Sunday, April 15, 2018

TV Time/Jiffy Pop Popcorn (food)


TV TimeThe 1950s were a time for food experiments, not so much in new flavors, like today, but in new and more convenient ways to prepare it. And in the time when a TV Dinner was the rage, it was unsurprising that TV Time popcorn was made.

Popcorn before this required that you pour oil into a pot (or popper if you had one and wanted to do it over a fire), heat it up, add the corn, and then shake it until it stopped popping.  Not a complicated process, but too much for the time

TV Time made the process simple.  It was a plastic container with a two-pocket pouch. The right pouch held nut oil (in solid form); the left held popcorn grains and salt.*

You’d squeeze the oil into the pan, heat it, and then add the popcorn.  You’d shake it until it stopped popcorn and ended up with a bowl of it.

Not much different from the traditional method, but it saved the step of measuring out the oil. Plus the nut oil was more flavorful than vegetable oil, so the end result was very satisfying.. 

This was our go-to for many years, up until Jiffy Pop came in 1959.  It was an aluminum pan that you just put on the heat. As a bonus, the foil covering the popcorn expanded as it popped, turning a flat pan into a big ball of aluminum-covered snack.

Jiffy Pop Before and After

TV Time couldn’t compete in the convenience game, and and Jiffy Pop popped it out of the water for spectacular presentation.  And later popcorn makers and microwaves made stovetop cooking of popcorn as obsolete as home churning butter. 

Like most products, there’s little information on what happened to it. It went through various owners.  The last seems to have been Great Western Foods, which still seems to sell similar products called “Portion Packs,” but which use canola oil, so it’s not the same.**

Jiffy Pop is still around, since it’s owned by agricultural giant ConAgra. 

But for many years, TV Time was what we mean when we wanted popcorn at home.


*Later iterations had a place to cut off one corner to pour out the excess salt. For some reason, that always impressed me.

**It also looks like the sell primarily in bulk.

Sunday, April 8, 2018

Buster Crabbe (actor)

IMDB Entry

Buster Crabbe was the king of Saturday morning.  He started out in serials, and when TV came along, he was a success in that, too. If you wanted live-action adventure on Saturday mornings, odds were you saw Buster Crabbe.

Crabbe grew up in Hawaii, where he became a swimming champion, winning a bronze medal in 1928 and a gold in 1932. The latter was held in Los Angeles, so it was natural that he follow in the footsteps of and earlier swimming medalist, Johnny Weissmuller.*  After a few bit parts, he followed in Weissmuller’s footsteps in another way: he played Tarzan in the serial Tarzan the Fearless.

The role didn’t lead to much for several years, until in 1936, when he was cast in the part that he became fully identified with:  Flash Gordon.

Crabbe’s serial became the definitive version of the character, as he faced off against the peril of Charles Middleton’s Ming the Merciless. The special effect were crude, even by the standards of the time.**

The serial was a sensation. A sequel, Flash Gordon’s Trip to Mars was released in 1938, and Flash Gordon Conquers the Universe came on in 1940.In between, he portrayed the other big name of pulp SF, Buck Rogers.

The serials are dated, but you can still see why they were popular and still relatively entertaining.***

Crabbe continued in serials, mostly westerns (including some programmers where he portrayed Billy the Kid as a hero). And when TV came along, he created the role of Captain Gallant of the Foreign Legion.

imageAs the title indicated, Captain Gallant was a commander of a foreign legion fort in Morocco. His son, Cullen Crabbe costarred as the legion’s mascot. The first season was actually shot on location in Morocco with some real legionnaires in bit parts. Gallant would deal with various local villains and uprisings. I remember watching reruns of it on Saturday mornings, long before I had seen the Flash Gordon/Buck Rogers serials.

After Captain Gallant, Crabbe was semiretired, appearing in various guest shots, including playing “Brigadier Gordon” in the TV version of Buck Rogers.

Crabbe died in 1983, leaving behind memories of adventures in young people’s minds.

*Weissmuller’s Tarzan career overshadows the fact that he was a dominant freestyle swimmer, with five gold medals and a bronze.

