Extreme Cinema! “Go Ahead, Make My Day!”

Clinton “Clint” Eastwood Jr. (born May 31, 1930) is an American actor, filmmaker, musician, and political figure. After earning success in the Western TV series Rawhide, he rose to international fame with his role as the Man with No Name in Sergio Leone’s Dollars trilogy of spaghetti Westerns during the 1960s, and as antihero cop Harry Callahan in the five Dirty Harry films throughout the 1970s and 1980s, which is what we’re going to talk about tonight.

I was thinking about how fortunate we are, and how lazy we are because of Blu Ray, because of 1080p or more, we have ultra 4k or higher, I’m told. This is why we don’t go to the movies anymore. We don’t rush out to see a movie anymore, because we’ve turned our living rooms into little movie theaters where we don’t have to be disturbed; that’s incredible to me. Remember how we were talking about the Gladiator transfer? About how it probably looked superior to when the movie came out? This Dirty Harry transfer – it’s not that I don’t think it was superior, I wouldn’t know, but I told you it looked “faithful” to the original movie, I suspect. I like that they didn’t try to bring up the brightness. Cinema was dark back in the day, it was dark and detailed, and I was hoping they didn’t have like a millenial do the transfer, screaming, “It’s too dark! Bring it up!” They stayed faithful to the original release. Good transfer.

This is where we introduce “Dirty” Harry Callahan; December 23rd (a Christmas movie), 1971 – directed by Don Siegel. Harry and Rita Fink created the character with John Milius, Dean Riesner, Terrence Malick, Clint Eastwood, and Joe Heims, and all of those writers contributed to the script.

Magnum Force was released two years later, Christmas Day of 1973, the first sequel to Dirty Harry. This is the first Dirty Harry movie I saw. I saw it a few weeks before Sudden Impact, which was about to premiere on cable television. I remember thinking it was one of the coolest movies I had ever seen up to that point. I really liked it. It was really well-made and I think superior to Dirty Harry, although I asked Bronwyn, and she said she preferred Dirty Harry of the first two movies. This is about a group of rookie motorcycle cops who serve as a vigilante death squad serving under Hal Holbrook.

The Enforcer, directed by James Fargo, written by Stirling Silliphant and Dean Riesner, came out December 22, 1976 – another Christmas movie, that’s threee movies in a row released around Christmas – does the Dirty Harry franchise strike as something festive? “Kids! Another Dirty Harry movies, let’s put a .44 Magnum on the tree this year!” So here we have an SLA-Patty Hearst-type group of revolutionaries. I messed up when I was watching the movie with Bronwyn, because I got it into my head Patty Duke was a member of the Symbionese Liberation Army – Patty and her twin, can you imagine that? A hot dog makes her lose control. So, you have this psycho in the group, just a crazy-ass killing machine guy in the group, and they kill Harry’s partner, played by John Mitchum, who was in the first two movies. He dies, so Harry gets a new partner, played by Tyne Daly.

1983’s Sudden Impact, released on December 9th, was directed and produced by Clint Eastwood; the only Dirty Harry entry officially directed by Eastwood, though it’s rumored he helped direct Magnum Force because he had creative differences with Ted Post, and he might’ve assisted Buddy Van Horn directing The Dead Pool, but Van Horn was Clint’s good friend and works on every film Clint makes. This is still my personal favorite of the five. Mostly because we’re looking at the movie, the plot unfolding from the eyes of our heroine, who is really the bad guy when you think about it, right?

The Dead Pool came out in 1988, July 13th. I think there must’ve been issues with the production because I remember seeing trailers for the movie when I still living in Philadelphia, we moved up to New York City in February of 1988; perhaps they were gearing up for a Christmas, 1987 release (all of these Dirty Harry movies are Christmas movies) and they had issues in post-production, or it could’ve been related to issues with Eastwood’s former lover, Sondra Locke. Maybe Ratboy bankrupted Malpaso, who knows? The running time is 91 minutes, so I think some re-editing was done as well.

