321 – The one about Cape Fear

Welcome to episode 321. Today, we watch “Cape Fear”!

A convicted rapist, released from prison after serving a fourteen-year sentence, stalks the family of the lawyer who originally defended him.

Join Scott, Randy, Dunaway, and Ibbott as they ride all the way there under the car.


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As usual, a HUGE thanks to Scott Fletcher, the official announcer of Film Sack Central. Hey! Why not leave us a nice review on iTunes if you like the show?

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6 thoughts on “321 – The one about Cape Fear

  1. Pingback: 321 – The one about Cape Fear - BRIAN DUNAWAY

  2. I loved this movie when it came out, coming off of Goodfellas (which I saw at least 5 times in theaters). I was in my college student/budding film buff years and I was mesmerized by all the cinematic techniques Scorsese threw into Cape Fear. And I was deep into worshipping him by way of Mean Streets, Taxi Driver, Raging Bull, the great great King of Comedy (my favorite De Niro btw), After Hours, and Last Temptation of Christ. Since then, Cape Fear, I came to realize, is pretty ridiculous and I’m embarrassed I put that on the same pedestal as his previous movies. I think in general his post-Goodfellas films including The Departed, Gangs of NY and Shutter Island are gobbledy gook. Casino was a good copy of Goodfellas and Wolf of Wall Street was entertaining but pretty dumb. His new one, Silence, looks like a return to form.

    Home Invasion sub-genre “Pacific Heights” was excellent with Michael Keaton as a tenant from Hell, This one, “Hider in the House, would be a hoot to Sack. Gary Busey (!) as a troubled stalker who sneaks into a house under construction , continues to hide there when a new family moves in. check out the poster it is ridiculous! http://letterboxd.com/film/hider-in-the-house/

    Martin Scorsese is an ITALIAN AMERICAN, Scott, not Jewish like you said. One of the most prominent ITALIAN AMERICANS of the past 40 years. He practically wears his heritage on his sleeve, which is the reason I’m mentioning this. Filmsack Bingo: Scott flubs a fact about an ethnicity.

    Re: a Star Wars movie: you guys already did The Force Awakens! Why do people write to you asking why y’all never did a SW movie?!? BTW, my vote is for Attack of the Clones. Phantom Menace is dull – a lot of scenes of people walking and talking and sitting and talking. zzzz

    PS Barton Fink! I don’t know if Fargo, Lebowski or Barton Fink is my fave Coen Bros. “Give us that Barton Fink feeling!”

    Great show!

  3. Having seen both Problem Child and Cape Fear in the theaters in 90-91 I thought I’d chime in. This was my first Scorsese (a gentile, btw) film and I loved it! I love the spinning camera shots in the houseboat as they fought. Such a cool effect. The most odd thing to me was the complete absence of police and the lack of understanding of the legal system despite everyone being attorneys. At one point Nick Nolte had to go to Joe Don Baker for consultation and asked why the legal system was so messed up and pathetic, as if Joe Don was going to tell him something he didn’t already know!

    Love the podcast,

    Morris

  4. Great episode! A film score buff here to chime in on something – around the 65 minutes you guys were asking/talking about the music score. Elmer Bernstein (1922-2004) adapted Bernard Herrmann’s (1911-1975) original “Cape Fear’ (1962) score for this 1991 version. It’s a fresh recording with Bernstein conducting and with the adaptation/arrangement by Bernstein, and fidelity-wise is a favorite of many. An excerpt from http://www.filmtracks.com/titles/cape_fear.html :

    “What Scorsese had going in his favor was a $35 million budget, cameo roles by both Mitchum and Peck (ironically on opposite sides of their original allegiances), and access to the original 1962 score by horror legend Bernard Herrmann. The desire to use Herrmann’s score is no surprise, with the composer’s last score being for Scorsese’s Taxi Driver, not to mention the outstanding success of the music in the original. Whether or not you can tolerate this usage of Herrmann’s music in a modern setting (whether it is this, or the remake of Psycho several years later) depends on how awkward it is to hear that trademark Herrmann horror sound, forever bound to a certain era in Hollywood, inserted into a much more recent setting. Since Scorsese would be adapting the story of Cape Fear along unfamiliar lines, he would require someone to adapt Herrmann’s material, and Elmer Bernstein was proud to do the job. While the task seems elementary on the surface, Bernstein needed to choose where he could move cues to complementary places in the new film, compose cues for new sequences, and do all of that without harming the integrity of Herrmann’s highly distinct sound. Regardless of opinions about whether the music seems out of place in a 1990’s film, there’s no doubt that Bernstein successfully accomplished his task.”

    • Don’t forget Martin Balsam. He was in the original and played the judge in the scene with Gregory Peck.

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