‘Day of the Dead’ and ‘Back to the Future’ in ‘Stranger Things’

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Lucas on New Coke: “Sweeter, bolder, better.”

The Netflix series Stranger Things has two things in common with The Sopranos. First, it’s very good. Second, a lot of television is watched in it. I just went through the IMDB “Connections” for the 1980s-set Stranger Things and was reminded that the material visible on characters’ TV sets over the course of three seasons includes the series Knight Rider, All My Children, Magnum P.I., Punky Brewster, Cheers (three times), and Family Feud (twice), and the movies Mr. Mom, Frankenstein, and The Thing (John Carpenter’s 1982 remake).

The show, which was created by Matt and Ross Duffer, collectively known as the Duffer Brothers, is quite smart about all of this, with the TV stuff often implicitly commenting on the characters and action. Thus Hopper (David Harbour), a well-meaning but perpetually frustrated paunchy cop in small-town Hawkins, Indiana, is shown watching Tom Selleck’s glamorous Magnum. And Eleven (Millie Bobby Brown), who is ambivalent about her extraordinary powers, to say the least, is transfixed by Boris Karloff as the monster first imagined by Mary Shelley. As Anna Leskiewicz observed in The New Statesman,

Eleven sits on a sofa, hugging a teddy bear tight to her chest. She’s watching a black and white film on a static-filled TV screen. “Who are you? I’m Maria,” a girl says. “Will you play with me?” It’s the 1931 Frankenstein, and Frankenstein’s monster looks at Maria with the same blank expression Eleven has when she’s learning a new word. As Maria and the monster wonder off, hand in hand, Eleven looks as though she’s on the verge of tears. She’s just a child, but it’s clear that she feels caught between both characters: the monster and the girl.

There’s a lot of what you might call intertextuality going on here. A Terminator trailer turns up on TV in season two, and a major bad guy in season three is Grigori (Andrey Ivchenko), who’s one big Terminator callback, down to the big gun and the Schwarzenegger-esque hairdo. The likable Russian informant Alexei is seen laughing uproariously at a Woody Woodpecker cartoon; a couple of episodes later, he wins a big stuffed Woody Woodpecker at the town fair. The glimpse of John Carpenter’s Thing (a character also has a poster for it in his room) is perhaps an acknowledgement that the demon/monster in Stranger Things is quite Thing-y. In Season 3, Lucas (Caleb McLaughlin) cracks open a can of New Coke. (Stranger Things’ shamelessness about product placement is part of its cheesy charm.) His buddy asks, “How do even drink that?” Lucas responds: “It’s like Carpenter’s The Thing. The original is the classic, no question about it. But the remake … sweeter, bolder, better.”

It goes on. Red Dawn (1984) gets several mentions in season three, because the Soviets-take-over-small-town plot of that film is pretty much what’s going in on ST. And, more broadly, the whole series respectfully and artfully borrows themes, look, and vibe of ’80s kids-against-the world movies like E.T.., The Goonies, and Stand By Me.

But only twice do characters see a movie in the theater, both times in season three. In the first episode, “Suzie, Do You Copy?” (written and directed by the Duffers), Steve (Joe Keery) is working at the Scoops Ahoy ice cream shop at the Starcourt Mall, hence the ridiculous sailor suit. He shows the kids a back way to sneak into the mall’s multi-screen theater.

Day of the Dead (1985) was written and directed by George Romero, and is a sort of sequel to his seminal zombie pic Night of the Living Dead. One obvious connection is that zombie-like creatures will indeed show up in Hawkins later in the season. Another is that, as Elena Nicolaou pointed out on Refinery 29, the movie and the series have “uncannily similar music. The Dead Suite, played in the opening scene of Day of the Dead, sure resembles a simplified and slowed-down version of the Stranger Things theme. Those staccato notes in a minor key are staircases to the same conclusion: We’re not headed anywhere good.” The temporary electrical blackout at the mall portends bad happenings as well.

Six episodes later, Steve, his Scoops Ahoy coworker Robin (Maya Hawke), Dustin (Gaten Matarazzo), and the breakout character of the season, no-nonsense Erica (Priah Ferguson), are sneaking into the mall multiplex again. This time it’s more urgent: they’re on the run from the Russian bad guys, who have given Steve and Robin some nasty bruises and (via a truth serum) a bad case of the giggles.

On the screen, of course, is Robert Zemeckis’s Back to the Future, and Jen Chaney has made the case in Vulture that “Stranger Things 3 Is Basically One Big Back to the Future Homage.” She lists a lot of small and large similarities, including a scene in episode 1 where Jonathan (Charlie Heaton) is late for work (the power outage messed up his alarm clock) and has to get dressed in a hurry:

Jonathan, wearing just a pair of briefs, puts one foot into his pants and loses his balance, falling forward out of the frame.