Written by David Lawler and Andrew La Ganke.
“Love Theme from Extreme Cinema” composed and performed by Alex Saltz.
Introduction written by Bronwyn Knox.
Narrator, “The Voice”: Valerie Sachs.
Artwork by Bronwyn Knox.
Head Title Washer: Ben Lauter.

Running Time: 1:35:13

Here’s a good overview of the Blu-Ray box set.

Any and all images, audio clips, and dialogue extracts are the property of their respective copyright owners. This blog and podcast was created for criticism, research, and is completely nonprofit, and should be considered Fair Use as stated in the Copyright Act of 1976, 17 U.S.C. section 107. It is not an official product, and it should not be sold nor bought; this is intended for private use, and any public broadcast is not recommended. All music clips appear under Fair Use as well. If you’re thinking of suing because you want a piece of the pie, please remember, there is no actual pie. We at BlissVille have no money, and as such, cannot compensate you. If anything, we’re doing you a favor, so please be kind. We do this ’cause it’s fun, and nothing else.

Extreme Cinema! “Is It Safe?”

Would ya do me a kindness? Don’t slam the fuckin’ door!

So, we usually talk about movie directors on the fringe with their respective peers. The first episode we recorded was about the deceased David A. Prior, low-to-no budget filmmaker, Deadly Prey and The Deadliest Prey. Fred Olen Ray, Mark Goldblatt, Rowdy Herrington. Tonight, we’re talking about an Academy-fuck-Award winner, John Schlesinger. Midnight Cowboy. Billy Liar. Far from the Madding Crowd. Sunday Bloody Sunday, and the four movies we’ll talk about tonight. I think we both agreed on Schlesinger because you put forth Eye for an Eye as a prime example of exploitation film-making. Upon further analysis, we saw a very eclectic, unusual, iconoclastic film-making career. Mr. Schlesinger passed away July, 2003, but his work remains for us to dissect. He truly was a maverick film director, along the lines of a Sam Peckinpah or a Bernard Rose.

We were messaging the other day and you wrote something interesting: “Schlesinger reminds me of another director we’ve always kind of made fun of…a guy with very few (if any) common threads among a varied body of work, with some ‘classics’ under his belt and a bunch of mediocre warmed over, but technically competent other stuff.

Let’s get to know the man, and we’ll start with Marathon Man from 1976.

“Why don’t you just try acting?”

Marathon Man is famous in acting circles for an often quoted and misquoted exchange between Hoffman and Olivier concerning a perceived difference in their approaches to acting. Hoffman later set the record straight in a retrospective interview, explaining:

“When we got back to Los Angeles [Olivier] said, ‘How did your week go, dear boy?’ And I told him we did this scene where the character I was playing was supposed to be up for three days. He says, ‘So what did you do?’ I say, ‘Well I stayed up for three days and three nights.’ And [Olivier’s] famous line was, ‘Why don’t you just try acting?’ … It became kind of legend. It’s been quoted so many times, at least in the acting circles. And the truth is I was the first one to quote that line … They leave out the reality and just put in what feels more provocative or a better story. And what accompanied him saying ‘Why don’t you just try acting?’ … He laughed, because he said, you know, “I’m one to talk.” And then he was actually the first one that told me about risking his life every night jumping whatever it was twenty feet in the last act of Hamlet. And the truth of it is I didn’t just stay up three days and three nights for the scene; it was a good excuse, because these were the days of wine and roses in Studio 54″.
— Hoffman, Dustin (Actor). Marathon Man (DVD).

Moving on to 1996’s Eye for an Eye starring Sally Field, Ed Harris, and Kiefer Sutherland.  Ed Harris and Sally Field were both in Places in the Heart. Nice to see Beverly D’Angelo, who was also in Pacific Heights, directed by Schlesinger. So far, scenes of a bucolic life with twinkly music. I get the feeling this is going to be bad.  This is a bit much. Sally’s daughter is being attacked while on the phone with her mother. We can’t get a good look at the attacker. We have a big panic situation, much like Marathon Man. This is effective but weird. Here we have an ice sculpture killing a woman instead of a coffee machine. They should really outlaw these things!

