As it is an Escape... film the general plot outline is the same. LA has
been turned into a prison, after a massive earthquake seperated it from
the mainland. The Presidents daughter has stolen a doomsday device and
taken it to Cuervo Jones, a South American revolutionary who uses the prison
of LA as his base. He intends to use this device to bring the USA to its
knees. Enter Snake, captured again, facing prison again, unless he agrees
to a deal. Enter LA, rescue the black box and save civilisation, all within
10 hours or the lethal toxin in his viens will kill him.
Much criticism has been levelled at the plot similarities, much too harshly I feel. The film is an Escape... film, and as such we expect Snake to be escaping from somewhere. An ordinary prison would be boring, the devastated LA is perfect. Although there are surface similarities, Carpenter turns most of the conventions on their head to produce an exciting, and blackly funny film.
Carpenters usual trademark white on black credits start the film, but they
are souped up to the accompaniment of a jazzed up, funked up Escape From
New York theme that has the dynamic impact of the remixed Mission Impossible
theme. Excellent start that sets the tone of the film, this may be the
same idea but get ready for some changes. Jamie Lee Curtis' voice again
provides the voiceover for the opening scenes, accompanied by impressive
shots of LA being hit by earthquakes, and the creation of the LA superprison.
A fascist, christian right-wing presidential candidate (never happen!)
predicted this earthquake, and he is duly elected for life by a fearful
population. Under his direction the USA is turned into a moralistic police
state, where smoking, drinking, red meat and extra-marital sex are all
outlawed, offenders shipped off to LA, never to return.
The moment Snake appears the film picks up a gear. Russel's favourite character and best performance is the core of this film. Snake is just electric. The wisecracks and bad guy persona have been honed to perfection, providing the best leading character in film this side of The Man With No Name. In fact, as stated by Carpenter, EFLA is a modern day western, even down to the pistols Plissken wears in hip holsters.
The film is also a black comedy, with excellent scenes and ideas piled into the experience. Convicts on their way to LA have an alternative offered to them on the spot, famous LA landmarks are lampooned, and the basketball game is a classic. As well as famous spots, familiar LA attributes come in for some abuse. Plastic surgery, political correctness and Hollywood sharks all come under attack. Sometimes the LA of the future seems to familiar for comfort.
Supporting characters Stacy Keach, Pam Grier and George Corraface add colour to the experience. The presidents daughter has little more to do than hang around in skimpy costumes. Grier plays an old budy of Plissken's, but has recently undergone a sex change. To achieve a man's voice her voice was lowered a few octaves in post production. The President is a slimy little specimen portrayed by Cliff Robertson. Steve Buscemi is excellent as a Hollywood agent, offering maps to the stars, this guy must be based on real Hollywood agents. In an all too brief scene Bruce Campbell appears, under piles of Latex, as the surgeon (plastic) general of Hollywood. Trying to keep alive the results of his operations. One of the films maddest scenes features Peter Fonda as a spaced out surfer, helping Snake surf a tsunami down Wilshire Boulevard (AVI Movie).
EFLA also demonstrates what is one of Carpenters strengths, action scenes. The ultimate shoot out in the Happy Kingdom is superbly choreographed, edge of the seat tension. OK, some of the FX are a bit dodgy, especially the computer rendered under water scenes, but this doesn't really impact on the film. Carpenter has crafted a wickedly funny satire, a superb futuristic landscape, a sci-fi trip and a slam bang actioner into his biggest film yet. Amidst all this is Snake Plissken, amoral, unshaven and just downright mean, a huge screen presence. EFLA is a great film.
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