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WALKER (1987) is a cult movie in search of an audience. A important and financial wretchedness upon its initial release, the film is hard to rep on video and rarely televised–but to fans of Psychotronic Cinema, it is worth the anxiety to regain! The film is a schizo, intentionally anachronistic bio of William Walker (1824-1860), the Nashville-born doctor/lawyer/journalist who led his enjoy private army into Nicaragua, ultimately installing himself as president of that nation. Positive similiarities between Walker’s filibustering activities and the US’s often ham-handed diplomatic policies towards Central America during the 1980s led the filmmakers to turn WALKER into a political satire, but it is by turns silly, tragic, curious, informational, and view provoking. Ed Harris plays Walker, and as something of an expert on the filibuster, I can stammer you Harris’ interpretation is perfect. Lotsa familiar faces–Rene Auberjonis, Richard Masur, Marlee Matlin, and the hilarious Peter Boyle among them–make this one a character actor watcher’s dream film. This report is only for those who can bask in unfamiliar movies! This film deserves to earn a cult audience, and I hope this review helps to set aside one!
Walker is an unconventional biopic that effectively burned any remaining bridges Alex Cox had with Hollywood. He took a modest amount of studio money and made a film about William Walker, an opportunistic American who invaded Nicaragua and became its president from 1855 to 1857, instituting slavery which didn’t go over too well with the locals, and he was eventually executed in 1860. Cox wasn’t alive to in making a broken-down biopic and, with screenwriter Rudy Wurlitzer, decided to include the occasional unusual anachronism (Walker appears on the covers of Newsweek and Time; a Mercedes drives past a horse-drawn carriage) to give the film a satirical howl of whisper against the Reagan administration’s benefit of the contra war against the democratically elected Sandinista government. This did not endear Cox to his studio backers.
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Cox sets an absurdist tone and never looks support. This is evident in Walker’s first battle in Nicaragua. As his men are gunned down in the street, he brazenly walks through seemingly oblivious to the carnage going on around him. He takes refuge in a building and plays the piano as bullets whiz around him. It’s a crazy scene but works because of Ed Harris’ conviction. He portrays Walker as a self-important, power-hungry madman with characteristic charismatic intensity.
Cox actually had the chutzpah to invent Walker in Nicaragua with the approval of the Sandinista government which demonstrates unprejudiced how far he was willing to set his money (or rather the studio’s) where his mouth was. The filmmaker adopts a very impish attitude as he gleefully deconstructs the biopic (powerful as he shredded the spaghetti western and gangster film genres in Straight to Hell) in such an off-kilter blueprint that had never been done before and rarely attempted since (perhaps Kevin Spacey’s occupy on Bobby Darin in Beyond the Sea or Tony Scott’s gonzo select on Domino Harvey in Domino (Widescreen Recent Line Platinum Series) ) . However, Walker remains a cinematic oddity as he applies the punk attractive to the biopic, making a political statement about the abuse of power that is eerily relevant today as it was in 1987.
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There is an audio commentary by director Alex Cox and screenwriter Rudy Wurlitzer. The two men talk about how they took a outmoded historical fable and proceeded to atomize all of its rules. They praise Joe Strummer’s emotional regain and touch upon the mood it creates. Cox is comic and paunchy of energy with Wurlitzer providing his maintain laconic recall on the film.
“On Moviemaking and the Revolution” is an audio excerpt from an extra on the film who recounts their experiences and providing a snapshot of the crazy atmosphere of filming on state.
“Dispatches from Nicaragua” is a 50-minute retrospective peep at the making of Walker. It provides the historical context in which Cox made his film. There are all kinds of tall behind-the-scenes footage of the filmmaker and his cast and crew hard at work. We sight what a logistical nightmare this film was and the challenges of shooting in Nicaragua.
There is another extra where Cox quotes from and responds to the scathing reviews of his film from support when it first came out.
“The Immortals” features two serene galleries, one of behind-the-scenes photographs taken on the status and Polaroids of various cast members in costume.
Finally, there is a theatrical trailer.
residential outdoor lighting
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