Superman: The Extended Television Cut

We get into the weeds with this discussion of Superman, as it was seen on broadcast television. This extended version of the movie was released on Blu Ray. I acquired the film after seeing the 40th anniversary remaster in theaters last year. We also talk about film grain and edge-smoothing!

© Frequent Wire, David Lawler and David B. Anderson copyright 2019 for all original vocal and audio content featuring David Lawler and David B. Anderson. This podcast, “Superman: The Extended Television Cut” is not affiliated with Warner Bros., DC Comics, Tollin/Robbins Productions, or Millar Gough Ink. 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 television, film, and music clips appear under Fair Use as well.

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“Nobody Beats The Wiz!” The 40th Anniversary of The Wiz

HAPPY NEW YEAR! David Lawler and David Anderson discuss the 1978 movie, The Wiz, starring Diana Ross, Michael Jackson, Nipsey Russell, Lena Horne, and Ted Ross.

The Wiz is a 1978 American musical adventure fantasy film produced by Universal Pictures and Motown Productions, and released by Universal Pictures on October 24, 1978. A re-imagining of L. Frank Baum’s classic 1900 children’s novel The Wonderful Wizard of Oz featuring an all-black cast, the film was loosely adapted from the 1974 Broadway musical of the same name. It follows the adventures of Dorothy, a shy, twenty-four-year-old Harlem schoolteacher who finds herself magically transported to the urban fantasy Land of Oz, which resembles a drug-induced dream version of New York City. Befriended by a Scarecrow, a Tin Man and a Cowardly Lion, she travels through the city to seek an audience with the mysterious Wiz, who they say is the only one powerful enough to send her home.

Produced by Rob Cohen and directed by Sidney Lumet, the film stars Diana Ross, Michael Jackson, Nipsey Russell, Ted Ross, Mabel King, Theresa Merritt, Thelma Carpenter, Lena Horne and Richard Pryor. Its story was reworked from William F. Brown’s Broadway libretto by Joel Schumacher, and Quincy Jones supervised the adaptation of Charlie Smalls and Luther Vandross’ songs for it. A handful of new songs, written by Jones and the songwriting team of Nickolas Ashford & Valerie Simpson, were added for it.

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© Frequent Wire, David Lawler copyright 2018 for all original vocal and audio content featuring David Lawler and selected guests each episode. This podcast is not affiliated with Universal Pictures, Motown Productions, or the estate of Michael Jackson. 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 television, film, and music clips appear under Fair Use as well.

“You Will Believe: Superman’s 40th Anniversary”

Superman is a 1978 superhero film directed by Richard Donner starring Christopher Reeve as Superman based on the DC Comics character of the same name. David Anderson and David Lawler discuss the 40th anniversary restoration and re-issue of this classic film.

© Frequent Wire, David Lawler and David B. Anderson copyright 2018 for all original vocal and audio content featuring David Lawler and David B. Anderson. This podcast, “You Will Believe: Superman’s 40th Anniversary” is not affiliated with Warner Bros., DC Comics, Tollin/Robbins Productions, or Millar Gough Ink. 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 television, film, and music clips appear under Fair Use as well.

STAR WARS REWIND! Returning to Jedi

Hosted by DAVID B. ANDERSON and DAVID LAWLER

Produced by DAVID LAWLER

Edited by DAVID LAWLER

RETURNING TO JEDI: A FAN DOCUMENTARY
Written and Directed by Jamie Benning

“Celluloid Heroes” by The Kinks
(Ray Davies)

“Celluloid Heroes” by Joan Jett
(Ray Davies)

© Frequent Wire, David Lawler and David B. Anderson copyright 2018 for all original vocal and audio content featuring David Anderson, David Lawler and selected guests each episode. This podcast, “STAR WARS REWIND” is not affiliated with Lucasfilm, Twentieth Century Fox, Walt Disney Studios, Buena Vista, George Lucas, or Bad Robot Productions. 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 television, film, and music clips appear under Fair Use as well.

STAR WARS REWIND! Building Empire

David Anderson and David Lawler provide a running commentary for Jamie Benning’s stunning fan documentary, Building Empire.

Hosted by DAVID B. ANDERSON and DAVID LAWLER

Produced by DAVID LAWLER

Edited by DAVID LAWLER

BUILDING EMPIRE: A FAN DOCUMENTARY
Written and Directed by Jamie Benning

© Frequent Wire, David Lawler and David B. Anderson copyright 2018 for all original vocal and audio content featuring David Anderson, David Lawler and selected guests each episode. This podcast, “STAR WARS REWIND” is not affiliated with Lucasfilm, Twentieth Century Fox, Walt Disney Studios, Buena Vista, George Lucas, or Bad Robot Productions. 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 television, film, and music clips appear under Fair Use as well.

STAR WARS REWIND! Star Wars Begins

Happy Star Wars Day!  May the Fourth Be With You.  David Anderson and David Lawler provide a running commentary for Jamie Benning’s stunning fan documentary, Star Wars Begins.

