JOHN CARPENTER: LIVE RETROSPECTIVE

"I'm a director of horror movies. I love horror movies. Horror movies will live forever." 

After thirty years, John Carpenter is finally getting his due. And he's having fun again.

For those who have followed the trials and tribulations of the cult director, everyone knows that he's a man who has consistently proven to be ahead of the times. One of his most celebrated films, Halloween, was met with critical dismissal and audience disinterest upon its initial release, but which saw a total reversal on both of those fronts over the coming months. It was "the little indie film that could," as the dearly departed co-producer/co-writer Debra Hill once put it, and it would go on to become one of the most respected horror films of all time and spawn a franchise comprising eleven films, with two more entries on their way. A similar fate would befall The Thing, perhaps the director's most respected film, which would not only have its own reversal in the minds of critics and hearts of audiences, but nearly derail Carpenter's career, putting him on a different path of safer studio fare (Christine, Starman) to show audiences he was capable of telling less icky, mean-spirited stories.

But the 2010s have shown that Carpenter's impact hasn't just been on audiences, for whom he's provided decades of nightmares, but on a legion of filmmakers who have grown up under his tutelage. Adam Wingard with The Guest. Jim Mickle with Cold in July. Jeff Nichols with Midnight Special. David Robert Mitchell with It Follows. And this list is endless, as new films are announced all the time that cite Carpenter as their inspiration. None of these filmmakers hide their love and respect for a man who, for much of his career, received too little of both. The current iteration of Hollywood, which so far has remade four of Carpenter's best efforts, with more on the way, and where Halloween and Vampires have been sequelled into mediocrity, is the same land where Carpenter can't find funding for his own projects. To film fans, that can be especially aggravating. But as he's so far proven during his John Carpenter: Live Retrospective tour, he has gotten the last laugh, night after night. Because try as producers might to keep re-purposing Carpenter films through remakes or sequels in a blind effort to achieve mastery through affiliation, they will never even begin to touch the majesty of seeing him perform his most famous themes as part of a six-piece band (which includes his son Cody Carpenter, Daniel Davies, John Konesky, Scott Seiver, and John Spiker).

In July of 2016, I got my chance.

Much like Carpenter's filmmaking style, musical style, and much like the man himself, John Carpenter: Live Retrospective featured zero bullshit. There was no opening act, and no intermission. There were no pyrotechnics, no surprise guests, no gimmicks. The presentation was simplistic, to the point, and somewhat dorky (said in the lovingest way possible). During performances of his film themes, a large screen behind the band played a muted montage of the appropriate title. And for cuts from his two Lost Themes albums, that screen either displayed abstract light shows, or nothing at all. During The Fog, the stage filled with...you guessed it...fog. For They Live, the band paused after the song's intro to slip on some Ray-Bans. During Big Trouble in Little China, which Carpenter introduced as being a search for "the girl with green eyes," the lights illuminated solid green. And for every single one of these tracks, film themes or otherwise, Carpenter was chewing gum and dancing adorably behind his keyboard. He was beckoning to the crowd for rhythmic hand claps, the devil horns, and during Big Trouble in Little China's "Porkchop Express," the hand gesture shown off by several of its characters, known as the "Buddha finger." And the crowd, who waited with bated breath for the most recognizable horror theme of all time, lost their minds as the band launched into the main titles for Halloween, which they followed up with In the Mouth of Madness, likely the closest thing to rock 'n roll the director has ever scored. Even cuts from the surprise album "Lost Themes II," which is quite different from its predecessor, demanded new evaluation when presented so intimately and enthusiastically by its musical personnel. "Distant Dream" alone proved this.

In a night filled with surprises, the band chose to end the show with an unexpected choice: a track from Christine, a less celebrated title with a less celebrated soundtrack. But as the band performed, you could see why: because they enjoy the hell out of themselves as they play it--more than any other song in their set list.

Some film tracks, such as The Fog, are as you remember them. But so many others, now with the use of a full band, sound electrifyingly new. Never have the main titles from Escape From New York, confined so long to merely synthesizer, sounded so full and tremendous and utterly bad-ass. And with scenes from the film playing out on screen featuring Harry Dean Stanton's Brain and Donald Pleasence's President of the United States, the crowd was reminded that they don't just love Carpenter's films, and they don't just love his music, but they love his music because of his films, and they love his films because of his music.

Seeing John Carpenter embark on a tour during which honors his own legacy--one so often disregarded unless it's being exploited--offered another stark reminder: in this world of endless sequels, remakes, and loving cinema homages, there will only ever be one John Carpenter. The John Carpenter: Live Retrospective tour has come to an end, but a second tour that promoted his movie themes, was immediately announced. Will Carpenter and co. tour again? Never say never. If they do, and you haven't yet had the pleasure, don't miss out. (Or, of course, you can pick up a Blu-ray of the tour from Storm King Productions.)

