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Adam: What are your qualifications?

Tale

The spirits of a deceased couple are haunted by an unbearable family that has moved into their house and they hire an evil spirit to drive them out. This is Michael Keaton’s favorite movie. Otho’s shoes when he’s spray painting the walls of the house change from red leprechaun shoes to white sneakers when he walks through the bathroom and then change back to red leprechaun shoes when he enters the next room. Beetlejuice: Ah. Well… I attended Juilliard… I’m a Harvard business school graduate. I travel quite a bit.

Do you think I’m qualified?

I lived through the Black Plague and had a pretty good time during that. I’VE SEEN THE EXORCIST ABOUT A HUNDRED AND SIXTY-SEVEN TIMES, AND EVERY TIME I WATCH IT IT GETS FUNNIER… NOT TO MENTION THE FACT THAT YOU’RE TALKING TO A DEAD GUY… NOW WHAT DO YOU THINK? The Geffen Company logo is accompanied by a macabre version of the song Banana Boat (sung by the film’s composer Danny Elfman). A workprint of the film surfaced with some added/alternate scenes. This version of the film is about 2 minutes shorter than the theatrical release, has some additional scenes and is missing others, 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 are killed is different.

The film ends with a final exterior shot of the house

Instead of a desert, he sees an empty darkness filled with moving gears. Additional Scenes: There is an additional 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 to the scene where the adults are searching for ghosts in the attic, where we see the desert monster trying to eat Adam and Barbra as they hang out of the attic window. Finally, there is an additional 2 minute 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 dance scene is shorter in this version, and there is no scene with Beetlejuice in the waiting room.

Edited into Terror Toons (2002)

Day-OTraditional, lyrics by William A. Attaway and Irving Burgie [Incorrectly credited as written by William A. Attaway and Irving Burgie (as Lord Burgess)]Performed by Harry BelafonteCourtesy of RCA Records. Watching this movie once again on TV yesterday reminded me of the first time I saw it all those years ago in the theater, back when Tim Burton was just the guy who had directed that fun Pee-wee Herman movie. Going into ‘Beetlejuice’ back then, knowing nothing about it, was an incredible experience. Along with ‘Blade Runner,’ ‘Blue Velvet,’ ‘Videodrome,’ ‘Brazil,’ ‘Paris, Texas,’ ‘The Terminator,’ and ‘Repo Man,’ it was one of the most surprising and memorable movies of the 80s, an era dominated by Hollywood trash like ‘Flashdance,’ ‘Top Gun,’ and ‘Footloose.’ The whole Bruckheimer/Simpson/Spielberg/Hughes zeitgeist that impoverished popular movies like never before.

Everything about it is perfect

Movies like ‘Beetlejuice’ were a ray of hope in a truly terrible period. The big question is: how does it hold up today? The answer is better than ever! In fact, I’d argue that “Beetlejuice” is Tim Burton’s most successful and least compromising film. A great cast led by the very attractive and likable Alec Baldwin and Geena Davis as the recently deceased Maitlands, a stellar performance by Michael Keaton as the title character, the gonzo “bio-exorcist,” 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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