**Though I must admit I was fascinated by the spaceships – hanging in the air giving off sparks and a strange buzzing sound.  Many of the sets were recycled from earlier productions, as was the music.

***Buck Rogers isn’t quite as good, partly because it had an inferior villain, Killer Kane.  I found it hard to take him seriously, since we used to sell a dandelion killer by that name – a cane filled with weed killer.

Sunday, March 25, 2018

The Addams Family (book)

by Jack Sharkey

TAddams Familyhe Addams Family are, next to The Simpsons, arguably the greatest comic family franchise, and still going strong today, appearing in live TV, animated TV, movies, cartoons, and even more.*  And when the TV show went on the air, the idea came to do a tie-in novel.  The result was The Addams Family by Jack Sharkey.

Sharkey was a hack in the very best meaning of the word:  he cranked out dozens of books in all genres over the years,** and is clearly at home with the macabre comedy of Addams.

The book is often described as a novel, but it’s really just a collection of short stories. And they’re all hilarious.  Sharkey captures the weirdness of the New Yorker cartoons with a macabre sense of humor that matches Addams's own. The basic stories included an introduction to the family, the story of how they got Thing, and several others.

My favorite was “From Here to Perplexity,” when Fester was accidentally drafted into the army and had to undergo a physical. Among other things, they discover he has no fingerprints and weighs 0 pounds.  And what he looks like under his cloak . . .

There’s also “Dear Old Mold and Ghoul Days,” where Wednesday and Pugsley have to go to school, where their teacher is enamored beyond sense by a certain obscure poet.  Who Grandma Addams knew …

And “That Was the Weakness that Was,” where Gomez sets himself up to find ways to make monsters less vulnerable to sunlight or silver bullets or the like.

The book suffered the fate of all tie-ins: it was published to cash in and then vanished. It seems to have sold well enough, since there are reports online of many people who found it, picked it up, and fell in love with it.*** It should definitely appeal to readers nowadays, who can appreciate macabre humor.

*Despite their being his most famous creation, Charles Addams actually produced very few Addams family cartoons.  I can think of only a dozen or so offhand, and only some of those featured more than one character.  Pugsley (ironically one of the least used characters of the TV show) had several panels to himself (notably when he was blowing up his train set) and Fester showed up occasionally, but I’ve come across very few that showed them as a family.  (I don’t think they were conceived in that way: Addams just used a few existing characters when he did his family panels.)

**This one appears to be a work for hire: the copyright is not in his name.  I remember his name from an SF short story “Multim in Parvo,” which is really a series of short jokes.

***A second tie-in novel was written during the run of the show: The Addams Family Strikes Back! by W.F. Miksch.  It was an actual novel about the family taking on a school board, but is no more than mildly amusing and not particually Addams=like.

Sunday, March 18, 2018

The Russians Are Coming, The Russians Are Coming

Directed by
Norman Jewison
Written by William Rose, from a novel by Nathaniel Benchley
Starring Carl Reiner, Eva Marie Saint, Alan Arkin, Brian Keith, Jonathan Winters, Paul Ford, Theodore Bikel
IMDB Entry 

The Benchley family has a long history of having their books turned into film.. Robert Benchley is still considered one of the greatest of American humorists and both acted and made a series of short films that are still very funny today. His grandson, Peter Benchley, is known for a little book he wrote named Jaws, which was turned into a movie. And in between is Nathaniel Benchley, who wrote a cold war satire, The Off-Islanders, which was turned into the comedy The Russians Are Coming, the Russians Are Coming.

The story begins when a Soviet sub runs aground near a New England island. Not wanting an international incident on his hand, the captain (Theodore Bikel) sends his political officer Rozanov (Alan Arkin) to try to quietly find a boat to tow them into deep water. He gathers a small crew and lands on the island, running into Walt Whitaker (Carl Reiner), and being forced to reveal their identity due to a misunderstanding. Then things get crazy and the people of the town react to the threat, and the police chief (Brian Keith) tries to get a handle on it.

The movie mixes slapstick* and some nice human moments with what was a strong message that was somewhat surprising given it’s era.