Written by David Lawler and Andrew La Ganke.
“Love Theme from Extreme Cinema” composed and performed by Alex Saltz.
Introduction written by Bronwyn Knox.
Narrator, “The Voice”: Valerie Sachs.
Artwork by Bronwyn Knox.
Head Title Washer: Ben Lauter.

Running Time: 1:36:46

Any and all images, audio clips, and dialogue extracts are the property of their respective copyright owners. This blog and podcast was created for criticism, research, and is completely nonprofit, and should be considered Fair Use as stated in the Copyright Act of 1976, 17 U.S.C. section 107. It is not an official product, and it should not be sold nor bought; this is intended for private use, and any public broadcast is not recommended. All music clips appear under Fair Use as well. If you’re thinking of suing because you want a piece of the pie, please remember, there is no actual pie. We at BlissVille have no money, and as such, cannot compensate you. If anything, we’re doing you a favor, so please be kind. We do this ’cause it’s fun, and nothing else.

 

Extreme Cinema! “Don’t Use the Same Gun Twice”

Alternate Title: “McNaughton by Nature”

Here we are again, nauseating you with another episode of Extreme Cinema – Action and Exploitation movies with Andrew La Ganke and David Lawler. Tonight, my stars, but we have two movies directed by John McNaughton, Welcome Home, Roxy Carmichael and How to Make an American Quilt … just joking, folks, Henry: Portrait of a Serial Killer and The Borrower.

Did you know that this movie, Henry: Portrait of a Serial Killer, still plays in theaters?  A quick check on the Googles reveals the Landmark Sunshine Cinema shows the movie; it’s essentially a midnight movie these days, but it still plays in theaters.  The only other film out there that continues to generate this much of an insane midnight movie cult following is, of course, The Sisterhood of the Traveling Pants – just kidding.  A few episodes of Extreme Cinema back, I mentioned how this is a movie I could never recommend to anybody for fear of getting funny looks from people for the rest of my life; it’s right up there with The Devil’s Rejects, both of these movies, for me, are insanely well-made but they’re extremely hard to get through (for different reasons).  Movies can be excellent, yet almost unwatchable.  

The Borrower is a bizarre movie. I remember first seeing it, chopped to hell and back on the Sci-Fi channel a while back. I think I even saw it before I saw Henry. My mother actually says to me, “Davey, I saw this movie, it was absolutely disgusting, but it was great! You would love it. It’s called The Borrower.” This was back when she liked horror and science fiction. Along with cable tv, and Danny Peary, and Roger Ebert, and my Aunt Marlene, she got me into movies in a big way. We did Jack Sholder last time, and you described The Hidden as being one of the better Terminator rip-offs. I suppose The Borrower fits into that sub-genre, right? The first thing we see is an alien criminal, who is told by a hilarious-looking creature with a voice modulator that he is being sent to Earth as punishment for his crimes, instead of summary execution (which we’re led to believe is somehow more merciful). We see Tom Towles again, this time as another white trash drifter. Is that a potato gun he’s holding? The alien criminal appears, punches Tom (sends him some 20 feet), and then the alien’s head explodes, which is completely normal. The headless alien removes (or “borrows”, as the case may be) Tom’s head and puts it on his shoulders.

Written by David Lawler and Andrew La Ganke.
“Love Theme from Extreme Cinema” composed and performed by Alex Saltz.
Introduction written by Bronwyn Knox.
Narrator, “The Voice”: Valerie Sachs.
Artwork by Bronwyn Knox.
Head Title Washer: Ben Lauter.

