at the imdb, so it can't be a typo. Jenny Agutter auditioned for Beverley Crusher.

This isn't as unlikely as it seems. She was in the US at the time, appearing in Amazon Women on the Moon, The Equaliser and Dear John USA and so actually was looking for a career boost. It's impossible to imagine now what she might have been like, but hopefully she'd be less marooned than poor old Genevieve Bujold was in Voyager:





In some cases, casting is everything.

"served with a range of double speak and obfuscation"

Liverpool Life The Waterstones in Liverpool recently dropped magazines in favour of a larger Paperchase franchise. With WH Smiths having moved out of its huge Church Street store into a tiny shop in Liverpool One beneath a post office which is smaller than some railway station stores, the city centre proper has been left without a newsagent carrying periodicals beyond the very mainstream.

I don't think they even have The Stage, Scott.

Ironically, the Smiths at Lime Street Station has a wider selection (and definitely do have The Stage), but if you're at the other end of town, that's quite a trek. David at SevenStreets decided to speak to some PR people from both companies to try and get some answers. Sadly he was served with a range of double speak and obfuscation:

"Cut to phone call to Fiona Allen, Press Officer at Waterstones.

“What’s happened? You’ve got rid of the magazines and periodicals in Liverpool ONE to make way for fancy wrapping paper,” we tell her.

“No,” she says, “this has nothing to do with Paperchase expanding. We think it’s important that every store offers a balanced selection, and one that our customers tell us they want. We’re just reflecting that.”

“But all wrapping paper, and no magazines? That’s not balanced,” we say.

“Like any good retailer, we have to take a holistic approach. We’re all about serving the customer. In some stores, we’re increasing the magazines we sell,” Allen says.

“But have you asked Liverpool customers?” we say, “Can we get a quote from the manager at the store?”

“No,” Fiona says. On both counts. They’ve not asked the customers. And all press enquiries must go through her. “But, I must repeat – this has nothing to do with us needing extra space for Paperchase.”

The comments thread underneath then becomes quite interesting because a former employee drops in to explain some of the real reasons, which you can read here.

Keeping in mind that this Waterstones is oddly enough, larger than the WH Smith which closed, and that we have two in the city centre, it actually seems to be a shelf design issue. Plus, if sales were flagging, it's because they weren't offering anything unusual or special and what they did have was inconsistent. They carried Classic FM Magazine and Gramaphone but not BBC Music. Madness.

"Maggie Philbin not clambering aboard until the following year, of course"

TV It's the first Multi-coloured Swap Shop book!

"Next up, factfiles for the remaining 66.7% of the main Swap Shop presenters (Maggie Philbin not clambering aboard until the following year, of course). John Craven’s hobby is “writing books about other people’s hobbies”, and he supports both Liverpool and Newcastle (we actually mistyped that as ‘Newscastle’, which was inadvertently apt). Cheggers likes to wind down by playing piano and guitar, skating and reading, and when it comes to football, he’s all Liverpool.

The Pop Shots page is particularly special which shows the attrition of the collective musical memory in full effect. Darts? Alan Price?

"a bit of paper in the student accommodation shop"

TV What Did Teenagers Do Before The Internet?:

"Much to my 18 year old sister's horror we only had 4 TV channels, no internet and no mobiles. Like, yaaaaawn. We had one landline in the house, so calling friends/long haired boyfriends meant arranging a time to ring and hours of huddling up the stairs halfway to stop family overhearing. Oh, and a large phone bill to impress the rents. No mobiles, so no texting, no options out of meeting and no impersonal dumping/flirting/lazy socialising. I mean, can you imagine? If you wanted to finish with someone you had to actually at least call them, or meet in person to do the deed. These days a simple Facebook status update with do. And it's so damned public." [via]

I make a point of never forgetting that when I was in the computer labs at university in 1995 and a mobile phone rang, everyone else in the room would collectively turn their heads, sometimes whole bodies, towards the source, a single look in their eyes that said:

"How can they afford to have one of those?"

Contacting home for me was still queuing up at the phone box at the end of the road. Looking for a house in my third year required a list of telephone numbers scrawled down on a bit of paper in the student accommodation shop and a pile of ten pences. Sometimes the only way to contact a friend was to go and knock on their front door. Oh and few people had a computer in the house, let alone one hooked up to the internet.

Gosh, I miss those days.

for mac users

Film Inception explained for mac users. Of course, the windows version would have to stop in the middle for a system update followed by the blue screen of death [via].

‘a brain, an athlete, a basket case, a princess and a criminal’

Film Talking to some people on Twitter earlier, I somehow got on to the subject of Laura Mulvey's essay Visual Pleasure and Narrative Cinema and was reminded of the following essay which I wrote during my film studies course on the subject of the male gaze and other gender issues. I offer it now for your entertainment. This was written early on in the year before I'd realised that there are certain standard texts in film studies and that I might receive more than 60% if I'd chosen something other than John Hughes's The Breakfast Club.

The wikipedia has a huge long article on The Gaze, but briefly in film studies terms, it describes the moment when a fine lookin' man or woman appears and the director cuts to a reaction shot, the reaction shot suggesting the audience on the one hand the proper emotional response to this angel in human form but on the other how we react to their reaction says a lot about their character and us. Mulvey's essay (available here) concentrated on the male gaze with reference to Hitchcock's Vertigo (that sort of thing).

Select a short scene from a film and analyse how gender and sexuality are portrayed …

The Breakfast Club (1985) is amongst a sequence of films written and sometimes directed by John Hughes exploring the subject of teen angst and a crisis of identity. It is Saturday morning detention in a high school for five students, characterised by an opening voiceover as ‘a brain, an athlete, a basket case, a princess and a criminal’. The film takes place over an eight hour period largely spent in the library as the students argue, then slowly bond over common ground, realising that they are all the same in their own ways.