This was Arkin’s first screen role, which got him an Oscar nomination. He’s excellent as a man trying to get a simple job done and is thwarted at every turn. Reiner has one of his better film parts, and Brian Keith shows the calm imperturbability that was his trademark.**

The most memorable piece of the film for me, was when the Russians meet up with a young boy. None spoke English and were given a phrase to use in case anyone was suspicious:

My brothers and I used to run around with that catchphrase whenever something went wrong.

In addition to Arkin, the film was also nominated for a best picture and two other Oscars, and won three Golden Globes. Director Norman Jewison has a long and successful film career, helming Best Picture winner In the Heat of the Night and many other films.

*The screenplay was written by William Rose, who also wrote It’s a Mad, Mad, Mad,Mad, World.  In this case, though the slapstick works. (I’m not a fan of IAMMMMW.)

**Jonathan Winters is wasted. This isn’t surprising: Jonathan Winters was always wasted.  His larger-than-life talent and improvisational genius made it hard to fit him into a scripted film.

Saturday, March 10, 2018

Gregory’s Girl

Directed by
Bill Forsyth
Written by Bill Forsyth
Starring Gordon John Sinclair, Dee Hepburn, Allison Forster, Caroline Guthrie, Clare Grogan, Robert Buchanan, Graham Thompson
IMDB Entry

Bill Forsyth made his name as a director of low-key and charming comedies like Comfort and Joy and Local Hero.  He concentrated on character, not situation and his stories always had a quirky sensibility. This first became apparent with his very first feature, Gregory’s Girl.

Gregory (Gordon John Sinclair) plays on his school’s football* team in Glasgow, Scotland.  The team isn’t doing well, so the coach decides to take on Dorothy (Dee Hepburn), who turns out to be an excellent player.  She replaces Gregory on the team, but he doesn’t care – he has a tremendous crush on her.  His sister Madeleine (Allison Foster) asks him to go on a date. She agrees, but it doesn’t go the way that Gregory envisioned.

Now, in most teenage comedy of this nature, you’d expect some slapstick hijinks and sexual innuendo. But this isn’t that sort of movie. The result of the date is so filled with charm about the clumsiness of young love that you end up smiling gently as it unfolds.

Much of the cast came from the Glasgow Youth Theater and few had any acting credits before, and the come across as supremely natural. Sinclair captures the confusion and innocence of high school love** and the embarrassment of trying to figure out the rules.***

The actors never became big names and only Clare Grogan is known in the US to fans of Red Dwarf, where she played Christine Kochanski.  There was a sequel in 1999, Gregory’s Two Girls, that did poorly and was never released in the US.

But the movie is still a landmark in portraying teenagers trying to navigate the intricacies of blooming relationships.

*Soccer to Americans.

**Probably a bit dated these days with people being exposed to the Internet.

***I will say in among it all, one of my favorite moments is the subplot of two of Gregory’s friends, Andy (Robert Buchanan) and Charlie (Graham Thompson). Unable to deal with the lack of love lives, they learn that Caracas, Venezuela had a shortage of me and figure it would improve the odds.  So they decide to hitchhike there. After several hours and no rides, They realize they have mispelled “Caracas,” and one blames the other for the mistake on the sign which kept them from achieving their goal.

Sunday, February 25, 2018

Big Eyes

Big Eyes(2014)
Directed by
Tim Burton
Written by Scott Alexander, Larry Karazewski
Starring Amy Adams, Christoph Waltz, Danny Huston, Krysten Ritter, Jason Schwartzman, Terence Stamp, John Polito
IMDb Entry

Tim Burton made his reputation as a director making films about weird and larger-than-life characters, with characters who were not particularly outre. Big Eyes was something of departure for him: a fairly straight biopic based on real events. Instead of strange characters, it has a bizarre story that makes it a fascinating film.

In the late 1950s, Margaret Ulbrich (Amy Adams) packs up her daughter and leaves her husband. Margaret is an artist, which only makes it harder for a woman trying to make her way. But she meets and marries Walter Keane (Chrisoph Waltz), an artist and real estate salesman, who recognizes that her paintings of children with oversized eyes might be successful.