Running Time: 1:36:46

Any and all images, audio clips, and dialogue extracts are the property of their respective copyright owners. This blog and podcast was created for criticism, research, and is completely nonprofit, and should be considered Fair Use as stated in the Copyright Act of 1976, 17 U.S.C. section 107. It is not an official product, and it should not be sold nor bought; this is intended for private use, and any public broadcast is not recommended. All music clips appear under Fair Use as well. If you’re thinking of suing because you want a piece of the pie, please remember, there is no actual pie. We at BlissVille have no money, and as such, cannot compensate you. If anything, we’re doing you a favor, so please be kind. W do this ’cause it’s fun, and nothing else.

Vintage Cable Box: Never Say Never Again, 1983

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“Never again.”

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Never Say Never Again, 1983 (Sean Connery), Warner Bros.

James Bond is not a character that exists for any particular generation; though different generations will banter back-and-forth about which actor gave the strongest performance as Great Britain’s most famous Military Intelligence operative. It’s like Coke and Pepsi. Dick York and Dick Sargent? Original or Extra Crispy? David Lee Roth or Sammy Hagar? Sean Connery or Roger Moore? As a matter of fact, in Ian Fleming’s original concept for the character, he envisioned someone who bore his own resemblance. A bit of wish fulfillment, perhaps? 1983 was an unusual year for our favorite secret agent in that we had two movies, Octopussy and Never Say Never Again, made by different production companies and starring Moore and Connery. Ultimately, as box receipts indicate, there was very little difference in their respective appeal. Octopussy earned $183 million worldwide, compared to Never Say Never Again’s paltry $160 million*.

Essentially a remake of Thunderball, but updated to accommodate Connery’s advanced years, Never Say Never Again came about because Kevin McClory (one of Thunderball’s writers) retained the rights to the film after a dispute with fellow writers Jack Whittingham and creator Ian Fleming. This left Thunderball as the only existing Bond property to not be owned outright by Fleming or “Cubby” Broccoli’s Eon Productions. Bond is compelled by his employers to spend time in physical rehabilitations after failing a wargame simulation. While there, and after bedding down one of his nurses, he spies (he can’t help it) a masochistic therapist, Fatima Blush (Barbara Carrera) dispensing a little more than medicine to a US Air Force pilot (Gavan O’Herlihy), whom she is using to circumvent the President’s security clearance in order to obtain two nuclear warheads, which SPECTRE will use to wreak havoc with NATO. Bond tracks the warheads to the Bahamas, where he runs afoul of oddball villain Largo (Klaus Maria Brandauer) while romancing Largo’s lover, Domino (Kim Basinger), who also happens to be O’Herlihy’s sister.

Bond beds Blush, who then betrays him to sharks while scuba diving. Thankfully, sharks don’t know how to open doors in underwater ships. Largo is a little nutty. He challenges Bond to a unusual, but interesting looking three-dimensional video game that utlizes nuclear missile to neutralize their targets. The loser donates proceeds to a children’s charity. Bond always seems to get the upper hand in these games, and he cleans Largo out. Largo captures Bond (and Domino) after Bond tells her the truth about what happened to her brother. He locks Bond in a North African dungeon and ties Domino to a post to sell her to Arabs on horseback. Like I said, he’s a little nutty. Bond escapes his binds with a laser-shooting wristwatch (how come they never frisk him?) and rescues Domino, who avenges her brother’s death (with a well-aimed harpoon) before Largo can arm his warheads.

It’s a fairly simple story, complicated by numerous distraction; those being the women in the film, who serve as impediments (if you choose to designate them as such) to Bond’s goals. Kershner (as he did with The Empire Strikes Back) emphasizes performances over action set-pieces, but his camera always finds interesting places to shoot. Connery’s Bond is more menacing, predatory, and pragmatic than Moore’s civilized charm and manners. The Blofeld character (popularized by Donald Pleasance and Telly Savalas, and more recently Christoph Waltz) is minimalized here, but played very well in this movie by Max Von Sydow. The real villains in this piece are Brandauer and Carrera. Brandauer is a curiousity. He plays his scenes with a child-like glee, keeping everybody around subtly off-balance. He looks like he’s always on the verge of snapping.