Set List

Escape From New York (Main Title)

Assault on Precinct 13 (Main Title)

Vortex (from Lost Themes)

Mystery (from Lost Themes)

The Fog (Main Title)

They Live (Coming To L.A.)

The Thing (Main Theme - Desolation) (Ennio Morricone cover)

Distant Dream (from Lost Themes II)

Big Trouble in Little China (Pork Chop Express)

Wraith (from Lost Themes II)

Night (Daniel Davies solo; from Lost Themes)

Halloween (Main Title)

In the Mouth of Madness (Main Title)

Encore:

Prince of Darkness (Darkness Begins)

Virtual Survivor (from Lost Themes II)

Purgatory (from Lost Themes)

Christine: Christine Attacks (Plymouth Fury)

ONE MORE STORY...

 

"In five minutes, it will be the 21st of April. One hundred years ago on the 21st of April, out in the waters around Spivey Point, a small clipper ship drew toward land. Suddenly, out of the night, the fog rolled in. For a moment, they could see nothing, not a foot in front of them. Then, they saw a light. By God, it was a fire burning on the shore, strong enough to penetrate the swirling mist. They steered a course toward the light. But it was a campfire, like this one. The ship crashed against the rocks, the hull sheared in two, mars snapped like a twig. The wreckage sank, with all the men aboard. At the bottom of the sea, lay the Elizabeth Dane, with her crew, their lungs filled with salt water, their eyes open, staring to the darkness. And above, as suddenly as it come, the fog lifted, receded back across the ocean and never came again. But it is told by the fishermen, and their fathers and grandfathers, that when the fog returns to Antonio Bay, the men at the bottom of the sea, out in the water by Spivey Point will rise up and search for the campfire that led them to their dark, icy death."

THINGS

THAT THING WANTED TO BE US

STARMAN (1984)

The beauty of Starman is not just the film itself, but who made it — horror director John Carpenter, who just a few years earlier had been lambasted and nearly run out of Hollywood for having directed The Thing, a nasty, gooey, and bleak alien thriller that had the misfortune of coming out not long after E.T., an admitted juggernaut that had audiences feeling the warm and fuzzies about alien lifeforms. Starman was Carpenter’s apology to audiences, which allowed him to show off a much different side of him than was essayed by his filmography up to that point. Produced by Michael Douglas and featuring perhaps the best cast ever assembled for a Carpenter film, Starman is a feel-good hybrid of nearly every genre there is — sci-fi, romance, drama, adventure, and comedy, all wrapped up into one of Hollywood’s oldest and most relied on locations: the open road.

Carpenter directs Starman with a gentleness not yet (or since) seen from the filmmaker, which is what makes the finished film so inspiring: from beginning to end, Carpenter willfully, gleefully embraces the romantic inside of him he modestly claims not to possess, and crafts, frankly, a beautiful story about love, loss, and hope, with a message that even he doesn’t believe in, but which is a touching way to end his story: when the Starman (Bridges) tells Charles Martin Smith’s scientist, “Do you know what I find most beautiful about your people? You are at your best when things are at their worst.” To echo Carpenter’s sentiments, it’s not at all true, especially during this particularly hateful era, but it is a beautiful way to end a film constructed on the most otherworldly love story one could imagine.

Along with a decidedly non-horrific, non-R-rated tone, Carpenter also eschews his scoring duties, allowing famed composer Jack Nitzsche to take on the task; he creates a gorgeous, ethereal score, some of which consists of vocal samplings from his wife and which are turned into galactic, unearthly tones.That aside, and the lack of usual Carpenter D.P. Dean Cundey, don’t think that Starman doesn’t feel like a Carpenter film, because it absolutely does — look no further than the tracking shot rushing in on Starman as a handful of good ol’ boys rush him in a truckstop diner parking lot.

I often wonder what could've been for John Carpenter, had The Thing been recognized on the spot for its brilliance and unrelenting horror, rather than taking years and years to develop the critical devotion and cult following that it's gone on to achieve. Would he have embraced more studio fare, working with increasingly bigger budgets? Would he perhaps have made the long mooted remake of The Creature from the Black Lagoon? Maybe. But his frustration with the studio system, and his desperation for any job after The Thing nearly derailed his career, wouldn't have led to his independently produced features Prince of Darkness and They Live, and wouldn't have led to Starman, the sweetest film from a director not known for sweet things. Knowing what would be at stake, maybe it's best to step back from wondering what would've been, and instead, focus on what is. 

PROBABLY MR. RIDDLE

Mondo poster by Jock. 

HEAR MY VOICE