They are, beyond their wildest dreams. But as time goes by, Walter begins to claim that he was the artist behind the paintings. Margaret is caught between wanting recognition for her work and fearing that if the truth came out, she would be party to fraud (since Walter told her she would).

Walter and Margaret

Margaret is psychologically under the thumb of her manipulative husband, and Adams is wonderful at portraying her timidity and frustration. You understand that all she wants to do is paint and be recognized, but that Walter managed to manipulate all her fears to his own advantage.

Christoph Waltz has never put in a bad performance* and he wonderful here: oily, smarmy, doing everything to suck up and sell, and then becoming petulant and nasty when things don’t go his way. He’s charming at first, and clearly falls into his impersonation by accident until the image overtakes his common sense.

While this is different in tone from much of Burton’s work**, you can see the appeal: like many of his characters dating back to Edward Scissorhands, she is a creative type who is frustrated by the world around her.

The movie was a modest success, which is a kiss of death in this age of blockbusters.  Amy Adams won a Golden Globe, but it was ignored by the Oscars and faded away.

But it’s a wonderful story about a woman finding the strength to get away from the toxic elements of her life.

*I was going to say he never had a bad movie, but he did do the execrable Horrible Bosses 2. He is the best thing about the movie by far. One thing I found illuminating: they showed bloopers during the credits. Most of the other actors blew lines, but Waltz’s was when there was a mechanical malfunction – and they immediately said it would go in the blooper reel. Which means he never actually blew a line.

**Burton actually collected Margaret’s big-eyed children before he joined the project.

Sunday, February 18, 2018

Raggedy Man

Directed by
Jack Fisk
Written by William D. Wittliff
Starring Sissy Spacek, Eric Roberts, Sam Shepard, William Sanderson, Tracey Walter, Henry Thomas, Carey Hollis Jr.
IMDB Entry

Raggedy Man is a low-key film with some great performances and memorable moments, dealing with the human side of

Nita (Sissy Spacek) is a divorced mother of two, living in a small town in Texas during World War II. She works as the town’s only telephone operator*, unable to leave the job because her boss tells her it’s frozen due to the war. Teddy (Eric Roberts), a young sailor comes to town, looking for a phone. He’s calling his girlfriend, who breaks it off.  With nothing better to do, Teddy remains, bonding with Nita’s two sons Harry (Henry Thomas**) and Henry (Carey Hollis, Jr.). But gossip arises as Teddy become friendly with Nita.  At the same time, a couple of the village tough me (Tracey Walter and William Sanderson) have ideas about what a divorced woman might want in a time when divorce was disgraceful. And then there’s the mysterious Raggedy Man (Sam Shepard), who lurks around the town.

Spacek is at the top of her form: vulnerable, shy, and frustrated by the difficulties of her position.  She and Roberts make a charming couple and the movie works as a slice of life of the time.  Sanderson and Walter are great character actors, brining plenty of menace to their roles.

First-time director Jack Fisk was (and still is) married to Spacek.  It wasn’t blockbuster, which isn’t surprising: Americans don’t flock to the type of character centered film this was.*** Fisk only directed a few more times before turning to some success as a production designer.

But this is a movie with a lot of good things, and a few surprises.

*The old-fashioned kind, who has to connect every phone call.

**Despite the telephone switchboard, he doesn’t phone home.

***The ending may have been added to help counteract this. It has action and drama, but does contrast from the gentle observation of the rest of the film.

Sunday, February 4, 2018

Short Cuts

Short CutsDirected by
Robert Altman
Written by Robert Altman & Frank Barhydt, from the writings of Raymond Carver
Starring Andie MacDowell, Bruce Davison, Jack Lemmon, Julianne Moore, Mathew Modine, Anne Archer, Fred Ward, Jennifer Jason Leigh, Chris Penn, Lili Taylor, Robert Downey, Jr., Madeline Stowe, Tim Robbins, Lily Tomlin, Tom Waits, Frances McDormand, Peter Gallagher, Annie Ross, Lori Singer, Lyle Lovett, Buck Henry, Huey Lewis
IMDB Entry

Robert Altman is one of the most underappreciated of all great American directors. He never won an Oscar, and few of his movies were hit, but he had a distinct style and always tried to do something more than just the usual. Short Cuts is one of his best efforts, and one that seems to be fading from memory.

