By Carl R. Green, William R. Sanford, Howard Schroeder
A mad health care provider replaces a part of his friend's broken mind with the mind of a legal and unleashes a sequence of violent occasions.
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Pete deﬂates a little, but it’s a job. Shebib’s bottling-plant montage instantly conveys bleak industry and ceaseless, rattling noise. The boys are seen working full-out from the get-go, surrounded by people who emanate a stale aura of downsized dreams. They don’t know it yet, but this is as good as it will get for Pete and Joey, and it doesn’t look too good. First paycheques in pocket, the boys bolt out into the parking lot and into the night. The music kicks into up-tempo overdrive, the neon lights burst the night, and the factory boys are loose.
16 That was later. In the meantime, for Bradley and everyone involved, Don Shebib’s movie felt like a longoverdue beginning. By drawing his cast from Rill’s students, Shebib was introducing another element of sympathetic outsider-ness to his production. As both McGrath and Eastwood remembered years later, Toronto was not exactly an accommodating place to performers who strayed from the conventional path of theatrical training. Which is to say, if you hadn’t done Stratford or Shaw, and you didn’t enunciate in the plummy tones of the mid-Atlantic, you weren’t likely to ﬁnd work.
It’s gonna be so different. There you can get all kinds of jobs. ’2 The city obliges. Everything, from this moment on, will be locked up tight as far as Pete and Joey are concerned. One of our ﬁrst glimpses of Pete and Joey arrived in Toronto is through the window of a Scarborough house whose curtains are closed so the inhabitants can hide inside. They’re an aunt and uncle of Pete’s – and therefore the movie’s only suggestion of his family – who are horriﬁed to have these rube Maritimers blown up on their front step.
Black Friday (Movie Monsters Series) by Carl R. Green, William R. Sanford, Howard Schroeder