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Now we come to the inevitable comparisons. Watching both movies (Octopussy and Never Say Never Again) with my wife, she told me she preferred the Connery movie, because the story was more contained, less expansive, and less tedious than Octopussy. I disagree. While expertly photographed and edited, this is a less cultured Bond, and there seem to be fewer locations and less color than Octopussy. Indeed, the movie is even shot, edited, and paced like one of Connery’s early Bond efforts. When I tune into a James Bond film, I expect exotic locations, beautiful women, and great action sequences, and while Never Say Never Again definitely delivers those elements, it doesn’t deliver enough of them. It’s as if the producers expected only to secure Connery’s involvement and not much else, but it is interesting to speculate (based on this movie) how the Bond series would’ve continued with Connery playing the character. That being said, I’m glad Connery retired when he did. Where Moore was a bit stuffy, Connery is smug and (somewhat) unlikeable, regardless of how many creepily young women he beds in this movie. Also, the film feels naked without the signature (and trademarked) John Barry theme music and credit sequence.

* sarcasm

Our first cable box was a non-descript metal contraption with a rotary dial and unlimited potential (with no brand name – weird). We flipped it on, and the first thing we noticed was that the reception was crystal-clear; no ghosting, no snow, no fuzzy images. We had the premium package: HBO, Cinemax, The Movie Channel, MTV, Nickelodeon, CNN, The Disney Channel, and the local network affiliates. About $25-$30 a month.  Each week (and sometimes twice a week!), “Vintage Cable Box” explores the wonderful world of premium Cable TV of the early eighties.

Vintage Cable Box: The Cannonball Run, 1981

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“Officer, I sincerely hope you’re not a Catholic.”

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The Cannonball Run, 1981 (Burt Reynolds), 20th Century Fox

Early ’80s cable television was a dumping ground of racing movies; most of them starring Burt Reynolds and directed by the legendary stuntman-turned-director Hal Needham. You had your Hooper, your Stroker Ace, your Six Pack, your Smokey cycle, and you had The Cannonball Run (which spawned two sequels), which plays more as an excuse to hang out with your friends and make a fun movie than an effort to produce a serious racing movie. We’re not even fifteen minutes in and Burt (with buddy Dom De Luise) are working on hot cars, flying single-engine planes, and riding speed-boats as they try to figure out what vehicle to race in the famous “Cannonball Trophy Dash” from Connecticut to California. Burt gets the idea to use an ambulance after sustaining injuries in the resulting speed-boat crash, but first they need a patient and a real doctor, so they abduct (what?) Farrah Fawcett and a junkie doctor (hilarious Jack “I just gave her a little prick” Elam), so they can drive at high speeds.

The film is a veritable Who’s Who of late 70s/early 80s celebrities, both minor (Terry Bradshaw, Rick Aviles, Jamie Farr) and major (Dean “Father Putz” Martin, Sammy “The Chocolate Monk” Davis Jr., Roger “The Fly Who Bugged Me” Moore), as well as a few up-and-coming stars (Adrienne Barbeau, Jackie Chan).  Farr, as an Arabian Sheik, drives a Silver Shadow Rolls.  Chan drives a state-of-the-art Subaru GL with all kinds of gadgetry.  Roger Moore spoofs his “James Bond” persona as Seymour Goldfarb, a nice Jewish boy who thinks he’s Roger Moore, and drives a gorgeous Aston Martin.  Dean and Sammy are dressed as priests, driving a red Ferrari.  Buxom Barbeau and Tara Buckman drive a Lamborghini (the ultimate winners, but it doesn’t matter) and get out of speeding tickets by showing off their cleavage, until they come upon a similarly stacked State Trooper (Valerie Perrine).

