“Got A Smoke?”

It’s been 33 or 34 years since I first saw John Carpenter‘s Assault on Precinct 13. It’s a well-admired…make that beloved Howard Hawks/wild-in-the-‘hood exploitation film, of course, but is especially memorable for Darwin Joston‘s tersely sardonic Napoleon Wilson — a performance that encompassed a kind of studly melancholia, ironic machismo, flitting comic asides and a riveting aura of existential cool. And delivered with a sort of movie-conscious, wink-winky tone, but no less legendary for that.

I just watched Assault on Blu-ray last night, and was reminded what a beautifully iconic hard-boiled egg Joston and Carpenter managed to create in Wilson. I would have a guy like Joston in movies today. I really miss that steely-folksy quality of his — that steady, working-class, no-bullshit and not-too-beautiful Warren Oates vibe.

A New York-trained actor who hailed from North Carolina, Joston kicked around and then got lucky with Assault but never caught on like he should have, and movies of the ’80s and ’90s were poorer for that. He was 38 or 39 when he made Assault — he was 61 when he died of lukemia in 1998.

A little less than two years ago Matthew Kiernan of Headquarters 10 wrote a great Joston tribute. Here’s a portion:

“Joston started in the late 60s with roles on numerous TV shows like Rat Patrol and bounced around the industry like a lot of other actors, sometimes popping up in small roles in low budget movies but mostly sticking to the TV scene until he retired from acting to work behind the scenes (in film transportation) until his death from leukemia in 1998. Joston probably would have gone on to be another one of many forgotten actors if fate hadn’t placed him into the starring role in Assault on Precinct 13, the first real feature from writer/director John Carpenter.

“Joston happened to have been Carpenter’s neighbor in the same apartment complex, where the two became friends, and Carpenter wrote the role of Napoleon Wilson specifically for Joston, who Carpenter claims had inspired the character. You hear a lot of times about certain roles being written for certain actors, but that doesn’t mean they’re always perfect fits; however, Napoleon Wilson turned out to be the role that Joston was born to play, and even though the film lead to big things for Carpenter, whose next film ended up being Halloween, Joston went back to being another actor waiting for his big break.

“Although Carpenter gave Joston a small role in The Fog and planned to cast him as John Rainbird in his proposed film version of Stephen King‘s Firestarter (which obviously never happened), Joston never had a role that good again. But goddamn if he didn’t make something out of it when he did.

“While the actual star of Assault on Precinct 13 is Austin Stoker (who is also very good), Joston gets the best role, a villain with a set of principals who may not be the nicest guy in the world but is certainly the person you want on your side when your police station is under siege by street gangs.

“The entire film is Carpenter’s homage to Howard Hawks’ Rio Bravo, with Joston sort of in the Dean Martin role (he sure ain’t Ricky Nelson), but the whole film is also Carpenter’s tribute to the entire western genre and the Children of George and Steven should take ample note of it because this is what a fucking genre homage is supposed to be like.”

  • PCP

    Didn’t Jeff just say a couple of days ago that this was John Carpenter’s only really good film?

    yes … yes he did say this … forgetting everything else

  • PCP

    Didn’t Jeff just say a couple of days ago that this was John Carpenter’s only really good film?

    yes … yes he did say this … forgetting everything else

  • mitchtaylor

    The problem with Joston is that he doesn’t sit so good.

  • mitchtaylor

    The problem with Joston is that he doesn’t sit so good.

  • LexG

    “At the moment of dying.”

    One of the best movies ever made; He’s great playing off of a manic Tony Burton.

  • LexG

    “At the moment of dying.”

    One of the best movies ever made; He’s great playing off of a manic Tony Burton.

  • http://www.ludovicotechnique.com RMB

    Folks,

    I love how Jeff’s got the ASSAULT disc sitting atop TO LIVE AND DIE IN LA…two movies which almost exist in the same universe…and certainly the same color palate. What a double feature.

  • http://www.ludovicotechnique.com RMB

    Folks,

    I love how Jeff’s got the ASSAULT disc sitting atop TO LIVE AND DIE IN LA…two movies which almost exist in the same universe…and certainly the same color palate. What a double feature.

  • LexG

    Since this is one of my all-time faves I’ll probably be rambling about AP13 all day, but…

    Joston is aces, and, yeah, Stoker is also great; And Carpenter connoisseurs of course love and recognize Nancy Loomis and Charles Cyphers…

    Anyone have any gossip or confirmation why Carpenter ever stopped working with his regular stable of great B-movie actors?

    People always talk about JC’s visual palate getting lazy after he and Cundey stopped collaborating… I’d agree that’s a huge part of it. Also didn’t help when he switched from the sinister synthscapes of his 76-88 run and broke out some wack Joe Satrianai WHAMMY BAR blues guitar for all his new scores. At some point he turned from JOHN CARPENTER!!! into “John Carpenter imitating Robert Rodriguez imitating John Carpenter.”

