June 12, 2008
It's the Big One, Elizabeth!
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Yep. I was there for the quake of '74.
We all know people who get a kick out of bad, stupid filmmaking, even if they normally prefer to watch something like “Chinatown.” But I simply can’t get to that place in my psyche. Just like you, I have an unknown expiration date, and I'll eventually curdle. So I figure I should spend my time watching, listening to, and reading The Good Stuff. If I want to groove to a dose of idiocy, all I have to do is hit the sidewalk and strike up a random conversation.
That said, I used to be a little kid, and didn’t know from stupid. Until I hit my mid-teens and developed a bit of self-respect, I lined up to watch the same nincompoop-entrapment pictures that everyone else watched.
My dad had to drive my brother and me to the theater to see these films, so it didn't happen all that often. But in the winter of 1974, Dad agreed that we all needed to experience, not a plain old “movie,” but a picture that was being boldly advertised as “an event.” So we took showers, brushed our teeth, and trekked to the theater, primed for something different...something Significant.
The “event” was a Charlton Heston disaster movie called “Earthquake.” Given that one of the definitions of “event” in “Webster’s Collegiate Dictionary” is “something that happens,” I have to admit that the posters were accurate. But “Earthquake” was (and is, unless they’ve re-shot 80% of it) a bad, bad, lousy movie.
A touching examination of what it would look like if huge buildings were to topple over and crush normal-size people, it’s the kind of picture where Ava Gardner plays Lorne Greene’s daughter, even though Gardner was only seven years younger than Greene, and – at this point in her life, anyway – basically looked like an old broad wearing a designer hat. Even as an 11 year-old I was dumbfounded.
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In this early “Earthquake” costume test, Heston is obviously still trying to “find his character.” But he’d eventually end up playing Charlton Heston, just like he always did, and lots of heavy masonry would fall very near his histrionic personage throughout the film. It was all so exciting.
Heston, as you might expect, spends a lot of time rescuing variously distressed Angelinos in “Earthquake.” At one point, he even ties a bunch of bed sheets together and lowers a woman to safety in an office chair, shortly after half the building she was inhabiting crumbles like a punched Chips Ahoy cookie. Or at least that’s how I remember it. That scene might actually be in “The Towering Inferno,” and the actor might be Paul Newman. But I’m not about to blow eight bucks on dvd rentals to figure it out.
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Yes, lame characterizations and noodle-brained circumstances abound in “Earthquake”— but this movie boasted the absolute mother of all trump cards. “Earthquake,” you see, was presented in life-altering Sensurround, a sound-amplification process that kicked into gear the minute the earth took to quaking.
Speakers about the size of a compact car - maybe a Pacer - were positioned at the rear of the theater, with smaller ones strategically placed up front. And let me tell you, when the earthquake finally hit and those things started booming, you were lucky if you didn’t poop your fucking pants. I still remember that moment of truth, the only time in my life, outside of when I watched the Space Shuttle take off, that my sternum has ever vibrated like an electric football field.
You think I’m kidding? Get a load of this poster, which was displayed outside the entrance of every theater where “Earthquake” played:
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Understand, this wasn’t William Castle trying to milk an extra buck out of a bad horror movie via a bunch of overheated marketing (“NO ONE WILL BE SEATED AFTER THE START OF THIS FILM!!”) The people who made “Earthquake” meant business. It wouldn’t have been any crazier if they had sent ushers in to attack the audience with hammers.
I’d like to see the stats on how many old ladies were rushed to the hospital half-way through the picture; one can imagine scores of dentures rattling across the floor during Wednesday matinees in Iowa. “The Godfather Part II” was released around the same time as “Earthquake,” and viewers throughout the country were complaining that they couldn’t concentrate on the Corleones for all the racket in the neighboring theater. Remember, this was years before Pacino determined you aren’t really acting unless you shout every line of dialogue, so it's completely possible that he could have been drowned out by the San Andreas Fault giving way.
Needless to say, “Earthquake” made an ungodly amount of money ($267-million, if you adjust for inflation), and, just as needless to say, Hollywood tried cranking out other Sensurround pictures in its wake. But the two they came up with, “Midway” and “Rollercoaster,” never caught on, and it was too expensive to rent the speakers to those theater owners who weren’t afraid of physically and/or emotionally shattering their clientele.
If you ask me, they should have dispensed with the niceties altogether and made a movie called, “Let Us Shove a Speaker Up Your Ass.” I'm completely convinced Heston could have sold it. And the poster would have been amazing.
Paul Tatara