Vulture.com/via GIPHY

That is an exact duplicate of what Michael J. Fox, as Marty, does when he tries to get his jeans back on after his first 1955 meeting with the teenage version of his mother, Lorraine. Just in case you didn’t catch these Back to the Future hat tips, the Duffer Brothers, who created the series and wrote and directed this episode, follow them up by blasting a Huey Lewis and the News song — “Workin’ for a Livin’,” not “The Power of Love” — as Nancy marches purposefully to the office.

Vulture.com/via GIPHY

I have to admit I skimmed a lot of her article. That’s because she dealt with how the season ends and I haven’t watched episode eight yet. I’ve enjoyed this show so much I’ve kind of put it off as long as possible.

 

 

 

 

 

 

 

 

‘Sexual Freedom in Denmark’ or ‘Language of Love’ in ‘Taxi Driver’

MarqueeWhen I started this blog, a friend and colleague, John Jebb, had an immediate reaction: “You’ve got to do Taxi Driver.

He was right.

The movie-in-movie scene in Martin Scorsese’s 1976 film is strange, unique, and hard to forget. The taxi driver of the title, Travis Bickle (Robert De Niro), has somehow wangled a date with his dream girl, Betsy (Cybill Shephard at her 1970s dreamiest). Travis isn’t the savviest guy out there, and his choice of activity for the date, a double feature at a 42nd Street grind house, is spectacularly off. (The clip starts with a look at street drummer Gene Palma, a Times Square fixture in the 1970s and ’80s.)

It gets worse. Eventually, Betsy bolts.

At this point a curatorial note is in order. The Lyric marquee lists two films — Sometime Sweet Susan, an actual 1975 porn film, and Swedish Marriage Manual, which isn’t listed in IMDB or any other reference site I could find. IMDB says the movie on the screen in Taxi Driver is Sexual Freedom in Denmark (1969). But I think it’s more likely to be the Swedish Ur kärlekens språk (1969), translated in the U.S. as Language of Love. If anyone knows for sure, I would be interested in hearing from them.

Back to Taxi Driver, I have to say I find this scene a bit much. One has to suspend one’s disbelief enough just to accept that Betsy would agree to go out with Travis, and that he would be so out of touch to think that a skin flick is an appropriate first date. But the idea she would agree to walk into the movie and stay for as long as she does strikes me as way over the top. The genius.com website has a version of Paul Schrader’s screenplay, with some character notes, starting with Travis’s reaction to Betsy’s initial discomfort at the double bill:

Travis seems confused. He is so much part of his own world, he fails to comprehend another’s world. Compared to the movies he sees, this is respectable. But then there’s also something that Travis could not even acknowledge, much less admit: That he really wants to get this pure white girl into that dark porno theatre.

Travis makes an awkward gesture to escort Betsy into the theatre. Betsy looks at the tickets, at the theatre, at Travis. She mentally shakes her head and walks toward the turnstile. She thinks to herself: “What the Hell. What can happen?” She’s always been curious about these pictures anyway, and – like all women, no matter how intelligent – she’s been raised not to offend her date. A perverse logic which applies even more in offsetting circumstances like these.

I don’t know. It seems to me that Schrader and Scorsese were mainly trying to get as much uncomfortable awkwardness into one scene as they possibly could. If so, they succeeded.

Update: Ben Zimmer, a good friend of Movies in Other Movies, found and sent along “‘This is a dirty movie’ – Taxi Driver and ‘Swedish sin,’” a 2011 article by Elisabet Björklund that answers some of the questions I raised above.  She writes:

The film being shown is not an actual Swedish film, but a construction that has been cobbled together. The makers of Taxi Driver have been quite creative in making the film-within-the-film seem Swedish. All the footage is taken from the American sexploitation film Sexual Freedom in Denmark …, but a Swedish soundtrack has been added. This composite may be construed as a parody of Swedish films with sexually explicit content from around the time of the sexual revolution.

She goes on to describe the “added” soundtrack:

The first images show a man sitting at a desk talking to a woman.  In Sexual Freedom in Denmark, the scene is an interview by Ole Lassen – the Danish cicerone or narrator of the film in the parts shot in Denmark – with journalist Lizzie Bundgaard. In Taxi Driver, however, the scene has been manipulated to make it appear that we are watching a therapy session. On the soundtrack a man’s voice informs us in Swedish that many people have been able to eliminate old habits and patterns of behaviour through consultations. Then a woman’s voice says, ‘My parents were very strict. They told me that the body was the house of God. Sex was dirty, something to be ashamed of.’

Did this Swedish dialogue and narration come from another movie, or some other source, or did Scorsese and Schrader concoct it? Björklund acknowledges she doesn’t know, and thus there remains one open question about the sequence.