We, of course, have a bad guy, but he’s not really a bad guy.  George Furth (a dependable character actor mainly known for ’70s television) is Arthur J. Foyt (a clever play on racer A.J. Foyt), a crusader (or what you’d call social justice warrior), looking to shut down this silly “Cannonball” competition.  The whole idea seems insanely dangerous, but the lure is a big money cash prize, so who can blame some of your more reckless racing enthusiasts for giving it a shot.  The only real problem in the narrative is that the movie takes too long to get going.  It’s like one of those old Plymouths you had to warm up in the garage for twenty minutes, except in this case it’s more like 35 minutes before we start up the engines.  This is understandable given the many characters and their vignettes, and that the screenplay (screenplay?) plays as a series of episodes rather than a cohesive narrative, but that’s okay.  This is such a fun movie – and never boring – that I don’t care.  It’s obvious everybody’s having a great time.  Burt Reynolds barely represses the urge to laugh in every scene with Dom De Luise.  Dean Martin is obviously drunk throughout the movie, and Sammy’s not that far behind.

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I’m not a fan of NASCAR, or any kind of professional racing (though I have good friends who are).  I don’t get it the same way I don’t get hockey.  I’m a baseball guy.  I tend to agree with David Cronenberg in that the ultimate “man-machine interface” is the man or woman who gets into his or her car in the morning and drives to work without thinking about it.  Plus, these competitions seem to be a serious waste of gasoline (also I suspect a good portion of the audience is there to see horrific crashes), but that’s none of my business.  I do, however, enjoy this movie quite a bit, mainly because it doesn’t take itself seriously.  There’s a brief shot I always remember when I think about The Cannonball Run.  Dean and Sammy pull over the ambulance to let the air out of the tires under the guise of offering a “blessing”.  They slide the door open and see a drugged Farrah smiling back at them.  She was truly beautiful.  Critics, at the time, steeped in Scorsese and Coppola-isms, were not appreciative.  A film snob myself, I don’t necessarily believe all movies should be serious masterpieces of style and form.  In fact, I think we should have an even (and wide) distribution of movies that stimulate our minds, and movies that go for the big belly-laugh.  Nothing wrong with that.

Our first cable box was a non-descript metal contraption with a rotary dial and unlimited potential (with no brand name – weird). We flipped it on, and the first thing we noticed was that the reception was crystal-clear; no ghosting, no snow, no fuzzy images. We had the premium package: HBO, Cinemax, The Movie Channel, MTV, Nickelodeon, CNN, The Disney Channel, and the local network affiliates. About $25-$30 a month.  Each week (and sometimes twice a week!), “Vintage Cable Box” explores the wonderful world of premium Cable TV of the early eighties.

Extreme Cinema! “Dangerously Twisted”

extreme-cinema-complete-103

Albert Pyun is an American film director best known for having made many low-budget B-movies and direct-to-video action films. The Independent Film Channel said that Pyun “has carved out a unique niche as a director of low-budget, high-concept genre films starring actors past their prime”, adding that “others believe this a charitable description for Pyun, who has also been [unfairly] derided as the new Ed Wood.” Though he frequently blends kickboxing and hybrid martial arts with science fiction and dystopic or post-apocalyptic themes, which often include cyborgs. Pyun stated in an interview that “I have really no interest in cyborgs. And I’ve never really had any interest in post-apocalyptic stories or settings. It just seemed that those situations presented a way for me to make movies with very little money, and to explore ideas that I really wanted to explore — even if they were [controversial].”

Wikipedia

Andrew and I discuss two Albert Pyun 1980s classics, Dangerously Close (1986) and Down Twisted (1987), both starring the beautiful Carey Lowell.

Written by David Lawler and Andrew La Ganke.
“Love Theme from Extreme Cinema” composed and performed by Alex Saltz.
Introduction written by Bronwyn Knox.
Narrator, “The Voice”: Valerie Sachs

Running Time: 1:21:25

Any and all images, audio clips, and dialogue extracts are the property of their respective copyright owners. This blog and podcast was created for criticism, research, and is completely nonprofit, and should be considered Fair Use as stated in the Copyright Act of 1976, 17 U.S.C. section 107. It is not an official product, and it should not be sold nor bought; this is intended for private use, and any public broadcast is not recommended. All music clips appear under Fair Use as well. If you’re thinking of suing because you want a piece of the pie, please remember, there is no actual pie. We at BlissVille have no money, and as such, cannot compensate you. If anything, we’re doing you a favor, so please be kind. I do this ’cause it’s fun, and nothing else.

