Lifeforce: A Film That Only Cannon Could Produce

      In anticipation of its upcoming 4K release from Arrow, Tom Jolliffe reflects on a pivotal moment in the history of Cannon Films…

      What’s the wildest movie you’ve ever watched? There are countless strange films out there. The charm of cinema lies in its diversity. I previously addressed a slightly more critically acclaimed Cannon film, Runaway Train, suggesting it could be seen as Cannon's highest achievement. It's undoubtedly a superb film and received recognition that is rarely linked with Cannon—and certainly not with the film I'm about to examine.

      Cannon has a passionate and devoted fanbase. Depending on which segment of Cannon fandom you explore, you'll discover specific films often hailed as the best. This includes fans of Masters of the Universe, Runaway Train, Ninja III: The Domination, and various other enduring favorites that frequently garner top spots. Then there’s another film… one featuring space vampires. It encapsulates all the good, bad, ugly, and infamous qualities typical of peak Cannon.

      During their heyday, Cannon had an impressive knack for producing films that looked both cheap and expensive at the same time. Lifeforce stands out as probably the most visually lavish film they ever made. It boasts numerous visual effects shots, a range of impressive practical effects, set designs, miniatures, and prosthetics. Overall, the visual effects in Lifeforce have aged quite well. Cannon was an anomaly, evolving from ultra-low-budget trash films and exploitation to investing more resources into increasingly grand productions while maintaining their roots in exploitation.

      I’ve noted previously that by the mid-80s, Cannon had developed a preference for attracting notable talent. This approach extended beyond just actors (with Stallone doing a couple of films, and Charles Bronson and Chuck Norris becoming synonymous headliners) and included directors and crew members. They were not shy about investing in skilled cinematographers, effects teams, composers, and other essential roles.

      For instance, Lifeforce features a cinematographer known for multiple Bond films and Return of the Jedi, with composition by Henry Mancini (The Pink Panther). Many of the involved talent were perhaps veterans in the industry experiencing a career downturn, but Cannon seized the opportunity. The makeup and visual effects crews had worked on everything from Star Wars to various horror classics (like Bob Keen, a legend in the horror genre). Consequently, under the direction of horror icon Tobe Hooper, Lifeforce is an attractive film.

      From the initial space sequences with a crew exploring an alien ship, obscured by a comet, to everything that follows (including an explosive finale), this film rivals many of the iconic big-budget productions of its time. The astronauts uncover artifacts from the alien craft, including three humanoids who appear either lifeless or in a comatose state (two men and one woman). The ship's crew is found decimated after a fire, with the three humanoids intact. These space vampires are brought back to Earth, and after the woman escapes, she starts draining people's lifeforce.

      One name is sure to flush a Cannon enthusiast's face red and make them crave a cold shower… Mathilda May. As a Cannon fan myself, I’ll return shortly… and this is where Cannon undeniably embraces its trademark style. May, a 19-year-old French actress at the time, spends nearly the entire film in the nude. She plays a space vampire who exploits her femininity to ensnare men, leading them to their doom by draining their life forces.

      This is certainly not a film that would be greenlit in 2022, especially not with this budget. Amid all the cinematic artistry, the somewhat sleazy aspect that contributed to Cannon's rise is palpable. However, it also presents a commentary, as the men leering at the sight of a naked 19-year-old woman—viewed more as humanoid than human—face their demise.

      Ultimately, the character who sees beyond her sexuality and isn’t entranced by her is the one who can defeat the space vampires (played by Oscar nominee Peter Firth, who seems to carry a hint of confusion about the film's situation). At least until he finds himself in a passive state, unable to act until a self-sacrificing moment from someone else turns the tide. Nonetheless, the balance of exploitation versus feminist commentary heavily tips toward the exploitation side.

      Even at its most misogynistic, jingoistic, xenophobic, or outright absurd, Cannon always possessed a certain cheeky charm (aided by its unmistakably 80's vibe), largely due to its unabashed silliness. Lifeforce transitions from scene to scene, relentlessly redefining the rules of its space vampire concept, never quite settling on a clear understanding of who, what, how, and why. “She’s switched bodies…” Oh... okay… I’ll roll with that…

      The film is outrageous but maintains a consistent level of entertaining absurdity. At one point, Patrick Stewart becomes possessed by the naked space vampire