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The Wizard, The Power Glove, and Children in Peril

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Why They Made This Crazy Movie

Released in 1989, The Wizard was a major motion picture that doubled as a promotional vehicle for Nintendo products. It's quite likely the only motion picture to require a "Power Glove Consultant" (for the record, this consultant is named only as "Novak" in the credits), and the movie is crammed full of product placement -- primarily for the Nintendo Entertainment System and its games, but also for a bevy of partner brands, including Hostess (a major plot point involves hitching a ride in a Hostess Brands delivery van, plus dialogue regarding Ho-Hos®), Universal Studios (the studio actually produced the movie and conveniently set most of the third act in its theme park), Cosmopolitan (seen in closeup several times), Vision Street Wear (seen on many of the hipper characters), Tom Petty's Full Moon Fever, and countless others.

The Movie

As a memory from my childhood, The Wizard is totally awesome -- it's about video games! There's that crazy gamer kid with the Power Glove! Awesome! But as a movie, The Wizard is a creepy mess.

It's a strange mix of styles, with thirteen-year-old kids trading cornball wisecracks that would still seem odd coming from actors three times their age. What's worse, the old-timey dialogue is often weirdly ribald, though maybe that's unintentional. At one point, thirteen-year-olds Haley (Jenny Lewis) and Corey (Fred Savage) share this exchange, while looking for adult marks they can hustle playing video games:

Haley: "We've gotta find someone dumb enough to suck one."

Corey: [Upon seeing two salesmen playing an arcade game, the game cabinet plastered with a gigantic Tom Petty poster.] "Perfect, they're salesmen! Wait here!"

"So Bad" (the Technology)

It's So Bad - The Power GloveOkay, so it's dated, but from when? The 50s? (Many plot points involve hitch-hiking, riding buses great distances, living a drifter lifestyle, eating in diners, and even sleeping in a drive-in movie theater projection booth.) A more 80's line comes when Lucas Barton (the primary teen antagonist) says: "I love the Power Glove. It's so bad." The only real appearance of the Power Glove in the movie comes just before that line, in an extended product demo where Barton shows off how good (sorry, bad) he is at Rad Racer. Lucas also spends a few lines of dialogue demonstrating the breadth of the NES videogame lineup, as he casually mentions he has 97 titles for the console (and apparently is an expert at all of them). According to unverifiable internet lore, the sounds emitted by the Power Glove during the Rad Racer scene are the five tones from Close Encounters of the Third Kind. That's pretty bad.

The movie also shows tons of Nintendo's PlayChoice-10 arcade games, which allowed gamers to play from a selection of NES titles for a limited time. While I do remember seeing these in arcades, in the world of the movie, the PlayChoice-10 is conveniently located in virtually all public places, from restaurants to bus depots to...other restaurants. There's a lot of action in the second act set in restaurants and diners because of the requirement that NES games be played frequently. When a PlayChoice-10 is unavailable or utterly implausible (as in the interior motel scenes), Christian Slater (!!) plugs in the NES he carries around, just so he can play games on the road (he apparently also carries at least the TMNT game and Zelda II). Oh, did I fail to mention that Christian Slater appears in this movie? He's the older brother of Corey and older half-brother of Jimmy (Luke Edwards), and serves only as a comedic baffle for the father figure (Beau Bridges), who otherwise would be driving around looking for his runaway kids by himself. I should note that Slater had just done Heathers in 1988, so this seems like an odd career choice.

The Wizard was the first look (for U.S. gamers, anyway) at Super Mario Bros. 3 -- although it was available in Japan the year before. Interestingly, the word "Nintendo" is rarely spoken in the movie -- the only time I heard it actually mentioned was during a brief scene where we see the hip cubicle farm behind the Nintendo Power Line (a paid phone help service NES gamers could call for tips). Don't get me wrong, Nintendo games and products are shown constantly, but the script seems to tiptoe around actually using the word "Nintendo." Even the Nintendo Power magazine is retitled Power Magazine in the movie.

What Does the Power Glove Actually Do?

