How The Lost Boys Found It's Way

by David Black
In the recent wake of Joel Schumacher's death, much like anyone who has made a contribution to film and art, a review of one's work is in order. Amongst the list of such classic, if not slightly cheesy titles include "Batman & Robin, "Phone Booth", but perhaps the most iconic and meaningful to fans was "The Lost Boys"

Known the world over as one of the pioneering films to push vampire lore into the mainstream, The Lost Boys gave us a look into an at the time very niche world. For the good of movie-going audiences, and to the chagrin of romantic-era English enthusiasts, "In niches there are riches." 1986 was couched in an era where "for everyone" movies was a film studios dream, hitting every demographic. This was demonstrated most evidently by Amblin Entertainment between 1982 and 1985, whom produced your favorite nostalgic moments in "E.T: The Extra Terrestrial", "Gremlins", and "Back to the Future".

Another gem from Amblin was "The Goonies'', a movie that needs no describing. The success of Goonies, both in box office numbers as well as impression upon a generation, prompted other studios to attempt to cash in on the evident boom. In 1985, a script for "The Lost Boys" was bought for the sleight price of 400,000 dollars. After being shopped around, Universal Studios optioned to distribute the film, a previous and concurrent distributor for Amblin. At the time of purchase, the script was geared towards a much younger audience, though. With Richard Donner set to direct, he envisioned an amalgam of his former Goonies with vampires. The deal to direct would soon come to an end as Donner instead went to pursue directing Lethal Weapon. Enter Schumacher, exit light. Joel's vision was to make this movie dark, brooding, and unabashedly sexy. (See the hunking, muscle-bound, oil covered sax player for proof).

The Lost Boys we all got to see was a master stroke of how to film lightning in a bottle. Shumacher would surround himself with a team to make this movie bigger than the sum of its parts. From production design, makeup, soundtrack (Is Cry Little Sister ever going to get old?), to its memorable performances by Jason Patric, Keifer Sutherland, The Two Coreys, the list goes on. This movie, a microcosm of the mid-eighties life as a boardwalk go-er and possible creature of the night, was able to capture the imagination of not only one generation, but those who have since followed. A slick, daring movie that could have only existed by way of its engineers, and details seem to point that Schumacher was amongst its most prominent.
by David Black

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