It’s not easy to describe the plot. Altman took several stories from Raymond Carver and put them together. Carver was well-known in literary circles, who considered him a master of the short story.* Altman took these stories and used them to create a mosaic of life in Southern California in the 80s.

The characters are introduced, skillfully drawn and then go about their lives, often intersecting with one another in mundane and tragic ways. There are affairs, and death, and plenty of surprises.  It’s a rather bleak landscape overall, but the film is emotionally affecting.

The multiple storylines was a trademark of Altman, who did it better than anyone. The fact that he was well respected is shown by the names in the cast, most of whom worked at far less than their usual rate for the chance to direct. He was known to encourage improvisation, and, of course, was the greatest director of overlapping dialog since Howard Hawks.

The movie gained ecstatic reviews from critics, but was overlooked when it came to the Oscars.  Altman got a nomination (but lost, of course), but nothing else. Part of that was the ensemble cast: great performances, but as a group. The Golden Globes recognized that and gave an award for best cast.

The film, like most of Altman’s did poorly at the box office.** The movie had an R rating, which didn’t help, and was over three hours long. And it was probably hard to market to people who were looking for a more traditional film.

But it’s an example of a genius at the top of his form taking the works of a genius and making a masterpiece.

*There’s been some backlash about his minimalistic style, but I found his stories fascinating.

**Altman’s one big hit was M*A*S*H. He later said that it was its success that got him financing for other projects because people would think he might repeat it. Altman himself did not make anything other than his original directing fee; he said years later that his son made more money than he did from the movie: his son had written lyrics for the theme song, so got residuals whenever it was played on the TV show.

Sunday, January 28, 2018

Rhinoceros (music)

John Finley (vocals), Michael Fonfara (keyboards), Danny Weis (guitar), Doug Hastings (guitar), Alan Gerber (keyboards, vocals), Jerry "The Bear" Penrod (bass), Billy Mundi (drums)
Wikipedia Entry
In the mid-60s, the phenomenon of the supergroup came to pass. The basic definition was a group made up of musicians who had been successful with other groups. The first was probably Cream, where Clapton, Bruce, and Baker had already established themselves with John Mayall and Graham Bond. Later, of course, Clapton and Baker joined forces with Steve Winwood and Ric Grech to form the superest of supergroups, Blind Faith (along with Crosby, Stills, Nash, and Young).
Rhinoceros was an attempt to manufacture a supergroup.
Elektra Records producer Paul Rothschild decided to create a group of semiestablished rock musicians and promote them heavily. After a series of auditions, the nucleus of the group was formed,
The problem was that people with successful groups didn’t usually want to leave them, so the original members were not exactly household names.  Danny Weis and Jerry Penrod had been with Iron Butterfly, but had left before they hit it big. Billy Mundi was the original drummer for Frank Zappa’s Mothers.  The rest were talented musicians who had never quite hit it big.
Rothschild got the group together and they recorded their self-titled album. The album is decent, though without any of the standout songs that turn unknowns into stars.  A second album. Satin Chickens, was released, but did even worse and the group disbanded. 
About the only recognition the group got was for the funky instrumental, “Apricot Brandy,” which was used as a theme song for the BBC.

It’s tough enough to keep a group together when you worked together for years to make it to the top, and when you’re basically thrown into a room and told you were bandmates, it’s not surprising they didn’t last long.
But it’s a bit unfair. If they hadn’t had the “supergroup” label*, people might have taken them more seriously. The pretentiousness of it made people skeptical, and they wanted something spectacular. The quality of the band was secondary to its hype, and they’ve been forgotten.
*Lillian Roxon’s Rock Encyclopedia talked about how they should have been called “Supergroup.”

Sunday, January 21, 2018

David Bromberg (music)

Wikipedia Entry
David Bromberg Website

Sometimes you come across a musician from your youth who you knew about vaguely, but never followed closely. And now you discover he made just the type of music you loved then (and still do today). That happened recently when I was reintroduced to David Bromberg.