Power Glove

Let's leave aside the movie for a moment and talk about that Power Glove. It was released in the U.S. in 1989, though it wasn't actually created by Nintendo. It was produced by Mattel in the US, and it had an ambitious goal: replace the NES controller with a more natural interface. Sound familiar, Wii users? Indeed, the Wii controller succeeded with some of the technical areas the Power Glove pioneered -- just a couple decades later. The Power Glove was actually based on an earlier class of peripherals called Datagloves, which were too expensive to reach the mass market.

The Power Glove had sensors built into the fingers (minus the pinky, which tends to follow the ring finger's movement), which allowed very basic hand gestures to be recognized. In addition to the finger tracking, the glove could be tracked in 2D or 3D space using ultrasonic microphones and emitters, allowing some Wii-like behavior...but the 3D space tracking required a game title to be written specifically for the glove; only two of those were actually released. The glove also had a modified NES controller strapped to the wrist, with a series of ten hotkeys that could be programmed to do useful things (think "finishing moves," but then think, "oh, right, NES"). One of the finishing moves for the glove's use in the real world was that you had to hold your whole arm up in a limited space -- which gets tiring really fast. Oh, and have you noted that it's only available in a right-handed model? At the end of the day, the product was way ahead of its time (in that it envisioned a more natural mode of interacting with games) but so technically limited that it hardly made any sense.

You can read more about the technical problems of the Power Glove from this 90's-era FAQ. You might also enjoy this 20th Anniversary fan-made mod (watch the video), with schematics available.

The Trailer

...And, back to the movie! Seems like a lighthearted romp, eh? Guess what it was titled in other countries (according to IMDB and Wikipedia): Joy Stick Heroes in Germany, Sweet Road in Japan, The Video Game Genius in Brazil, Vidéokid in France, and Game Over in Finland.

The Plot and Other Problems

What's weirdest about The Wizard is its complicated relationship with gambling, death, violence, and mental health problems. The plot is instigated by a repeat-runaway boy (Jimmy) whose diagnosis isn't specified in the movie, though it's pretty clear he's supposed to be an autistic savant and also suffering from some sort of undiagnosed emotional shock over the death of his twin sister. Jimmy is in a mental institution. The plot involves Corey busting Jimmy out of the nuthouse and getting him to "California" (the only word Jimmy can speak for the first half of the movie) from Utah as they're chased by a bounty hunter whose primary job is retrieving lost kids. It's not explained why law enforcement isn't involved, and why three prepubescent kids running around the western U.S. aren't noticed by any adults. Oh, and Haley is picked up by the half-brothers Corey and Jimmy (I won't get into why they're half-brothers; it's overly complex) as Haley is hanging out by herself in a bus depot, reading Cosmo.

The trek to California is accomplished primarily by gambling -- a series of double-your-money hustles instigated by the queerly parentless Haley. We actually get to see Haley's trailer home at one point, though her father (a trucker) is on the road. In addition to video game-related hustles, the trio end up at one point in an actual casino, wherein Haley's skill at craps allows an adult ("Spankey," a mentally challenged "trucker friend" of her father's, played by Frank McRae) to win hundreds. It's later revealed that Haley's deceased mother had a gambling problem, which apparently led to Haley's hustling skills. Corey's mother is also dead. And Jimmy's sister/Corey's half-sister? She's dead, too. What?! Never mind that now. We have to get to California.

During all of this action, we see some troubling stuff -- the trio are roughed up and robbed by a gang of older kids, they're robbed by cattle farmers, and at one point Haley screams "He touched my breast!" to get the bounty hunter out of the way. There's also a series of violent encounters between the kids' father and the bounty hunter, in which they try to destroy each other's cars, while onlookers gaze complacently at a series of serious car crashes and sip beer. The universe of The Wizard is perversely unaware of kids as entities in need of protection and social norms related to public violence.

Video Armageddon

Anyway, our heroes end up at Universal Studios in Los Angeles (after a brief detour in Reno, which appears to be a brand partner in the movie due to its repeated hype in dialogue and an extended intro montage...), where "Video Armageddon" is underway. This event is a loosely disguised version of the Nintendo World Championships, which debuted the year after the movie. Jimmy fulfills his destiny and somehow everything is fine. Oh, there's also a moment (which I won't spoil in any great depth) involving the Cabazon Dinosaurs explaining Jimmy's "California" thing. The kid's basically Rain Man but for video games, minus all the real human emotions.

