{"id":40741,"date":"2018-08-21T11:58:34","date_gmt":"2018-08-21T18:58:34","guid":{"rendered":"http:\/\/filmfanatic.org\/?p=40741"},"modified":"2021-01-24T18:21:39","modified_gmt":"2021-01-25T01:21:39","slug":"targets-1968","status":"publish","type":"post","link":"https:\/\/filmfanatic.org\/?p=40741","title":{"rendered":"Targets (1968)"},"content":{"rendered":"<p><strong>&#8220;I don&#8217;t know what&#8217;s happening to me. I get funny ideas.&#8221;<\/strong><\/p>\n<table>\n<tr>\n<td>\n<p><a href=\"http:\/\/filmfanatic.org\/wp-content\/uploads\/2018\/08\/Targets-Poster.jpg\"><img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/filmfanatic.org\/wp-content\/uploads\/2018\/08\/Targets-Poster-200x300.jpg\" alt=\"\" width=\"200\" height=\"300\" class=\"alignleft size-medium wp-image-40742\" srcset=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2018\/08\/Targets-Poster-200x300.jpg 200w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2018\/08\/Targets-Poster-85x128.jpg 85w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2018\/08\/Targets-Poster.jpg 666w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\" \/><\/a><\/p>\n<p><strong>Synopsis:<\/strong><br \/>\nAn aging horror star (Boris Karloff) is convinced by his personal assistant (Nancy Hsueh) and a young director (Peter Bogdanovich) to star in one more film after making an appearance at a drive-through screening of his latest flick. Meanwhile, a deranged insurance salesman (Tim O&#8217;Kelly) kills his wife (Tanya Morgan), mother (Mary Jackson), and a delivery boy (Warren White) before climbing a water tower and shooting random targets on the freeway below. He then escapes the police and flees to the drive-in theatre where Karloff will be appearing, continuing his sniper massacre and causing massive chaos.\n<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td>\n<p>\n<strong>Genres, Themes, Actors, and Directors:<\/strong><\/p>\n<ul>\n<li>Actors and Actresses<\/li>\n<li>Boris Karloff Films<\/li>\n<li>Horror Films<\/li>\n<li>Movie Directors<\/li>\n<li>Peter Bogdanovich Films<\/li>\n<li>Psychopaths<\/li>\n<li>Serial Killers<\/li>\n<\/ul>\n<p><strong>Response to Peary\u2019s Review: <\/strong><br \/>\nPeary writes that &#8220;Peter Bogdanovich&#8217;s debut film is remarkable not only because of the sophisticated camera work (by Laszlo Kovacs) but because it is a Hollywood picture daring enough to have both an anti-Hollywood bias and a strong social message.&#8221; He adds that &#8220;this picture is such a strong indictment of the proliferation of guns in America&#8217;s private sector that one would guess that Bogdanovich is calling for more than gun control&#8221; &#8212; but he notes that &#8220;Bodanovich denied he wanted to make a &#8216;message&#8217; picture.&#8221; Regardless, the film remains a &#8220;unique picture&#8230; full of movie references, interesting offbeat touches, [and] frightening scenes&#8221; &#8212; especially the seemingly endless real-time takes showing &#8220;Bobby kill his wife and gun down innocent people (who could be us!)&#8221;. Bogdanovich and his screenwriting partner (then-wife Polly Platt) based the sniper story on both <a href=\"https:\/\/en.wikipedia.org\/wiki\/Charles_Whitman\">UT Tower killer Charles Whitman<\/a>, and on the <a href=\"https:\/\/en.wikipedia.org\/wiki\/1965_Highway_101_sniper_attack\">1965 highway sniper attack <\/a> in California; suffice it to say that this picture couldn&#8217;t resonate more profoundly today (perhaps most specifically recalling <a href=\"https:\/\/en.wikipedia.org\/wiki\/2017_Las_Vegas_shooting\">the 2017 Las Vegas massacre<\/a>, in which the deeply disturbed killer&#8217;s motives remain unknown). <\/p>\n<p><em>Targets&#8217;<\/em> narrative structure &#8212; with &#8220;two seemingly unrelated storylines that come together at the end&#8221; (Bogdanovich received behind-the-scenes assistance from Samuel Fuller) &#8212; works surprisingly well, demonstrating that explicit constraints can occasionally yield fruitful cinematic marriages. In this case, Bogdanovich was tasked by (uncredited) producer Roger Corman with: 1) incorporating footage from <a href=\"http:\/\/filmfanatic.org\/?p=26941\"><em>The Terror<\/em> (1963)<\/a>; 2) utilizing Boris Karloff&#8217;s final two days under contract with Corman (Karloff ended up working five days without extra pay); and 3) staying within budget. As Peary notes in his lengthy essay on this &#8220;little-seen picture&#8221; for his <em>Cult Movies<\/em> book, &#8220;The Byron Orlok story is woven into the film quite well. The scenes between Sammy [Bogdanovich] and Orlok are entertaining and provide levity in an otherwise unrelentingly bleak film&#8221; &#8212; and it&#8217;s truly heart-warming seeing Karloff in &#8220;a picture which allowed him to play a real character rather than his one millionth bogeyman in succession.