This podcast is dedicated to the memory of David A. Prior (1955-2015)

 

Vintage Cable Box: Twilight Zone: The Movie, 1983

TZClam

“You wanna see something REALLY scary?”

Twilight Zone the Movie

Twilight Zone: The Movie, 1983 (Dan Aykroyd), Warner Bros.

I popped in the old Warner Brothers clamshell VHS tape of this, because I wanted to watch the movie as I remembered it when I saw it on cable television in 1984.  Of course I had to play it on my old tube TV (the only way to watch a videotape, or a Laserdisc, or a DVD), and the first thing I notice (after the FBI warning) is the Warner Brothers logo, those post-modern oval or stadium shapes forming the W and the B coming toward the screen, devouring the frame while the first chords of Creedence Clearwater Revival play.

We fade up slowly on a deserted road and then the lights of a car passing by.  Inside is hitchhiker Dan Aykroyd and driver Albert Brooks.  To pass the time, they play games of trivia, TV theme songs, and then finally settle on a discussion about Twilight Zone, where they reference key episodes.  After multiple viewings, it only occurs to me now that the movie is commenting upon the television series in a real-world capacity, in meta fashion, but in the style of Twilight Zone.

We start with “Time Out”, written and directed by John Landis, and starring the late Vic Morrow.  Landis also wrote and directed the prologue, and co-produced the film as a whole with Steven Spielberg.  It’s hard not to review this episode without thinking of Morrow’s tragic death during shooting, but I will try.  Though heavy-handed with a lecturing tone, Morrow’s performance is among the strongest I’ve ever seen.  He plays an “angry man,” to use narrator Burgess Meredith’s words, with “a chip on his shoulder the size of the national debt.”

After angrily calling out Jews and blacks as the source of his uniquely American problems, he is transported back and forth through time being given a taste of his own medicine.  Landis places him in the shoes of a Jew during wartime France, and then as a black man in the South, and then as an enemy combatant in Vietnam.  Morrow died when the rotor blades on a helicopter during an intensely energetic barrage of explosions de-laminated and the vehicle spun into ankle-deep water, killing him and two children he was carrying.

It’s fair to say the film’s production was severely altered due to the tragedy, as the narrative of Landis’ screenplay (which had originally included a scene of vindication for Morrow’s character) was changed drastically so that the only scenes remaining (the only complete scenes Morrow shot) are simply examples of catharsis with little to no structure.  Vic Morrow gives an incredible performance, and it’s sad to think of the resurgence his career would’ve enjoyed.  Landis and his producers were acquitted on charges of manslaughter in 1986, and while most people like to think his career suffered after this incident, he made several highly-successful movies after this, including Spies Like Us and Coming To America.

Steven Spielberg’s somewhat sentimental remake of “Kick the Can” improves upon the source material by capturing the spirit of youth, as viewed through the eyes of the elderly.  The great character actor Bill Quinn plays a bitter old man who watches his fellow denizens at Sunnyvale Retirement Home turn into children under the guidance of new resident Mr. Bloom (jovial Scatman Crothers).  Rather than end the proceedings in pathos and irony as the third season episode did, Spielberg (and screenwriters Richard Matheson & Melissa Mathison) decide to bring them back to senior citizenry with “fresh young minds.”  The next day, all but one of the elderly folk have transformed back, and Quinn learns a nice lesson about staying young at heart, while Mr. Bloom is off on his next merry adventure.  Jerry Goldsmith’s score for this episode (and the movie) is spectacular.

