41/37
I went to Juilliard
Plot
The spirits of a deceased couple are harassed by an obnoxious family who moves into their house and hires an evil spirit to chase them away. This is Michael Keaton’s favorite movie. Otho’s shoes, when he’s spray-painting the walls of the house, change from bright red elf shoes to white sneakers as he walks into the bathroom and then back to red elf shoes when he enters the next room. Adam: What are your qualifications? Beetlejuice: Oh. Well… I’m a Harvard Business School graduate.
I travel a lot
I lived through the Black Death and had a blast. I’ve seen THE EXORCIST ABOUT A HUNDRED AND SEVEN TIMES, AND IT GETS FUNNIER EVERY SINGLE TIME I SEE IT… NOT TO MENTION THE FACT THAT YOU’RE TALKING TO A DEAD GUY… NOW WHAT DO YOU THINK? You think I’m qualified?. The Geffen Company logo is accompanied by a macabre version of the song Banana Boat (sung by the film’s composer Danny Elfman).. A working print of the film has surfaced with some added/alternate scenes.
Instead of a desert he sees an empty darkness filled with rolling gears
This version of the film is about 2 minutes shorter than the theatrical release, has some extra scenes and is missing some, is in black and white, and has a timecode at the bottom. This version has 4 major differences: Alternate Scene: The scene where Adam tries to leave the house after he and his wife die is different. Extra Scenes: There is an added scene where Lydia is developing the photos she took of Adam and Barbra. Then, after her mother yells at her and blames her for putting holes in her sheets, Lydia runs upstairs and tries to convince her father that the photos are real. There is more in the scene where the adults search for ghosts in the attic, where we see the Desert Monster trying to eat Adam and Barbra while they are hanging from the attic window. Finally, there is a 2 minute extra scene at the end where we see Lydia riding her bike home from school and her parents talking to Jane on the phone telling her that they don’t want to sell the house. Lydia’s prom scene is shorter in this version and there is no scene with Beetlejuice in the waiting room.
Edited for Terror Toons (2002)
The film ends with one last exterior shot of the house. Day-OTraditional, lyrics by William A. Attaway & Irving Burgie[Incorrectly credited as written by William A. Attaway & Irving Burgie (as Lord Burgess)]Performed by Harry BelafonteCourtesy of RCA Records. Watching it again on TV yesterday reminded me of the first time I saw it in the theater all those years ago, when Tim Burton was just the guy who directed that fun Pee-wee Herman movie. Walking into “Beetlejuice” back then, knowing nothing about it, was an incredible experience. Along with “Blade Runner,” “Blue Velvet,” “Videodrome,” “Brazil,” “Paris, Texas,” “Terminator,” and “Repo Man,” it was one of the most surprising and memorable films of the 80s, an era dominated by Hollywood crap like “Flashdance,” “Top Gun,” and “Footloose.” The whole Bruckheimer/Simpson/Spielberg/Hughes zeitgeist dumbing down popular movies like never before.
Everything is perfect
Movies like “Beetlejuice” were a glimmer of hope in a truly awful time. The big question is, how does it hold up today? The answer is, better than ever! In fact, I would say that “Beetlejuice” is Tim Burton’s most successful and least compromised film. A great cast, led by the charming and sympathetic Alec Baldwin and Geena Davis as the recently deceased Maitlands, a star turn by Michael Keaton as the gonzo “bio-exorcist” title character, and strong support from Jeffrey Jones, Catherine O’Hara, and especially Winona Ryder (a performance that really put her on the map), as the new occupants of the Maitlands’ house.
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