That’s right. I finally found a copy.
The “teen movie” really came into its own in the 80s with the John Hughes series. Jim the worlds greatest predates that. It’s a sort of film that lays the groundwork for what the teen movie would become. Don Coscarelli’s touch really shows through in this movie with his signature dreamlike quality, tracking a non-linear path through the story. In this way you can actually tell this is from the same director that made Phantasm. Such themes are only reinforced by the fact that it’s a story of an older brother watching out for his younger brother… Indeed the entire thrust of the film is an older brother, probably a senior in high school who is already taking on the responsibilities that really should belong to the delinquent father of this piece.
Jim World’s Greatest also has a sort of meandering slice of life quality to it… There’s no real narrative or story here, there’s just life as we drift from set piece to set piece. It’s much the same technique he would employ in his next film; Kenny and Company. Just drifting, at least, until the third act – when things get serious.
I didn’t expect this to be a comedy, but I’ll admit I didn’t expect it to get as intense as it did either. Angus Scrimm gives a performance of a lifetime here, grim and depressing as the out-of-work father who occasionally gets drunk and beats his kids. We really only get to know the present-day father, the failure… and we know it wasn’t always like this. We get glimpses of him during happier days trough flashbacks – it’s an impressive juxtaposition that Scrimm delivers brilliantly.
Reggie Banister (who apparently never had hair on top) shows up as well, giving one of the most lunatic and wacky performances I’ve ever seen him do. It’s a little more than a cameo as a crashed wind rider, but man it’s always nice to see a familiar face.
In the end, it’s quite an emotional film – and it really shows Coscarelli’s skill. It almost makes me sad that he transitioned into low-budget and horror, and yet this is the kind of film that was ideally suited for the 1970s, and that era would not last forever. It genuinely makes me wonder though, what Coscarelli would do with such material today. I’m not sure that he could even get it made – the era of emotional low-budget dramas in the theater seems to have passed, and thanks to Coscarelli’s negative experiences during his brief sojourn in to the studio system, he’s been jaded enough to never venture there again.
There is a definite evolution present here, a direct line from Jim the worlds greatest, through Kenny and Company, directly leading into Phantasm. Seriously, THAT’s the trilogy. You can see Coscarelli and his sensibilities develop while staying very true to the concepts that intrigued him, and it only reinforces my belief in how underrated this filmmaker is.