    But one thing that disappoited me about his post-They Live movies is the lack of his old rep company:

    Cyphers, Loomis, Joston, Tom Atkins, Jamie Lee Curtis, Frank Doubleday, Victor Wong, Pleasance, Harry Dean Stanton, Adrienne Barbeau….

    Did Carpenter have a falling out with any of those folks, or did everyone just respectfully go their separate ways? Just didn’t seem as much like a Carpenter movie when Keith David or Tom Atkins weren’t clocking in anymore.

  • LexG

    Since this is one of my all-time faves I’ll probably be rambling about AP13 all day, but…

    Joston is aces, and, yeah, Stoker is also great; And Carpenter connoisseurs of course love and recognize Nancy Loomis and Charles Cyphers…

    Anyone have any gossip or confirmation why Carpenter ever stopped working with his regular stable of great B-movie actors?

    People always talk about JC’s visual palate getting lazy after he and Cundey stopped collaborating… I’d agree that’s a huge part of it. Also didn’t help when he switched from the sinister synthscapes of his 76-88 run and broke out some wack Joe Satrianai WHAMMY BAR blues guitar for all his new scores. At some point he turned from JOHN CARPENTER!!! into “John Carpenter imitating Robert Rodriguez imitating John Carpenter.”

    But one thing that disappoited me about his post-They Live movies is the lack of his old rep company:

    Cyphers, Loomis, Joston, Tom Atkins, Jamie Lee Curtis, Frank Doubleday, Victor Wong, Pleasance, Harry Dean Stanton, Adrienne Barbeau….

    Did Carpenter have a falling out with any of those folks, or did everyone just respectfully go their separate ways? Just didn’t seem as much like a Carpenter movie when Keith David or Tom Atkins weren’t clocking in anymore.

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  • lbeale

    I love this movie. Seen it at least a dozen times. Great pacing, love Carpenter’s score, I could go on and on….

  • lbeale

    I love this movie. Seen it at least a dozen times. Great pacing, love Carpenter’s score, I could go on and on….

  • gogocrank10

    Carpenter’s revisited western archetypes again and again, and specifically “Rio Bravo” and Hawks in general. He always joked that the reason he never made an actual western was having to clean up all that horseshit.

  • gogocrank10

    Carpenter’s revisited western archetypes again and again, and specifically “Rio Bravo” and Hawks in general. He always joked that the reason he never made an actual western was having to clean up all that horseshit.

  • Timothy Lee

    Carpenter said in the DVD commentary that the leisurely pace of Act 1 was the product of his youthful inexperience, but for me the slow build of the first 30-40 minutes is the best part of the film.

  • Timothy Lee

    Carpenter said in the DVD commentary that the leisurely pace of Act 1 was the product of his youthful inexperience, but for me the slow build of the first 30-40 minutes is the best part of the film.

  • CitizenKanedforChewingGum

    Wells, what gives, man? You seem to praise this movie for its Rio Bravo qualities, but what about that old article (which you keep recycling and reposting here ad naseum as if it originally took sort of revolutionary stance) where you basically tore the shit out of RB and say it isn’t even half the movie High Noon is.

    I’m having a hard time getting on your wavelength here…so would you say that AP13 is actually a better film than Rio Bravo?

  • CitizenKanedforChewingGum

    Wells, what gives, man? You seem to praise this movie for its Rio Bravo qualities, but what about that old article (which you keep recycling and reposting here ad naseum as if it originally took sort of revolutionary stance) where you basically tore the shit out of RB and say it isn’t even half the movie High Noon is.

    I’m having a hard time getting on your wavelength here…so would you say that AP13 is actually a better film than Rio Bravo?

  • ZayTonday

    Carpenter’s only good film huh….

    The Thing says hi.

  • ZayTonday

    Carpenter’s only good film huh….

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  • mitchtaylor

    Carpenter’s visual palette did take a hit after Cundey stopped working with him, but rewatching Vampires recently reminded me that, even still, nobody frames shots like Carpenter. His staging is just so much fun to watch. There are scenes that go on for ages where James Woods and the Baldwin are literally just looking around, and, while the movie’s not that great, I think it’s just a lot of fun to watch them look at stuff.

  • Geoff

    Carpenter just makes fun movies. You either get that or you don’t.

    mitchtaylor’s post about rewatching Vampires hit the nail on the head. It may not be good, but it’s still a John Carpenter flick.

  • Geoff

    Carpenter just makes fun movies. You either get that or you don’t.

    mitchtaylor’s post about rewatching Vampires hit the nail on the head. It may not be good, but it’s still a John Carpenter flick.

  • C is for cookie

    I may be the only person looking forward to seeing The Ward but I’ve got a good feeling about it. For starters, when Carpenter’s talked about the movie he’s mentioned how excited he was to bring certain moments in the script to life and didn’t just make some lame crack about the producers being able to pay his salary. He actually seems pretty stoked about it, which gives me a feeling this might be for him what Fat City was for John Huston — a late period recharging of the batteries and a return to form after a period of turning out lesser product.

