ESCAPE FROM NEW YORK (1981) Blu-ray Review

Escape from New York (1981) d. John Carpenter (USA)

As the second of their two-picture deal with Avco-Embassy (following The Fog), producer Debra Hill and writer/director Carpenter set their eye on realizing a sci-fi/action script he had written in the mid-’70s, with the entire island of Manhattan having been turned into a maximum security prison with a 50-foot detainment wall built around its perimeter. Into this scenario Carpenter and co-screenwriter Nick Castle (who had played “The Shape” in 1978’s breakout Halloween) dropped ruthless and charismatic mercenary Snake Plissken (Kurt Russell) and a wild, do-or-die plot about rescuing the President of the United States (Donald Pleasence) after Air Force One is hijacked and crash-landed in the Big Apple. On a budget of $6 million (substantial, but still smallish for the project’s ambitious scale), the creative team – with special nods to production designer Joe Alves, cinematographer Dean Cundey, and one of the coolest ensemble casts EVER – emerged with a critical and box office hit . . . and an all-time iconic character in “Call me Snake” Plissken.

ASSAULT ON PRECINCT 13 (1976) Blu-ray Review

Assault on Precinct 13 (1976) d. John Carpenter (USA)

Two elements hang heavy over any critical viewing of Carpenter’s second feature (and his first to be executed over a normal shooting schedule – his debut, Dark Star, was a college film shot in fits and starts that was later picked up for distribution, resulting in additional reshoots): 1) it is a conscious reworking of Howard Hawks’ 1959 classic western Rio Bravo with John Wayne, Dean Martin and Ricky Nelson, and 2) the onscreen shooting of a young girl (played by Disney fave Kim Richards) earned Assault on Precinct 13 instant notoriety. The latter item infuriated the MPAA and more sensitive reviewers, but being that this was an unabashed low-budget exploitation piece, it became the talking point that proved, “Any publicity is good publicity.” Following its initial cool reception in the U.S., the film became a critical and commercial success in Britain, affording the young writer/director (and composer and editor) the traction to mount what would become one of the most successful independent films in history, Halloween.