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||| Sergio Leone |||
Sergio Leone

Leone’s career is remarkable in its unrelenting attention to both American culture and the American genre film, exploring the mythic America he created with each successive film examining the established characters in greater depth.

Only his second feature (a remake of Kurosawa’s Yojimbo), Leone's landmark "spaghetti western" caused a revolution and features Clint Eastwood in his breakthrough role as "The Man With No Name". This classic brutal drama of feuding families wasn’t the first spaghetti Western, but it was far and away the most successful up to that time.

Plot is of minimal interest, but character is everything to Leone, who places immense meaning in the slightest flick of an eyelid, extensively using the extreme close-up on the eyes to reveal any feeling, as demonstrated by Clint, who squints his way through this slam-bang sequel to A Fistful of Dollars as a wandering gunslinger that must combine forces with his nemesis to track down a wanted killer.

The final chapter in the groundbreaking trilogy follows Eastwood, Lee Van Cleef, and Eli Wallach as they form an uneasy alliance to find a stash of hidden gold. Leone focuses on his central theme as they find themselves facing greed, treachery, and murder, showing that the desire for wealth and power turns men into ruthless creatures who violate land and family and believe that a man’s death is less important than how he faces it.

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Alien Trespass

By BrianOrndorf

April 1st, 2009

I hate to mention it out of respect to the producers of "Alien Trespass," but the 1950's sci-fi lampoon genre was bled dry by the astoundingly unfunny 2004 picture, "The Lost Skeleton of Cadavra."

Alien Trespass

Thankfully, “Trespass,” while wading dangerously in toxic self-aware waters, heads the opposite direction, imagining a B-level monster outbreak movie as a real artifact from the bygone era. The patience and concentration of the film to not wink itself into a coma is amazing to behold, and I was flabbergasted over just how engrossing and playful the picture is. The exterior promises another punishing “Cadavra” headache, but the feature is quite skillful and inventive. And most importantly, it’s not entirely camp.

When a flying saucer hits a small Californian mountain town, the local police (including Dan Lauria and Robert Patrick) attempt to squelch rumors and proper investigation by forbidding the community to approach the ship. However, resident astronomer Ted Lewis (Eric McCormack) finds his way inside, only to have his body inhabited by interstellar hunter Urp. Returning to town, Urp exhibits strange alien behavior while tracking the Ghota, rubbery one-eyed creatures that have come to Earth to destroy all humans. While the town panics, Urp teams up with waitress Tammy (Jenni Baird) to capture the dangerous Ghota and blast them into space where they belong.

“Alien Trespass” opens with faux newsreel footage from 1957, immediately setting forth the hope that director R.W. Goodwin (a vet of television productions) might be able to grab the audience and make them believe in the giddy spirit at the core of what he’s about to manufacture. There’s no Ed Wood-style bad movie parade or insipid self-congratulations here: Goodwin wants to recreate the square vibe of a 50’s alien invasion chiller. Barring the presence of modern technology during the saucer sequences and unavoidably glossy cinematography, he achieves his goal with style and charm, making “Trespass” more of a valentine than a smirking mockery.

Goodwin’s dedication rewards the viewer with traditional monster movie escapism, generously dishing up a retro feel to “Trespass” that pays splendid homage to the creepers and chillers of yesteryear. The filmmaker truly believes in what he’s making and is not just playing the concept for cheap, dull jokes. It’s an achievement worth celebrating in today’s ironic times, and I appreciated the effort. That’s not to suggest “Trespass” is a dour motion picture; in fact, it’s quite lively, liberally deploying small town cop and dim-witted civilian archetypes within a low-budget movie setting, leaving room to play with, not underline, artificial locations, limited photography, and stiff acting. “Trespass” remains a good-humored romp because of the affection, whisking the viewer back to a day when a guy in a rubber suit was the height of terror, and the only thing more heinous to an adult than a body-melting monster was a teenager in full greaser attire.

Credit must be paid to the ensemble of “Trespass,” who turn in fantastic work blending era-specific theatricality with straight-faced commitment. Noted ham McCormack is perhaps the strongest element here, deftly working his nerdly, pipe-sucking routine as Ted while his robot monotone wins as Urp. There’s not a single point in the film where any of the actors shatter Goodwin’s spell. The cast remains committed to the concept, and the filmmaking encourages their efforts.

After being burned so thoroughly by “Cadavra,” the thought of another 50’s B-movie recreation carnival brought me nothing but absolute dread. Mercifully, “Alien Trespass” is a delightful experience, lovingly made by clever individuals who know how to throttle their enthusiasm creatively, not obnoxiously.

My rating: B+