Bromberg grew up in the suburbs of New York city, learning to play guitar and just about any type of stringed instrument.  He started doing studio work and appeared on albums by Jerry Jeff Walker, Tom Paxton, Richie Havens, Bob Dylan, and Carly Simon, among others before finally putting out a solo album in 1972.

The album helped define Bromberg’s style, which was so eclectic as to be indefinable. He mixed blues, country, jazz, folk, bluegrass, and anything else that came his way.  It starts out with what was probably his best-known tune: “The Holdup” (co-written with George Harrison). Here’s the song with Harrison on guitar*.

The follow up album, Demon in Disguise, was another triumph,** with the equally delightful “Sharon,” about a man’s infatuation with a hoochie coochie dancer.

But Bromberg wasn’t just a funnyman. The album also contained a version of Jerry Jeff Walker’s “Mr.Bojangles,” where Bromberg talking about the origins of the song*** that made a poignant song even more so.

In addition to his musicianship, Bromberg had a distinctive voice.  Not rough, but not smooth, either, with a tone that’s partway between a growl and a moan.

Bromberg continued to record albums regularly throughout the 70s, then sporadically after that. It’s a sign of his regard among musicians that so many established names shows up on them. And he was also doing studio work and toured with other names like Ringo Starr, the Eagles, and others.

He’s still active, though performing less these days. But he’s really a musician who deserves more credit with the general public.

*Bromberg recorded several different variations on the song over the years.

**He was backed by most of the Grateful Dead.

***He had played on the original version.

Sunday, January 14, 2018

All of Me

All of Me(1984)
Directed by
Cark Reiner
Written by Phil Alden Robinson, from an adaptation by Henry Olek of a novel by Edwin Davis
Starring Steve Martin, Lily Tomlin, Victoria Tennant, Richard Libertini
IMDB Entry
I've mentioned elsewhere that it took my a long time to warm to Steve Martin. I felt he was more an actor playing a comedian than an actual funnyman. And his early movies did nothing to improve my opinion. It took All of Me to show me he was something much more than a tiresome clown.
Marin plays Roger Cobb, and up-and-coming lawyer who is summons to work out the will of the old and crotchety Edwina Cutwater (Lily Tomlin). But the will has some strange clauses. Using the services of a swami (Richard Libertini), she has arranged to have her soul transferred into the body of Terry Hoskins (Victoria Tennant), so she can continue to life as young and beautiful woman. Roger is more than skeptical, of course, but the swami does transfer Edwina’s soul into a bowl – which pours it out into Roger. Now he’s half-Roger and half-Edwina.*  Naturally, neither is happy with this, so the need to find the swami – and Terry – to set things right.
While Martin does take great strides in creating a realistic character, for once his comic overstriding serves him well. He makes you believe that he has two people controlling his movements. The slapstick ways he walks are completely in service to the story. But he still manages to act out his feelings toward the situation – and Edwina – in a striking way.
Lily Tomlin has what is mostly a voiceover part.** I thought she was a brilliant comedian, but find her acting too one-note. Still, it works very well here, since it’s the perfect note for the character.
Richard Libertini plays one of his patented crazies, and is as great as always in every scene he’s in.
The screenplay was written by Phil Alden Robinson. He parlayed this into a directing gig for his classic Field of Dreams.***
There’s no need to introduce Carl Reiner, one of the giants of comedy.  This was the fourth time he directed Martin, but the first time where the story was more than just either parody or a string of jokes.
The movie got raves when it came out, and still holds up well. Martin clearly took a step up in his career and turned from someone I avoided to an actor who I looked forward to seeing.
*Literally – they each control one side of the body.
**She appears in the beginning and in mirrors when Roger looks in them.
***I went to college with him. I actually worked with him at the college radio station.  He was a senior when I was a freshman, and he already was showing success, having gotten a gig at a local radio station. All of us agreed that he had a great voice for radio.