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When I was a kid, I loved this next episode: an updating of the classic “It’s a Good Life”.  Mostly because I dug the idea of a kid around my age with insane psychic god-like powers wreaking havoc upon his rented family and a hapless schoolteacher (Kathleen Quinlan), who had the “misfortune” of nearly running him over.  She takes him back to his house, where his frightened family anxiously awaits his return.  He has televisions in every room playing cartoons.  His supper consists of peanut butter, candy apples, and ice cream.  His sister (Cherie Currie!) has no mouth (but she must scream), and when he gets angry, conjures horrifying creatures to scare the Hell out of everybody for his amusement.  Where Billy Mumy’s version of the child was more monster than boy, the child in this episode is simply an incorrigible brat who needs guidance and structure in his life.  Director Joe Dante populates his episode with great character actors from the past like William Schallert, Kevin McCarthy, Patricia Barry (who had all appeared in original episodes), and Dick Miller.  This is still a fun episode to watch.

We wind it up with what is perhaps the movie’s strongest entry, a remake of “Nightmare at 20,000 Feet” featuring John Lithgow in an Oscar-worthy performance, directed by George Miller (The Road Warrior).  Lithgow plays a white-knuckle passenger on an airliner convinced he sees a man (ultimately a gremlin) on the wing of the plane.  There are some subtle differences between this remake and the original starring William Shatner.  For one, in the Shatner version, his wife is traveling with him, and second, he is recovering from a previous nervous breakdown.  I feel the film version is stronger because Lithgow doesn’t foreshadow any particular breakdown, and his performance is a gradual build-up not to insanity but bravery as he takes matters in his own hands and attempts to vanquish the creature (as Shatner did).  The film version is much more visceral than the original directed by Richard Donner.  It’s interesting the best episodes from the movie were directed by relative novices, compared to the input of Spielberg and Landis.  They both meet the same fate, however, as they are carted off to a loony bin while the airplane’s mechanical crew try to figure out where all the damage to the craft came from.

For a decent stinger prologue, Lithgow’s ambulance driver is none other than Dan Aykroyd from the prologue.  He puts on some Creedence and away we go!  Vic Morrow’s death overshadowed any possible success this movie might have enjoyed, and destroyed any chance of a new film franchise.  Though there were reboots in 1985 and 2002, neither they nor this film stack up to the original series.  I must admit this is how I was introduced to the series.  I was aware of the show, but it never played where I lived, at least until after this movie debuted on cable television.  The series played in constant rotation on Channel 11 WPIX New York, and that’s how I was able to watch it before I got the DVDs.

What can be said about Rod Serling’s immortal Twilight Zone that hasn’t been said already?  I loved the show so much I started my own podcast about it, in which a guest and I discuss two episodes every week.  A new season of “That Twilighty Show About That Zone” starts tomorrow!  Sorry about the plug.  I had to do it.  Today is the one-year anniversary for “Vintage Cable Box”.  Hard to believe I started this enterprise a year ago with reviews for Swamp Thing, Easy Money, and Porky’s.  If you want to check out my past reviews, go to this handy archive.  Again, sorry for the plug!

Sourced from the original 1983 Warner Bros “clamshell” VHS release.  The movie continued to receive different format releases, and is available in Beta, Laserdisc, DVD, and Blu Ray formats.  The accompanying essay obviously down-plays Vic Morrow’s death (“the late Vic Morrow”) as though his passing was not connected to the production.  The film is compared to Creepshow from 1982.  Both movies are referenced as “… the state of the art in cinema horror …”

Our first cable box was a non-descript metal contraption with a rotary dial and unlimited potential (with no brand name – weird). We flipped it on, and the first thing we noticed was that the reception was crystal-clear; no ghosting, no snow, no fuzzy images. We had the premium package: HBO, Cinemax, The Movie Channel, MTV, Nickelodeon, CNN, The Disney Channel, and the local network affiliates. About $25-$30 a month.  Each week (and sometimes twice a week!), “Vintage Cable Box” explores the wonderful world of premium Cable TV of the early eighties.