Targets

Targets: A Crime Thriller That Speaks to the Soul

Imagine a film that weaves together the threads of horror, crime, and social commentary into a tapestry that resonates with the anxieties of its time. That’s what Targets is all about.

The Plot Unfolds: Two Stories, One Screen

Targets, directed by Peter Bogdanovich in 1968, tells two parallel stories that converge with chilling intensity. On one side, we have Byron Orlok, a horror film actor who is disillusioned and contemplating retirement. On the other, there’s Bobby Thompson, a young man embarking on an unprovoked killing spree.

These narratives are like two sides of a coin, each reflecting different facets of human nature—creativity versus violence, art versus reality. The film was loosely based on Charles Whitman’s tragic case, adding a layer of authenticity to its narrative.

The Filmmaking Magic

Bogdanovich and his team pulled off something remarkable with Targets. They managed to create a low-budget film that feels both intimate and expansive. The guerrilla-style filming in the Los Angeles area adds a raw, authentic feel to the movie.

The use of clips from other films, such as The Terror and The Criminal Code, is like weaving together different threads to create a rich tapestry. It’s a testament to the ingenuity of the filmmakers in making every moment count.

Critical Acclaim and Legacy

Was Targets well-received by critics? Yes, it was. Critics like Howard Thompson praised its originality and brilliance, calling it ‘an unnerving bullseye.’ Even Roger Ebert, while not giving it the highest rating, acknowledged its uniqueness.

The film’s relevance to the social climate of 1968 is undeniable. It speaks to a time when society was grappling with issues of violence, art, and personal identity. Its inclusion in ‘1001 Movies You Must See Before You Die’ speaks volumes about its enduring impact.

Key Performances and Production

Boris Karloff’s performance as Byron Orlok is fascinating, isn’t it? Indeed, his portrayal adds a layer of complexity to the film. However, some critics argue that the film might have been more direct without his scenes.

The casting of Tim O’Kelly as Bobby Thompson and Nancy Hsueh was done through unconventional methods—Bogdanovich met Hsueh during John Ford’s Cheyenne Autumn. This unique approach adds to the authenticity of the film, making it feel like a genuine slice of life.

Technical Aspects: Guerrilla Filmmaking at Its Best

The filming process was as unconventional as the story itself. Principal photography took place over just two days due to restrictions on freeway shooting. The entire sequence was filmed without sound, and editor Verna Fields added effects later.

This approach not only saved money but also gave the film a raw, gritty feel that enhances its overall impact. It’s a masterclass in how to make a low-budget film look like a masterpiece.

Conclusion: A Film That Speaks Through Time

Targets is more than just a crime thriller; it’s a reflection of the times, a critique of society, and a testament to the power of cinema. It reminds us that even in the darkest moments, there can be light.