Sunday, January 7, 2018

Chickenman (comedy)

Dick Orkin as Chickenman1966-197?
Written by
Dick Orkin
Starring Dick Orkin, Jane Roberts, Jim Runyon
Wikipedia Entry

By the 1960s, radio had fully evolved away from dramas and comedies to DJs playing music. But the urge to put a story on the air continued in small pockets, often on individual stations as a part of their programming. Probably the most successful of these was Chickenman.

The show as created as part of the success of Batman. Chicago radio station WCFL thought it might be funny to create a superhero spoof to run in among the top-40 hits. Dick Orkin, the production director at the station came up with the concept.

Chickenman was actually Benton Harbor (Orkin), who fought crime on weekends by donning a chicken suit and going after criminals.  He was assisted by the befuddled Police Commissioner Norton (Orkin) and his highly competent secretary Miss Helfinger (Jane Roberts). When unable to fight crime due to his job as a shoe salesman, Benton’s mother Mildred (Roberts) would help out.

The segments ran under three minutes, but had a wonderful deadpan sensibility. Even the most absurd developments were played perfectly straight.  Here’s a selection:

The show was just planned for a two-week run on WCFL, but it quickly took on a life of its own and continued.  After a few months, it was syndicated and was played across the country and for the Armed Forces radio.

Orkin created his own production company to syndicate it and eventually took full control from the radio station.  The episodes ran through the mid-70s, at which point Orkin – with his partner Bert Berdis – created a second show for radio: The Tooth Fairy, with Orkin as the title character.

The team went into advertising and produced a series of successful ads, following closely in the footsteps of the great Stan Freberg.  They won several Clio awards for the best in the industry.*

Orkin died on December 24, 2017, well remembered in advertising and radio (he was in the Radio Hall of Fame). His Chickenman is still available on CD, and is still a delight.


*As an aside, in 1991, the Clio award ceremony was probably the greatest fiasco in award show history. The MC was a no-show and the event’s caterer was pressed into service, but there was no script or winners list. He walked off. The next presenter was drunk and, after giving out a few awards, staggered offstage.  Then people started mobbing the stage, grabbing the statuettes, and making off with them. Their sponsor soon went bankrupt.

Sunday, December 17, 2017


Directed by
Jacques Doillon
Written by Jacquest Doillon (with first draft collaboration of Brune Compagnon
Starring Victoire Thivisol
IMDB Entry

Child actors in American films are often problematic. There is a tendency to make them precocious or stagy, removing any sign of the natural. Non-Hollywood films, though, often find ways to get strong and natural performances from children, and one of the best examples of this is Ponette.

Ponette (Victoire Thivisol) is a four-year-old girl whose mother dies in a car accident. She goes to live with her aunt, who later sends her off to boarding school. Ponette is too young to understand the concept of death and keeps looking for her mother to return. Other children are helpful and cruel in addressing her hopes.

The movie succeeds on the performance of Thivisol. She was only four when the film was shot and is just wonderful. Her search for her mother is filled with pathos and is mesmerizing.

Thivisol was nominated and won several acting awards for the film. There was some complaints – can we really call what she did on the screen “acting”? – but that doesn’t matter.  The result is a sad a beautiful film about moving on.

Saturday, November 11, 2017

Courageous Cat and Minute Mouse (TV)

Created  by
Bob Kane
Starring Dallas McKinnon
IMDB Entry

Bob Kane was an important name in comic books. Known as the creator of Batman,* he tried his hand in other forms, and one of the more successful examples was the animated Courageous Cat and Minute Mouse.

Courageous Cat was a crime fighter, working with his assistant Minute Mouse. He drove a Cat Car, which he kept in the Cat Cave, and sometimes flew in his Cat Plane.**  They would discover criminals and take them to justice.

Their main adversary was Frog, an Edward G. Robinson imitation.  Minute Mouse existed solely to point out what was happening,***  so Courageous Cat could take out his gun and save the day.

Or, rather, his many guns. When faced by a threat, he’d have one on hand specifically designed to counteract it.****

The cartoons were short.  I get the impression that it syndicated to morning kids shows across the country as filler.  None were particularly outstanding adventures, but they were entertaining enough for kids.

The most memorable thing was the show’s theme song.  It was a variation on Henry Mancini’s Peter Gunn Theme and was often the best thing of any adventure.