In Conclusion

I set out to write a wacky nostalgia piece about Nintendo's attempt to market the Power Glove via this childhood movie that I thought I remembered pretty well. What I found out by re-watching the movie was that there's way more going on here than just marketing -- this movie dances around some pretty heavy/intense stuff, but never deals with any of it. For example, at the end, it's unclear what will happen to Haley, who, as far as her father knows, has been AWOL for days. It sure looks like she's going to go and live with the Corey/Jimmy/Christian Slater/Beau Bridges family...but...uh...she already has a father and a home. But, hey, it's a movie, make up your own ending.

I'll leave you with some odd trivia: apparently Tobey Maguire makes a cameo as one of Lucas's henchmen. Also, there was a Wizard reunion in 2008 in which it was revealed that an hour of footage was cut from the movie -- that likely accounts for some of the plot issues. (This interview with the director sheds some light on the tacked-on plot points as well.)

Also, of course, Jenny Lewis went on to form one of my favorite bands, Rilo Kiley. You can watch The Wizard (in HD!) on Netflix streaming, if you dare, and DVDs are also available.

Follow Chris Higgins on Twitter for more stories like this one.

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entertainment
11 Surprising Facts About Fatal Attraction
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Paramount Pictures

Written by James Dearden and directed by Adrian Lyne, 1987’s Fatal Attraction showed audiences just how dangerous sex could be. Michael Douglas plays Dan Gallagher, a married man who has a weekend-long affair with single career woman Alex Forrest, played by Glenn Close. When he breaks off their affair, Alex goes a little nuts. Despite drawing the ire of feminists and frightening men everywhere, the film grossed an impressive $320 million worldwide, earned six Oscar nominations (including one for Close), and ranks number one in the “Psycho/Stalker/Blank from Hell” genre. Here are 11 scintillating facts about the movie, which was released 30 years ago today.

1. THE MOVIE IS BASED ON THE SCREENWRITER’S SHORT FILM.

In 1980, Fatal Attraction screenwriter James Dearden wrote and directed a short film called Diversion. “I was sitting at home thinking, ‘What is a minimalist story that I can do?’ My wife was out of town for the weekend, and I thought what would happen if a man who has just dropped his wife at the railroad station rings this girl who he's met at a party and says, ‘Would you like to have dinner?’” he told The New York Times. “It’s a little fable about the perils of adultery. It is something that men and women get away with 99 percent of the time, and I just thought, ‘Why not explore the one time out of 100 when it goes wrong?’”

Fatal Attraction producers Sherry Lansing and Stanley Jaffe saw the short and asked Dearden to elaborate on the story. “To turn it into a mass-audience film, I knew there would have to be an escalation of the psychological violence, which in the end becomes physical,” Dearden explained. He says he wasn’t trying to make a social statement about AIDS, but he was trying to say “we can have the most intimate sexual relationships with somebody we know nothing about.”

2. GLENN CLOSE WANTED TO PLAY AGAINST TYPE.

By the time Fatal Attraction came around, Glenn Close was a three-time Oscar nominee who had never been asked to play a sexy role. “When Glenn made it known she was prepared to test, I became fascinated with the idea of using her,” Adrian Lyne told People. “She’s a person you’d least expect to have this passion and irrational obsession. When she and Michael tested, an extraordinary erotic transformation took place. She was this tragic, bewildering mix of sexuality and rage—I watched Alex come to life.” 

Close recalled her nerve-racking audition to Entertainment Weekly: “My hair was long and crazy. I’m very bad at doing my hair. I got so nervous, I took a little bit of a Valium. I walked in and the first thing I saw was a video camera, which is terrifying, and behind the video camera in the corner was Michael Douglas. I just said, ‘Well, just let it all go wild.”’

A year after Fatal Attraction’s release, Close kept the sexiness going in Dangerous Liaisons, which garnered her yet another Oscar nod.

3. ADRIAN LYNE WANTED TO DO A DIFFERENT TYPE OF SEX SCENE.

According to Lyne, the only thing audiences remember about the movie is the spontaneous and somewhat goofy kitchen sink sex scene. “But what people take away from the movie is not Glenn Close putting acid on the car or even the last 10 minutes when they are flailing around in the bathroom,” he told MovieMaker Magazine. “What they remember is Michael f*cking her over the sink early on—which was like 30 seconds—and another 30 seconds of them making out in the elevator … but there’s another two hours and five minutes! And I guess it worked or they wouldn’t have gone to the movie.”

