On the 25th Anniverary of the release of - "Trouble in Mind" - film buffs were treated to a spanking new 35mm print of the film last night at the New Beverly Cinema in Hollywood.
To the delight of the rapt audience in attendance, two of the lead actors - poplular Keith Carradine & talented Lori Singer - trotted out in the spotlight to participate in an informative Q & A shortly after the credits for the flick (directed by Alan Rudolph) came to a close.
Talented film-score composer - Mark Isham - was also along for the heady ride with the ever-articulate producer Dave Blocker by his side at the podium.
When one member of the audience asked how "Trouble in Mind" was first received, Mr. Blocker was quick to note that the somewhat surreal offering was pretty well-received by the critics, originally.
"But, due to a dispute over the rights and distrubtion with the original backers, the film got lost in the shuffle. Consequently, it never quite received its due," he sadly added on a downbeat note.
The creative talents present were all in great spirits last night at the New Beverly Cinema - which was recently rescued financially by director Quentin Tarantino - who was previously a mainstay at theatre screenings over the years.
"We had a bit of wine at dinner next door, so we're in a great mood," Blocker chuckled.
When Carradine's mic wasn't carrying too well in the recently renovated theatre, one gentleman in the audience asked that he speak up "please".
"Oh, right. I'm a theatre guy," he chortled good-heartedly in response.
The audience roared.
Carradine underscored that the production team originally started out to make a straight film, and went on to note that the director credited Lori Singer for elevating the project to loftier climbs, after-the-fact.
Ms. Singer was originally cast to play the role of a character who was essentially white trailer trash.
"But, when she showed up on the set, her remarkable screen presence not only became event, but a workable asset to figure into the scheme of things," Carradine said in so many words.
Indeed, Singer's screen persona is truly mesmerizing in this feature.
The camera loves her!
Early on in the storyline - before Carradine's character is transformed into a monster of sorts - he, too, captivates the filmgoer.
Carradine is fresh, sexy, and appealing.
In one early scene where the two characters played by Carradine &Singer "suck face", the audience tends to feel like voyeurs peeking in on an intimate moment that is a real turn on.
Talk about a rise in the levi's!
Personally, I found the score by Mr. Isham hauntingly beautiful.
"It was all so synchornistic, really," said Blocker.
Mr. Isham had lent his abilities to three film projects before "Trouble in Mind" came along.
"One day my agent at CAA suggested that instead of waiting for work offers, it might be a good idea to pick a director to approach for a collaboration."
Isham selected a handful of films which he screened fervently over a forty-eight hour period.
"Choose Me" by Alan Randolph interested the gifted composer.
"I wanted to work with Alan because I was a fan."
Coincidentally, as fate would have it, Rudolph was familiar with Isham's distinctive musicality, too.
That week, Rudolph was looking for material for the project, so everything just fell into place.
Marianne Faithful - former girlfriend to Mick Jagger (and known for her hit "As Tears Go by") - was chosen to vocalize a couple of the songs featured in "Trouble".
Mr. Isham noted that new technologies just out in the marketplace were used to his advatnage during the recording sessions.
For example, Ms. Faithful listened to a playback of a piano recording on headphones, while tracks featuring a host of synthesizers were recorded separately.
"We were so naive. Today, we would never have recorded the closing song that way we did, in retrospect. But, the footage worked, amazingly so."
Undoubtedly, this was the reason why the singer's voice comes across as so pure.
Her renditions are masterful!
Blocker noted that they were informed that Ms. Faithful would only be available for six hours.
"One evening when she came over to check out the studio, we ended up laying down the tracks. It was wrapped up during that impromptu session."
He confided a bit of scuttlebutt on the superstar, too.
"As one would likes to imbibe, I can tell 'ya, Ms. Faithful knew how to imbibe, too."
The audience broke into spontaneous gales of laughter.
At one point, Carradine's character goes through a remarkable emotional change, which is reflected in his overrall appearance and plummage on-camera.
In "Trouble", Carradine sports a "do" that is - in fact - totally wild!
"When Bob Dylan saw the film, he joked that Keith's hair was a character all its own," Blocker gleefully quipped.
The cut was swept up on the sides - with a giant lock of hair that sort-of dove-tailed and curled over the forehead in a downward driving fashion (as if dragged there by its sheer weight and gravity).
Carradine explained that the "look" that developed mid-way through the film reflected a need for his character to "beautify" himself to his wife "Georgia" after he felt threatened by Kristofferson's character.
"He was a back-woods sort-of guy, an innocent, who fell victim to the urban sensibility. He felt like an outcast and he was struggling to "fit in"."
Keith & Lori first met on the set in the wardrobe department and have remained fast friends over the years.
When asked how Rudolph felt about the way his films were received, Carradine offered up a quote.
"Make it, then duck," was the advice that Rudolph allegedly gave to his actor friends and business associates.
The cast noted that Rudolph created a unique world.
"If you understood that world, you couldn't go wrong. All you had to do was step in to it," elaborated Ms. Singer succinctly.
Isham compared Rudolph to a jazz director.
"If you have great tunes and great players, you put them together, and let them play."
As much as possible, Rudolph preferred to avoid too much rehearsal.
"He tried to go for the spontaneity of the first take. He allowed the artists to find themselves. When they did, the truth shone through in raw realistic performances."
One curious piece of casting included that of notorious DIVINE.
"He was great in that part," raved Blocker.
"He wasn't Divine. He was truly the character he was portraying."
Mr. Blocker shared one special memory of DIVINE with the audience.
"One night I sauntered up to his hotel room to have a chat with him. When he opened the door, he was covered head-to-toe with pink shaving cream. He was having a full body shave," he shook his head in total amusement.
Apparently, DIVINE invited him in, but he begged off.
Indeed!
Unfortunately, there are many holes in the Kris Kristofferson vehicle.
The film starts off on even sure-footing - then, in a series of implausible plot twists - essentially becomes a run-a-way train heading down the wrong track sure to crash.
And, it does, quite ceremoniously.
There are many cliches, dialogue is stilted (too campy at times), and there is a painful lack of judicious editing which would have benefitted the film greatly (with expert un-biased hands at the helm, for sure).
But, "Trouble in Mind", has many shining moments.
In her role as "Wanda", Geneviève Bujold demonstrates why she is considered to be one of Canada's great treasures!
Being a Canuck, I am no doubt biased in my opinion, though.
Aw shucks!
Also, the acting stints by - Carradine, Singer and Krisofferson - are total stand-outs.
Rudolph's directing is remarkable at times.
On occasion, single frames are not unlike minitature masterpieces, that have been crafted to perfection.
The visuals in the flick are stunning!
Normally, I do not hanker up to "set-ups" and "camera-shots" that are not seamless, but in this instant case I did not mind.
For example - in a couple of scenes where Rudolph pans into deep background or moves back slowly from the action - it does not distract, but rather, complements and underscores his remarkable inimitable style and flair which results in a handful of magical celluloid moments.
Kudos!
Catch "Trouble in Mind" if you can!
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Then, Tarantino takes us by surprise with an off-the-wall "belch" that underscores the auteur is a prankster, a send-up artist, keen on playful cerebral interpretations that end up highlighting a unique signature style.
