STREET TRASH (1987) Blu-ray Review

Street Trash (1987) d. Muro, Jim (USA)

In spite of its status as one of the great "melt movies" of our time, it's important to remember the title is not "Tenafly Viper" - the noxious brew that leads several unfortunate souls to their oozy doom - but Street Trash. It's at its heart a character piece, one that in no small way resembles Elmer Rice's Street Scene in its presentation of a memorable motley band within a subculture that usually occupies the periphery rather than center stage. That such shocking and reprehensible incidents of necrophilia, murder, rape, theft, assault, shoplifting, racial slurs and blatant misogyny are handled with such buoyancy and glee is the film's secret weapon, especially when presented with such artistic flair.

THE DEFINITIVE DOCUMENT OF THE DEAD (2012) movie review

On the audio commentary for this latest iteration of his groundbreaking behind-the-scenes Document of the Dead, filmmaker Roy Frumkes compares his film to Michael Apted’s Up series (7 Up, 14 Up, 21 Up, etc.) in that he feels that his life has somehow become intertwined with that of his doc’s subject, George A. Romero. While a pronounced exaggeration alongside with Apted’s landmark half-century-and-counting achievement, Frumkes’ point is that with each new version, he has to choose what archival footage to excise in order to make room for the new. Sadly, the truth is that this 2012 release (dubbed “The Definitive Document of the Dead”) shows only too clearly that – arguably like Romero’s work itself – the past is where the good stuff lies.

While teaching at the School of Visual Arts in New York in 1978, Frumkes was looking for a documentary subject and decided that, while there had been several behind-the-scenes films made for Hollywood studio efforts, there had not been many (if any) that covered the making-of an independent feature. Denied the ability to shoot in NY or California due to union rules, the instructor learned of Romero’s impending Dawn of the Dead shoot at the Monroeville Mall outside of Pittsburgh. Thanks to an already existing relationship with Dawn producer Richard Rubenstein, Frumkes was granted access to the set where he and a small crew (comprised mainly of SVA students) shot for several nights alongside Romero, Tom Savini, Ken Foree, et al., capturing delicious celluloid tidbits of a masterpiece in the making.