Cleansing the doors of cinematic perception since 2006, or earlater

Wednesday, June 11, 2008

Great Dads of the 1970s #10: Josh Brolin as Dr. Block in PLANET TERROR

I'll grant you that Brolin's character in this beautifully constructed gonzo gem from Robert Rodriguez (can I go out on a limb and say it's his best film, even if it's so gross I have to avert my eyes 1/10 of the time?) is in fact rather evil. Yes, he tries to kill his unfaithful wife even before he gets turned into a zombie, but damned if he ain't a good dad to his kid, Tony (played by Robert's son Rebel and named--presumably-- after Danny Torrance's finger in THE SHINING).

First off, there's the fact that daddy and mommy are doctors, who wake up at night to go to work! Pardon me, but I think that's just about the coolest thing in the world. Maybe it's just that I'm so sick to death of those tiresome scenes of domestic tranquility around the breakfast table, dad with briefcase and mom in her apron, etc. that are supposed to spell out family dynamics in so many bad films. Here that breakfast family dynamic is inversed and made as sinister and exciting as getting ready for trick or treating. Also adding to the inverse, the dad sits down to cereal with Danny and notices instantly Danny's lost a tooth, "hey what happened to your tooth?" he says, like one cool cat to another, while mom is pattering around, double dealing on a cell phone AND a Blackberry... and what's worse, doing it with Carmen Electra!!

Third, there's his line to his kid: "No dead bodies for daddy tonight," how cool is that? This one phrase lets the kid into dad's world. Similar to the "give us a kiss" line in JAWS, it delineates just exactly how the kid serves to help the father deal with his big adult issues, i.e. by acting as an conduit back to (relative) innocence. The son becomes the touchstone of decency which enables dad to wade into the blood, vice and depravity of 1970s monster hunting, eating, and becoming. It's a quid-pro-quo as the son's innocence centers the father in his bloody quest, but the father in a sense centers the innocent son in that same blood. Block treats him like an equal, like a young man deserving of respect and confidence but at the same time Block doesn't pass responsibility onto him or betray any emotional dissonance or anxiety that might traumatize or adversely affect him.

By contrast, Dakota, the near-hysterical anesthesiologist mom (Marley Shelton) is so terrified her husband will discover she's about to run off with her hot lesbian lover (Carmen Electra) she barely notices Tony at all. Naturally she wants to run off with Tony too but one can see the wretched life he'll have fleeing from locked motel room to car to motel while Elektra and his mom get it on next door or upstairs - he'll be as neglected as Freddie Bartholomew in THREE ON A MATCH (1933).

More importantly, Block's not afraid to mention dead bodies to his son; he doesn't exclude him in that babying way overprotective parents of today might and that puts him squarely in the great dad of the 70s pantheon. He even shares his suspicion over Dakota's lies with Tony: "Do we believe her?" Block calmly asks when mom lies about the text message she receives while preparing their nightly breakfast. "Nope," Tony flatly answers).

Dakota shows all her anxiety and fear to Tony, while dad Brolin never would; he's even respectful of Tony's action figures and their desire to "eat brains."

How can a man convey such a great and complex dad in such a short scene? One word: BROLIN! He even starts the nigh at the hospital off right --in prime doctor mode--until discovering Carmen Electra dead under a sheet, wheeled in by paramedic Joe Bob Briggs. From then on he's a dickhead monster, but hey -- his wife proves her infidelity and lying ways, and then even blames Tony's death from self-inflicted gunshot wound on him later on in the night --and he was nowhere near them. That ain't right!

Have you heard Brolin is going to play George W. Bush in Oliver Stone's new biopic? The mind boggles, the stomach contracts, and the gall rises. I may have to avert my eyes, as I always do in Joe's VD slide examination scene.

Read a great interview with Brolin here.

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