&#8221; <\/p>\n<p><strong>Note:<\/strong> Interested viewers should definitely check out a brilliantly animated documentary on the UT Tower shootings, called simply <a href=\"https:\/\/www.imdb.com\/title\/tt5116410\/\"><em>Tower<\/em> (2016)<\/a> &#8212; it&#8217;s must-see. Click <a href=\"http:\/\/www.dailytexanonline.com\/2016\/07\/30\/experts-still-disagree-on-role-of-tower-shooters-brain-tumor\">here<\/a> to read more about the presence of a brain tumor which likely impacted Whitman&#8217;s behavior.  <\/p>\n<p><strong>Redeeming Qualities and Moments: <\/strong><\/p>\n<ul>\n<li>Boris Karloff as Byron Orlok<br \/>\n<a href=\"http:\/\/filmfanatic.org\/wp-content\/uploads\/2018\/08\/Targets-Karloff.png\"><img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/filmfanatic.org\/wp-content\/uploads\/2018\/08\/Targets-Karloff.png\" alt=\"\" width=\"704\" height=\"384\" class=\"alignnone size-full wp-image-40750\" srcset=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2018\/08\/Targets-Karloff.png 704w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2018\/08\/Targets-Karloff-128x70.png 128w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2018\/08\/Targets-Karloff-300x164.png 300w\" sizes=\"auto, (max-width: 704px) 100vw, 704px\" \/><\/a><\/li>\n<li>Tim O&#8217;Kelly as Bobby Thompson<br \/>\n<a href=\"http:\/\/filmfanatic.org\/wp-content\/uploads\/2018\/08\/Targets-OKelly.png\"><img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/filmfanatic.org\/wp-content\/uploads\/2018\/08\/Targets-OKelly.png\" alt=\"\" width=\"704\" height=\"384\" class=\"alignnone size-full wp-image-40746\" srcset=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2018\/08\/Targets-OKelly.png 704w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2018\/08\/Targets-OKelly-128x70.png 128w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2018\/08\/Targets-OKelly-300x164.png 300w\" sizes=\"auto, (max-width: 704px) 100vw, 704px\" \/><\/a><\/li>\n<li>Laszlo Kovacs&#8217; cinematography<br \/>\n<a href=\"http:\/\/filmfanatic.org\/wp-content\/uploads\/2018\/08\/Targets-Cinematography1.png\"><img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/filmfanatic.org\/wp-content\/uploads\/2018\/08\/Targets-Cinematography1.png\" alt=\"\" width=\"704\" height=\"384\" class=\"alignnone size-full wp-image-40747\" srcset=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2018\/08\/Targets-Cinematography1.png 704w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2018\/08\/Targets-Cinematography1-128x70.png 128w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2018\/08\/Targets-Cinematography1-300x164.png 300w\" sizes=\"auto, (max-width: 704px) 100vw, 704px\" \/><\/a><\/li>\n<li>Strong direction, with many powerful scenes and sequences<br \/>\n<a href=\"http:\/\/filmfanatic.org\/wp-content\/uploads\/2018\/08\/Targets-Direction.png\"><img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/filmfanatic.org\/wp-content\/uploads\/2018\/08\/Targets-Direction.png\" alt=\"\" width=\"704\" height=\"384\" class=\"alignnone size-full wp-image-40749\" srcset=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2018\/08\/Targets-Direction.png 704w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2018\/08\/Targets-Direction-128x70.png 128w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2018\/08\/Targets-Direction-300x164.png 300w\" sizes=\"auto, (max-width: 704px) 100vw, 704px\" \/><\/a><\/li>\n<li>Expert editing (both visual and sound)<br \/>\n<a href=\"http:\/\/filmfanatic.org\/wp-content\/uploads\/2018\/08\/Targets-Cinematography2.png\"><img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/filmfanatic.org\/wp-content\/uploads\/2018\/08\/Targets-Cinematography2.png\" alt=\"\" width=\"704\" height=\"384\" class=\"alignnone