Hosted by DAVID B. ANDERSON and DAVID LAWLER

Produced by DAVID LAWLER

Edited by DAVID LAWLER

STAR WARS BEGINS: A FAN DOCUMENTARY
Written and Directed by Jamie Benning

© Frequent Wire, David Lawler and David B. Anderson copyright 2018 for all original vocal and audio content featuring David Anderson, David Lawler and selected guests each episode. This podcast, “STAR WARS REWIND” is not affiliated with Lucasfilm, Twentieth Century Fox, Walt Disney Studios, Buena Vista, George Lucas, or Bad Robot Productions. 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 television, film, and music clips appear under Fair Use as well.

“Blade Runner, 1982”

“Quite an experience to live in fear, isn’t it? That’s what it is to be a slave.”

Blade Runner, 1982 (Harrison Ford), The Ladd Company

I knew I had to end my Vintage Cable Box series with, what I regard to be, one of the greatest movies ever made. Nothing can prepare you for Blade Runner after a couple of years of the standard cable television fare. Occasionally, you had the big-budget spectacles, fine examples of genre film-making, Alfred Hitchcock and Stanley Kubrick, but Blade Runner was unique. I only vaguely remembered trailers and teasers running on broadcast television. I never saw a preview at the movies, nor did I even see the movie in theaters. Ridley Scott had made a name for himself as a first-notch filmmaker with The Duellists and Alien after paying his dues in production design and advertising. The script and story treatments for Blade Runner floated around for a couple of years while Scott was preparing an adaptation of Dune. The Dune project fell through (and would eventually be helmed by David Lynch), and Scott was eager to start working on Blade Runner, based on Philip K. Dick’s Do Androids Dream of Electric Sheep.

The year is 2019, and the place is Los Angeles. Our world in 2019 is a dystopian nightmare. Constant sheets of acid rain have destroyed the already-dilapidated metropolis and most humans have taken to life in “off-world colonies” (“The chance to begin again in a golden land of opportunity,” the advertisements proclaim). Replicants, initially considered a form of android but then ret-conned in 2017’s Blade Runner 2049 as “manufactured humans” have become a dangerous liability when confronted with their slave status and the built-in obsolescence of a four year life span. In an effort to control these replicants, developer Eldon Tyrell (Joe Turkel) implants memories in them, but this backfires when they inevitably crave life more than the humans who built them. Errant replicant Roy Batty (Rutger Hauer) leads a bunch of them to jump ship and return to Earth to meet their maker. Enter Rick Deckard (Harrison Ford), a replicant killer more commonly known as a “Blade Runner.”

Deckard is tasked with interviewing a beautiful woman, Tyrell’s assistant, named Rachael (Sean Young) who may or may not be a replicant. It seems Tyrell’s task is to either deceive authorities as to the identity of his replicants, or perhaps make his replicants believe they are human. It takes a while for Deckard to come to the conclusion that Rachael doesn’t know she’s a replicant. She saves his life when another replicant, the sub-intelligent Leon (Brion James) tries to kill him. He takes her back to his apartment and promises to keep her secret. Tyrell tells him she has no shut-off date; that she is, in effect, unique. Deckard retires the remaining replicants, but Batty proves to be a challenge. He taunts Deckard and leads him on a merry chase through the Bradbury Building. While Deckard is intent on finishing the job, Batty is fighting for his life, even as he knows his time is limited. Batty is incensed that Deckard has mercilessly killed his friends, and he tortures him for it. Ultimately, he spares Deckard’s life and perhaps Deckard has re-discovered his humanity.

Blade Runner was unfairly maligned by critics upon release in 1982, but over the years, the movie has attained an enormous cult following, culminating in the release of Blade Runner 2049 last year. In 1992, a “director’s cut” was released which removed the original film’s narration (considered by Scott to be tedious) and introduced a scene where Deckard dreams of a unicorn, making the reveal at the end of the movie (Deckard discovers a small origami unicorn in his hallway) ambiguous about Deckard’s humanity. Personally, I do not believe Deckard to be a replicant because, for me, it would make the ending of the movie and Batty’s sacrifice less meaningful. I would rather Deckard learn the lesson of his humanity, rather than believe him to be an amnesiac android. Blade Runner 2049 continues along this line of reasoning; perhaps what we value as humans is our capacity for understanding the gift of memory, and when our memories are manufactured, we will retain less of that value. Everything about this movie is perfect.

That about wraps it up for Vintage Cable Box. Again, I want to thank my readers. It’s been so much fun going back and revisiting and re-living these movies and that crazy time period, that time-line of what I saw and experienced and how it shaped me. Blade Runner just might be the most influential movie of the last 40 years, and it played constantly on cable television back in those days. Blade Runner 2049 manages to successfully evoke all of the best qualities about the original movie (and even improve upon certain aspects), which surprises me. Before I sign off, I have to thank a few people. Mark Jeacoma hosted these articles on his VHS Rewind! page. Andrew La Ganke suggested some great movies and found me a couple of hard-to-find titles. Geno Cuddy suggested Metropolis and provided a copy of the movie for me. Tony Verruso from the Vintage HBO Guides on Facebook was a staunch ally in dark times. Thanks for reading.

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.