The debut of Plissken, aka “Snake,” played by a former child actor for Walt Disney Imageshad a major impact in 1981. A budget of only five million dollars turned into a profit of fifty. Giovanni Carpenter Yes Nick Castle They created a cultural icon that has resonated ever since. The result exudes authenticity and integrity from a director who navigates between the apocalyptic films that surrounded the American, Australian and Italian cinema of those years, the punk aesthetic, action comics and his classic way of understanding cinema, which he cleverly juxtaposes with fantasy and horror films.
The success owes a lot to the charisma of Kurt Russellfetish actor Carpenter. Snake is a laconic, disenchanted and anarchic hero, who “…they don’t give a damn about your war or your president” as he will tell Bob Hauk, the police chief who controls security on the prison island. The final shot in which the hero unmasks the country’s high official, while destroying the cassette containing the real speech that should have been heard at the world summit in Hartford, demonstrates at the same time the little faith in the human being of the decorated former soldier. which constitutes its particularity “fuck him” to the pre-established system and political correctness. Plissken, worthy heir of the romantic buccaneer of nineteenth-century literature, crossed by the stoic archetype of the western, is a determined hero who, probably, as a lawyer or financial investor would not earn a living, but knows what he has to do to be done on an island of Manhattan transformed into a maximum security prison.
PRESIDENT OF WHAT?
Russell He was supported by a diverse and versatile cast of actors. He is also a carpenter Donald Nice to meet you it gives a caricatured and pusillanimous personality to the nation’s high officials. Other later royal figures have demonstrated how pathetic a US president can be. “President of what?”Snake will tell Hauk as his first reaction when he is informed of the parameters of his mission.
The veterans Lee Van Cleef (which provides a presence previously used by Budd Boetticher, John Ford or Sergio Leone) like Hauk and Ernesto Borgninewhose character, Cabbie, elucidates how taxi drivers survive in the new order of Manhattan Island. Harry Dean Stanton as “Brain,” after his work for Wim Wenders or Ridley ScottYes Adriana Barbeauwith whom he had already collaborated Carpenter In someone is spying on me (Someone is watching me!1978) e The fog (The fog1980), became one of the great ladies of fantasy, also thanks to her films with Wes Craven Yes George A. Romero.
an unusual one Isaac Hayes as the villain “Duke”, musician from 70s exploitation films, cameo by the actress and singer Hubley seasonand the presence of Tom Atkinsthe latter two, not at all unrelated to the Carpenterian universe, take on very well-defined characteristics.
A James Cameron He is entrusted with the job of director of photography of visual effects halfway between sophisticated and vintage. The almost always nocturnal photography of Dean Cundey makes surprising use of the locations, and in particular the suburban neighborhood of St. Louis where the filming took place, which replaced Manhattan, thanks to the grace of Joe Alves responsible for production design. The thunderous power of conviction of this iconic classic remains intact.
In it Fantastic Film Festival of the Canary Islands City of La Lagunawe will have the perfect opportunity to enjoy the screening at Multicines Tenerife on Sunday 10 November 1997: Rescue in New Yorkwith the presence of Adriana BarbeauSkull Island Honor Award 2024, in the room for the subsequent interview with the actress.
Interview: The Evolution of a Cultural Icon – An Insight with Film Expert Dr. Emilia Hartman
Time.news Editor (TNE): Welcome, Dr. Hartman! We’re thrilled to have you here to discuss the impact of ”Escape from New York” and its lead character, Snake Plissken, played by Kurt Russell. It’s hard to ignore the profound impact this film had when it debuted in 1981. What made Snake such an enduring cultural icon?
Dr. Emilia Hartman (EH): Thank you! It’s a pleasure to be here. Snake Plissken is a fascinating character because he embodies the anti-hero archetype that was prevalent in the late 20th century. He’s disillusioned, rebellious, and operates outside the constraints of a corrupt system. His line about not caring for war or the president encapsulates the sentiment of a generation that felt marginalized by authority.
TNE: Absolutely. The film was made on a modest budget of five million dollars but turned a profit of fifty million. What do you think contributed to this financial success?
EH: It was a perfect storm of factors. Firstly, John Carpenter’s unique direction combined with explosive themes of survival and rebellion resonated with audiences who were grappling with socio-political issues of the time. The punk aesthetic and the gritty portrayal of a dystopian Manhattan added to the allure. Plus, you have the charismatic Kurt Russell bringing Snake Plissken to life with a remarkable performance that exudes both toughness and vulnerability.
TNE: Carpenter’s ability to weave different genres together must have played a significant role, too. How do you think his background in horror and fantasy influenced “Escape from New York”?
EH: Carpenter’s experience gave him a distinctive edge in creating a tense atmosphere filled with both psychological and physical threats. He cleverly juxtaposes elements from horror with action and fantasy, crafting a film that isn’t just about the plot but also about the underlying fears of society. The film’s dark humor, like the caricatured government officials, allowed for both critique and entertainment.
TNE: The supporting cast was also brilliant, which must have contributed to the film’s depth. How does the portrayal of characters like Hauk and Cabbie add to Snake’s world?
EH: Characters like Hauk, played by Lee Van Cleef, and Cabbie, portrayed by Ernest Borgnine, provide a colorful lens through which we understand the chaotic new order of Manhattan. Hauk represents the system, while Cabbie offers a glimpse into the resilience and adaptability of everyday people. Their interactions with Snake deepen our understanding of his character; we see how he challenges authority, reflected in the film’s memorable line, “President of what?” This line is a perfect rebuke of hollow power and authority.
TNE: Given the socio-political climate in which “Escape from New York” was released, how do you think it resonates today?
EH: The film’s themes are very much relevant today. We continue to see a struggle against perceived governmental failures and societal breakdowns. Characters like Snake Plissken are timeless because they voice the frustrations of the disenfranchised. The notion of taking justice into one’s own hands speaks to a familiar longing for autonomy and individualism.
TNE: It seems like Snake Plissken is more than just a character; he’s a symbol of resistance. Where do you envision the legacy of this film going in the future?
EH: As long as there are societal structures that people find oppressive or unjust, there will always be a space for characters like Snake. Future filmmakers will continue to draw inspiration from both Carpenter’s vision and Russell’s portrayal. I wouldn’t be surprised if adaptations or reimagined tales of Plissken emerge, considering the cyclical nature of cinema and storytelling.
TNE: Thank you for sharing your insights, Dr. Hartman. It’s clear that “Escape from New York” and Snake Plissken will remain significant in both cinematic history and cultural discussions for years to come!
EH: Thank you for having me! It’s always exciting to discuss the impact of such an influential film.