size-full wp-image-40748\" srcset=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2018\/08\/Targets-Cinematography2.png 704w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2018\/08\/Targets-Cinematography2-128x70.png 128w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2018\/08\/Targets-Cinematography2-300x164.png 300w\" sizes=\"auto, (max-width: 704px) 100vw, 704px\" \/><\/a><\/li>\n<li>An engaging script which cleverly mixes and matches diverse clips, genres, and storylines:<br \/>\n<blockquote><p>&#8220;I have an appointment with him tonight&#8230; in Samarra.&#8221;<\/p><\/blockquote>\n<\/li>\n<\/ul>\n<p><strong>Must See? <\/strong><br \/>\nYes, as a deserved cult classic. <\/p>\n<p><strong>Categories<\/strong><\/p>\n<ul>\n<li>Cult Movie<\/li>\n<\/ul>\n<p> (<span style=\"color:red;font-weight:bold;\">Listed in <a href=\"http:\/\/filmfanatic.org\/wp-static\/1001Movies.htm\"><em>1001 Movies You Must See Before You Die<\/em><\/a><\/span>) <\/p>\n<p><strong>Links: <\/strong><\/p>\n<ul>\n<li><a href=\"https:\/\/www.imdb.com\/title\/tt0063671\/\">IMDb entry<\/a><\/li>\n<li><a href=\"https:\/\/www.tcm.com\/tcmdb\/title\/92361\/targets#articles-reviews?articleId=184965\">TCM Article<\/a><\/li>\n<li><a href=\"https:\/\/www.timeout.com\/london\/film\/targets\">Time Out Capsule Review<\/a><\/li>\n<li><a href=\"http:\/\/www.thespinningimage.co.uk\/cultfilms\/displaycultfilm.asp?reviewid=8119&#038;aff=13\">Spinning Image Review<\/a><\/li>\n<li>\n<a href=\"http:\/\/www.qnetwork.com\/review\/1174\">Q Network Review<\/a><\/li>\n<li><a href=\"https:\/\/timesmachine.nytimes.com\/timesmachine\/1968\/08\/14\/76962698.htmlaction=click&#038;contentCollection=Archives&#038;module=ArticleEndCTA&#038;region=ArchiveBody&#038;pgtype=article&#038;pageNumber=34\">NY Times Original Review<\/a><\/li>\n<li><a href=\"http:\/\/moria.co.nz\/horror\/targets-1968.htm\">Moria Review<\/a><\/li>\n<li><a href=\"https:\/\/www.dvdtalk.com\/dvdsavant\/s919targ.html\">DVD Savant Review<\/a><\/li>\n<\/ul>\n<\/td>\n<\/tr>\n<\/table>\n","protected":false},"excerpt":{"rendered":"<p>&#8220;I don&#8217;t know what&#8217;s happening to me. I get funny ideas.&#8221; Synopsis: An aging horror star (Boris Karloff) is convinced by his personal assistant (Nancy Hsueh) and a young director (Peter Bogdanovich) to star in one more film after making an appearance at a drive-through screening of his latest flick. Meanwhile, a deranged insurance salesman (Tim O&#8217;Kelly) kills his wife (Tanya Morgan), mother (Mary Jackson), and a delivery boy (Warren White) before climbing a water tower and shooting random targets&#8230;<\/p>\n<p class=\"read-more\"><a class=\"btn btn-default\" href=\"https:\/\/filmfanatic.org\/?p=40741\"> Read More<span class=\"screen-reader-text\">  Read More<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[3],"tags":[],"class_list":["post-40741","post","type-post","status-publish","format-standard","hentry","category-responses-to-peary"],"aioseo_notices":[],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/filmfanatic.org\/index.php?rest_route=\/wp\/v2\/posts\/40741","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/filmfanatic.org\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/filmfanatic.org\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/filmfanatic.org\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/filmfanatic.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=40741"}],"version-history":[{"count":24,"href":"https:\/\/filmfanatic.org\/index.php?rest_route=\/wp\/v2\/posts\/40741\/revisions"}],"predecessor-version":[{"id":65715,"href":"https:\/\/filmfanatic.org\/index.php?rest_route=\/wp\/v2\/posts\/40741\/revisions\/65715"}],"wp:attachment":[{"href":"https:\/\/filmfanatic.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=40741"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/filmfanatic.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=40741"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/filmfanatic.org\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=40741"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}