In John Andrew Gallagher’s book Film Directors on Directing, Lyne said he didn’t want the love scene to take place in a bed “because it’s so dreary, and I thought about the sink because I remembered I had once had sex with a girl over a sink, way back. The plates clank around and you’ll have a laugh. You always need to have a laugh in a sex scene.” During filming he yelled at the couple, praising them. “If they know that they’re turning you on, it builds their confidence.” He used a handheld camera to film it “so there was no problem with the heat going out of the scene.”

4. CLOSE HAD A HUGE PROBLEM WITH THE NEW ENDING.

Paramount Pictures

Two endings of the film were shot: The first had Alex planting Dan’s fingerprints on a knife and then killing herself while Madama Butterfly played in the background. Test audiences felt unsatisfied, so Paramount decided to re-shoot the ending and make it more violent. They had Dan’s wife, Beth (Anne Archer)—the only untainted character—shockingly shoot and kill Alex as a statement on preserving the American family.

“When I heard that they wanted to make me into basically a psychopath, where I go after someone with a knife rather than somebody who was self-destructive and basically tragic, it was a profound problem for me because I did a lot of research about the character,” Close told Oprah. “So to be brought back six months later and told, ‘You’re going to totally change that character,’ it was very hard. I think I fought against it for three weeks. I remember we had meetings. I was so mad.”

In Entertainment Weekly, Close said she thought Alex was a deeply disturbed woman, but not a psychopath. “Once you put a knife in somebody’s hand, I thought that was a betrayal of the character,” she explained. The main reason the ending was changed was because moviegoers wanted revenge. “The audience wanted somebody to kill her,” Michael Douglas told Entertainment Weekly. “Otherwise the picture was left—for lack of a better expression—with blue balls.” Though audiences wanted Alex dead, Douglas saw that as a compliment. “You were so good in the part that everybody wanted you to be killed,” he told Close on Oprah.

In hindsight, Close thinks they did the right thing in changing the ending. “Bloodshed in a dramatic sense brings catharsis,” she told Entertainment Weekly. “Shakespeare did it. The Greeks did it. That’s what we did. We gave the audience my blood. It worked.”

5. THE MOVIE CAUSED THE PHRASE “BUNNY BOILER” TO BECOME A PART OF THE LEXICON.

In probably the most disturbing scene in the movie, Alex boils Dan’s kid’s pet bunny. The phrase is listed in Urban Dictionary and on the U.K. site Phrases.org. Urban defines it as “after a relationship break-up, the person who wants some kind of revenge, like stalking, or harassment,” and Phrases says, “an obsessive and dangerous female, in pursuit of a lover who has spurned her.” Close herself was uneasy about the scene. “The only thing that bothered me was the rabbit,” she said on Oprah. “I thought it was over the top.”

6. CLOSE HAD THE KNIFE SHE TRIED TO KILL MICHAEL DOUGLAS WITH FRAMED.

In the theatrical ending of the movie, Alex comes after Dan with a knife but doesn’t succeed in getting away with murder. Close told Vanity Fair that she framed the fake knife, and that it’s hanging in her kitchen. “It’s all an illusion. It’s a cardboard prop!” she said. It’s also a rather creepy reminder of the film.

7. THE MOVIE SAVED MORE THAN A FEW MARRIAGES.

The film shows what happens when a married man lets his guard down and embarks on an affair, only to have it destroy his life. “That movie struck a very, very raw nerve,” Close told Daily Mail. “Feminists hated the movie and that was shocking to me. They felt they'd been betrayed because it was a single, working woman who was supposed to be the source of all evil. But now Alex is considered a heroine. Men still come up to me and say, ‘You scared the s**t outta me.’ Sometimes they say, ‘You saved my marriage.’”

8. CLOSE WOULD PLAY ALEX DIFFERENTLY TODAY.

One of the reasons the film was so controversial is the negative way it depicted mental illness. Psychiatrists have said Alex suffered from erotomania, a condition in which a person wrongly believes a person is in love with them. Close spoke to two psychiatrists in preparation for her role, and neither said Alex’s behavior—especially the bunny-boiling—was because of mental illness. “Never did a mental disorder come up. Never did the possibility of that come up,” Close told CBS News. “That, of course, would be the first thing I would think of now.” She also said, “I would have a different outlook on that character. I would read that script totally differently.”