The narrative culminates in a pygmalionesque moment during which Claire (the princess) takes tomboy Allison (the basket case) to one-side, ties her hair back, applies different make up and then sends her out again to be greeted by first Brian (the brain) and Andrew (the athlete). She becomes the subject of their gaze. Although the scene is inter cut with an intimate moment between Claire and Bender (the criminal) in a closet, this essay will concentrate on demonstrating how the audience’s reaction to the reveal is governed by the gaze, the implications of Allison’s transformation and how masculinity is portrayed through Andrew and Brian.

After a brief shot of Brian writing a detention essay, the frame focuses on Andrew’s reaction to the ‘new’ Allison and because the spectator sees her through his point of view during the final reveal, their surprise is heightened. The scene initially conforms completely to Laura Mulvey’s explanation of the gaze: ‘The male is the active “bearer of the look,” where the female in the passive object of the look.’ (Walker, 1981:83) ‘In a world ordered by sexual imbalance, pleasure in looking has been split between active male and passive/female.’ (Mulvey, 1975:11)

The reveal does not initially hold on Allison’s form.   Andrew looks upwards, almost in slow motion. There is a brief shot of a nervous Allison, there is a quick cut back to Andrew, before returning to Allison tentatively walking forward. The fill light which has pervaded the film, which had once disappeared into the character’s dark clothes and hair, now illuminates her white blouse and angelic face, making her form leap out of the frame. The spectator’s point of view is split; they are in the position of both gazing upon Allison and sympathising with her nerves at how others will react to her change. They are diverted because she is not passive and has an active story of her own.

Jonathan Bernstein argues that the emergence of the feminine Allison is problematic. She becomes ‘just another simpering, pretty high school girl with the hots for a jock’ were once ‘she was a unique and unnerving character’ (Bernstein, 1997: 67), although evidence would point to the effect being temporary. In the closing moments of the film, when Andrew rewards her change of look with a kiss, she rips the team badge from his shirt indicating that her rebelliousness is still in force. Mary Anne Doane would characterise this as a state in which ‘womanliness is a mask which can be worn or removed’ (Doane, 1991: 765).

In previous scenes, Allison would work hard to turn herself the centre of attention, making loud noises and telling wild stories about her sexual encounters which she would later laugh off saying ‘I'm not a nymphomaniac...I'm a compulsive liar…’ Here, she is unsure of the power her new femininity has, even asking Andrew if it is a ‘good or bad’ thing when he remarks that he can see her face. When he says it is good, she smiles broadly – she has simply found another, more visual away of keep the attention of others. As Shary indicates Allison ‘diminishes her previous rebel status and (provides) simply another false façade behind which she can hide her anxieties’ (Shary, 2002: 52).

The scene also provides interesting contrasts in the presentation of masculinity. Andrew is shown initially, with muscles taut, waiting for action. When Allison enters he leaps off the wooden handrail he’s been sitting on and steps forward in what appears to be another example of the character asserting his manliness, something which happens throughout the film, generally against the other alpha-male, Bender.

During the film he has taken some time to understand Allison and why she seems to close herself off from everyone, emotionally, perhaps because he feels himself in his jock status doing the same. ‘Andy is the jock as conflicted masculinity, determined to maintain his physical power but desiring to explore his more emotional – if not intellectual – dimensions.’ (Shary, 2002: 73) Somehow the presence of Allison, especially in this scene, allows him to be softer. He actually appears smaller in the frame and when commenting that he can see her face, he gestures around his chin in a way which is also quite feminine.

Brian, by contrast, largely accepts his less masculine status in the group. He ‘is indeed ostracized, ridiculed, physically and socially inept, and desexualised, but his yearning for a transformation from his nerd status to a more acceptable or dramatic personality is minimal.’ (Shary, 2002: 35) As the other male presenting the gaze in the scene, his eyes only fix on Allison long enough to gape and offer her his recognition before returning to the essay. He is not standing. He is shot from above, from her point of view, beneath her, placing him in a less prominent masculine position. The final shot of the scenes sees him finish is writing. He punches himself in the arm celebrating his success but it seems to be an almost ironic gesture – when Brian does try and assert his masculinity it is largely in a knowing way.

In the closing moments of the film a version of the opening voiceover is repeated, but this time, each character reads their own description and the implication has changed. ‘What we found out is that each one of us is a brain, an athlete, a basket case, a princess and a criminal’ In effect they have discovered that they each share those traits both masculine and feminine and this will effect their near future to varying degrees.

Bibliography:

Bernstein, Jonathan. 1997. Pretty In Pink: The Golden Age of Teenage Movies. St. Martin’s Griffin, New York.

Doane, Mary Anne. 1991. Film and the Masquerade: Theorising the Female Spectator. In. Film theory and criticism : introductory readings. 5th ed. 1999. Edited by Leo Braudy and Marshall Cohen. Oxford University Press, Oxford.

Mulvey, Laura. 1975. Visual Pleasure and Narrative Cinema. In Screen 16, 3:6-18

Shary, Timothy. 2002. Generation Multiplex: The Image of Youth in Contemporary American Cinema. University of Texas Press, Texas.

Walker, Janet. 1981. Psychoanalysis and Feminist Film Theory: The Problem of Sexual Difference and Identity. In. Multiple Voices in Feminist Film Criticism. Edited by Diane Carson et al. 1994. University of Minnesota Press, Minnesota.

Filmography:

The Breakfast Club. 1985. Production: Universal Studios. Directed by John Hughes.