    I so hope I’m right on this one …

  • LexG

    C is for Cookie, I would love nothing more than for Carpenter to get a creative second wind.

    It’s probably overly optimistic to hope for it, though it’s sometimes hard to remember (and believe) that appearance aside, Carpenter’s “only” in his early ’60s… plenty of still-vital guys around that age doing strong work, and guys like Frankenheimer and Altman had a prolonged renaissance into old age.

    But JC’s overall cynicism and (enjoyable) laziness for some time now just don’t suggest a guy who’s likely to jump back in with a prolific streak of quality films; How long’s it been since his last theatrical? NINE years?

    Eh, at least he’ll always have that great 12-year stretch… roughly the same era when Walter Hill, John Milius, and John Landis were also firing on all cylinders. All brilliant guys, all great filmmakers… But sort of from another era at heart and it’s a shame the audiences moved on, or that they just ran out of gas.

  • LexG

    C is for Cookie, I would love nothing more than for Carpenter to get a creative second wind.

    It’s probably overly optimistic to hope for it, though it’s sometimes hard to remember (and believe) that appearance aside, Carpenter’s “only” in his early ’60s… plenty of still-vital guys around that age doing strong work, and guys like Frankenheimer and Altman had a prolonged renaissance into old age.

    But JC’s overall cynicism and (enjoyable) laziness for some time now just don’t suggest a guy who’s likely to jump back in with a prolific streak of quality films; How long’s it been since his last theatrical? NINE years?

    Eh, at least he’ll always have that great 12-year stretch… roughly the same era when Walter Hill, John Milius, and John Landis were also firing on all cylinders. All brilliant guys, all great filmmakers… But sort of from another era at heart and it’s a shame the audiences moved on, or that they just ran out of gas.

  • LexG

    And as long as I’m giddy about all things PRECINCT 13, you know what’s an AWWWWESOME stretch of cinema?

    That part with the main warloard meet up. It’s totally out of an old Western, only set in one of the visually scariest, sun-bleached L.A. neighborhoods imaginable. It starts with the one dude in the foreground and then they meet up with the other guys and get in that AMC Ambassador, then cruise around South L.A. with Doubleday with his SCOPE RIFLE out the window eyeing targets. It’s totally chilling and I just love these creepy looking dudes driving around all stoic putting on their silencers and not saying a word.

    Plus one guy totally looks like Michael Lembeck from his One Day at a Time days.

  • LexG

    And as long as I’m giddy about all things PRECINCT 13, you know what’s an AWWWWESOME stretch of cinema?

    That part with the main warloard meet up. It’s totally out of an old Western, only set in one of the visually scariest, sun-bleached L.A. neighborhoods imaginable. It starts with the one dude in the foreground and then they meet up with the other guys and get in that AMC Ambassador, then cruise around South L.A. with Doubleday with his SCOPE RIFLE out the window eyeing targets. It’s totally chilling and I just love these creepy looking dudes driving around all stoic putting on their silencers and not saying a word.

    Plus one guy totally looks like Michael Lembeck from his One Day at a Time days.

  • BurmaShave

    I could watch films from John Carpenter and Walter Hill in their prime from now until the end of time. Give me the beat boys and free my soul…

  • BurmaShave

    I could watch films from John Carpenter and Walter Hill in their prime from now until the end of time. Give me the beat boys and free my soul…

  • LexG

    “I could watch films from John Carpenter and Walter Hill in their prime from now until the end of time.”

    Amen to that; I’ve got hundreds and hundreds of DVDs, many great ones, that have gone unopened for nearly a decade now; But damned if my Carpenters and Hills don’t get multiple viewings a year, not to mention I’ll stick with a Halloween, The Thing, The Warriors or 48 Hrs (or even ANOTHER 48 Hrs) each and every time damn I flip past them on Cinemax.

  • LexG

    “I could watch films from John Carpenter and Walter Hill in their prime from now until the end of time.”

    Amen to that; I’ve got hundreds and hundreds of DVDs, many great ones, that have gone unopened for nearly a decade now; But damned if my Carpenters and Hills don’t get multiple viewings a year, not to mention I’ll stick with a Halloween, The Thing, The Warriors or 48 Hrs (or even ANOTHER 48 Hrs) each and every time damn I flip past them on Cinemax.

  • pmn

    I don’t know. I think the actor in the Wilson part needs to ooze a little more charisma than Joston does. He always strikes me as a bit too wooden.

  • pmn

    I don’t know. I think the actor in the Wilson part needs to ooze a little more charisma than Joston does. He always strikes me as a bit too wooden.

  • Alboone

    Awesome film. One of Carpenter’s best. Loved the Che Guevara dude.

  • Alboone

    Awesome film. One of Carpenter’s best. Loved the Che Guevara dude.

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