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Targets

Typecast as an aging horror icon whose faith in movies has since escaped him, Boris Karloff brings much-needed life to "Targets," a fusing of the old and the new elements of thriller filmmaking that isn't quite as seamless as it believes itself to be. After witnessing the debacle that is his latest starring picture, Byron Orlok (Karloff) decides it's time to throw in the towel, much to the dismay of his collaborators. "I couldn't even play a straight part decently anymore" he tells them; "I've been doing the other thing too long." Orlok is of the feeling that his particular brand of horror movies, now considered "high camp" by his fans, just don't have what it takes to make it in modern times. "No one's afraid of a painted monster anymore," he says in a tone of quiet acceptance; he realizes he's over-the-hill, and is ready to quit while he's somewhat ahead. ***

In what is perhaps the best example of typecasting I've seen since that of Erich Von Stroheim in "Sunset Boulevard" (you'll recall he played Gloria Swanson's matrimonial butler, in addition to once being her husband in reality), Karloff is surely a sight to see here. His self-depracating humor and sage wisdom about the state of movies in that time period are such that they strike a comedic nerve deep within; although Karloff himself would never have thought of retiring, we accept him in the role because he plays it so convincingly, and without reservation. ***

All of this is threatened by the whole of "Targets," half of which belongs to Karloff, the other half of which is devoted to a separate storyline involving a young suburban man named Bobby (Tim O'Kelly) who, unbeknownst to his parents or his wife, has been collecting a full arsenal of handguns and rifles for reasons as yet unknown in the beginning. A series of moments show his slow unhinging from stability into a silent rage; finally, in the early afternoon hours one day, he takes the life of his mother and wife, vacates his home, with a simple message left on a typewriter: "I know they get me, but there will be more killing before I die." ***

And is there ever: in a montage of events that bring together the two separate storylines in a final moment of chaos, writer/director Peter Bogdanovich stages a climax that is as chilling as it is evidently manipulative. With images that truly haunt the mind (a little boy who witnesses his father being shot remains the film's most powerful scene), he constructs the devastation of Bobby's sniper antics at a drive-in movie theater with such raw intensity, while at the same time, by having Karloff's character present, attempting to contrast the "painted monsters" of fictional horror and the reality of such a situation as depicted here. The scene is unrelenting in its energy and terrifying in its sheer grasp of reality, and for that "Targets" deserves praise. ***

It's only after such a scene fades that one has time to assess the situation for what it really is. With little understanding of the reasons for which Bobby becomes such a ghastly excuse for a human being, there is a certain level of distance between the audience and the material, as it becomes painfully clear that his character is little more than a filmmaking device, however effective it may be. What would drive a man to commit such acts? The stuffiness of suburban life? A domineering father, which considering the fact that he addresses his own as "Sir," wouldn't be completely unfathomable? Speculations arise, but I guess that Bogdanovich decided to leave the meatier issues behind such a transformation up to another filmmaker and another movie.

Not one of the better remasters I've seen, but still a pretty solid effort. The 1.85:1 anamorphically enhanced image looks good in the area of color saturation, with decent hues and tones that hold their own. Fleshtones also look decent enough, although appear faded in places, while there are some darker scenes where Karloff's face looks as if it could smear any minute. Contrast suffers from a dated source print, which also carries come noticeable dirt and scratches, as well as some film grain. Clarity is pretty good, with some visible enhancement artifacts here and there. Acceptable, but could use work. ***

The sound is mastered in Dolby 2.0 Mono, and is a mix of good and bad. Dialogue sounds fairly decent if a bit empty, while sound effects sound very harsh when the reach high levels. Hiss and noise has been cleaned up nicely, but the rest of the elements lack focus. --