9. DEARDEN ADAPTED FATAL ATTRACTION INTO A PLAY, WITH THE ORIGINAL ENDING INTACT.

In 2014 a stage version of the movie went up in London, starring Natascha McElhone as Alex and Kristin Davis as the long-suffering wife, Beth. Dearden reimagined the script in making Alex more sympathetic, Dan more blameworthy, and returning to the original ending.

“[I] wanted to return to my original conception of the characters in a sense to set the record straight,” Dearden told The Atlantic. “Because while Alex is undeniably borderline psychotic, she is also a tragic figure, worn down by a series of disappointments in love and the sheer brutality of living in New York as a single woman in a demanding career. So whilst remaining faithful to the storyline, I have introduced the ambivalence of my earlier drafts … nobody is entirely right and nobody entirely wrong.”

10. DEARDEN AND CLOSE DON’T BELIEVE ALEX IS A MONSTER.

“Alex is emphatically not a monster,” Dearden wrote in The Guardian. “She is a sad, tragic, lonely woman, holding down a tough job in an unforgiving city. Alex is not a study in madness. She is a study in loneliness and desperation.” He goes on to write that he regrets “that audiences shouted ‘Kill the bitch!’ at the screen … Did Fatal Attraction really set back feminism and career women? I honestly don’t believe so. I think that, arguably, it encouraged a vigorous debate from which feminism emerged, if anything, far stronger.”

Close doesn’t see Alex as monstrous either. “I never thought of her as the villain, ever,” she said on Oprah.

11. A TV VERSION OF FATAL ATTRACTION WAS KILLED.

In 2015 it was reported that Paramount would be bringing the film to the small screen in what was described as “a one-hour event TV series.” Mad Men producers Maria and André Jacquemetton were set to write and executive produce the show, with Deadline writing that the TV version would show how “a married man’s indiscretion comes back to haunt him,” just like in the movie. The show was set to air on Fox. But in early 2017, it was announced that the project was being killed—at least by Fox—after the producers encountered troubles with both the title and casting (The Hollywood Reporter wrote that both Megan Fox and Jenna Dewan Tatum were both said to have passed on the project.)

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Pop Culture
Why Are We So Scared of Clowns?
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Warner Bros.

With the box office-smashing success of the new adaptation of Stephen King's It, it’s safe to say that coulrophobia (fear of clowns) isn’t a fringe phenomenon. The colorful circus performers are right up there with vampires and werewolves on the list of iconic horror villains. But unlike other movie monsters, clowns were originally meant to make kids laugh, not hide under their beds in terror. So what is it about clowns that taps into our deepest fears?

According to Yale doctoral candidate Danielle Bainbridge, the unsettling clown stereotype goes back centuries. In the inaugural episode of the new PBS digital series Origin of Everything, Bainbridge explains the long history of this pervasive part of our culture.

Before clowns wore floppy shoes and threw pies at each other’s faces, early versions of the performers could be found in royal courts. The court jester wasn’t evil, but he was the only person in the kingdom who could poke fun at the monarch without fear of (literally) losing his head. The fact that fools didn’t fall within the normal social hierarchy may have contributed to the future role clowns would play as untrustworthy outsiders.

From the medieval era, clowns evolved into the harlequins of 16th-century Italian theater. Again, these weren’t bloodthirsty monsters, but they weren’t exactly kid-friendly either. The characters were often mischievous and morally bankrupt, and their strange costumes and masks only added to the creepy vibes they gave off.

Fast-forward to the 19th century, when the white-faced circus clowns we know today started gaining popularity. Unlike the jesters and harlequins that came before them, these clowns performed primarily for children and maintained a wholesome image. But as pop culture in the 1970s, '80s, and '90s showed us, that old perception we had of clowns as nefarious troublemakers never really went away. Steven King’s It, the cult classic Killer Clowns From Outer Space (1988), and that scene from Poltergeist (1982) all combined these original fears with the more modern association of clowns with children. That formula gave us one of the most frightening figures in horror media today.

If you’re not completely spooked yet, watch the full story below.

[h/t Origin of Everything]

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