I’m not really sure how involved Kane was; he may have just leant his name as a selling point. 

The show ran two years, not a bad run for something like this. But eventually, even Bob Kane’s name couldn’t keep it going.


*Reports indicate that Kane’s influence was primarily in coming up with the concept and choosing the name “Batman.” Bill Finger did most of the writing on the strip in the beginning, including creating nearly everything we think of when we think of the character. Kane did the art in the early days, but soon left that to assistants . Although Kane often talked about Finger as a collaborator, Kane was the only byline on the strip (and DC was contractually obligated to give him the single credit).

**Fairly obvious where Kane got the idea.

***Probably because it was cheaper than animating action.

****Deus ex Machina gun would be a good description.

Sunday, October 29, 2017

The Brides of Dracula

Brides of Dracula(1960)
Directed by
Terence Fisher
Written by Jimmy Sangster & Peter Bryan & Edward Percy
Starring Peter Cushing, Yvonne Moniaur, David Peel, Martita Hunt
IMDB Entry

I love vampire stories. I’ve written a few and tend to like variations on the basic mythology. One small but entertaining example of the genre is The Brides of Dracula.

It’s the story of Marianne Danielle (Yvonne Moniaur), who we first see in a carriage speeding to get to a village by nightfall. Of course, the villagers act very strangely toward her, leaving the inn. And then the Baroness Meinster (Martita Hunt), arrives and, since there’s no room at the inn, invited her to stay at her castle – much to the consternation of the innkeeper and his wife.

The Baroness is welcoming but Marianne notices a second setting at the table. And when she is preparing, she sees a man on a terrace just outside her balcony. When she asks the Baroness, she explains he’s just her insane son (David Peel).

Marianne and the BaronBut Marianne has to see for herself.* She finds her way to the son’s room.  He is sweet and charming and quickly wins her over.  The only problem is that his mother keeps him chained in his room.  He asks her to get the key.

You can probably guess what happens next.  The Baron is a vampire and turns his mother, then escapes to terrorize the countryside. Dr.Van Helsing (Cushing) has been called and he works to find the Baron and kill him.

The movie’s strong point, of course, is Peter Cushing’s performance. His Van Helsing is ruthless toward vampires and kindly toward everyone else.

David Peel also makes an excellent vampire. I’m not sure if this is the first time, but it’s clearly a landmark in the portrayal of a seductive vampire. Peel is charming when he needs to be and you can understand Marianne’s attraction.

Martita Hunt is also notable. She had a strong Miss Haversham air to her – not surprising since the played the role years before.

The movie certainly isn’t perfect. The bat version of the Baron is as bad an example of the effect as you’d ever seen.** And the opening sequence of the ride is the woods is good, but has nothing to do with the story, other than to give us a chance to see Peter Cushing lurking menacingly.

But the final sequence – set in a old mill*** is nicely designed and staged, with a clever way of killing the vampire.

This was David Peel’s last credited film. Primarily a TV actor, he retired from acting soon after.

*In many ways, Marianne is not particularly smart.

**Reports are that they put a lot of effort into a realistic looking bat, but it somehow got lost before shooting, so they had to improvise.

***Frankenstein’s monster doesn’t show up, alas.

Sunday, October 22, 2017

Stop the World, I Want to Get Off (musical)

Stop the world(1962)
Music, Book, and Lyrics by
Leslie Bricusse and Anthony Newley
Starrting Anthony Newley and Anna Quayle
Wikipedia Page

I’m a big fan of Broadway musicals and one of the best things about them is that they’re constantly reimagined and restaged, both in New York and on the road, so new audiences can find them. At the same time, small theater company and school dramatic groups will put on the classics. It’s rare that a major musical seems to disappear, but that’s what happed to one musical with one of the best scores of all time, Stop the World, I Want to Get Off!

The play is the brainchild of Anthony Newley and Leslie Bricusse, who wore most of the hats when creating it. It’s the story of Littlechap (Newley), who, as his name suggests, is an everyman character.  He marries Evie (Anna Quayle) after she becomes pregnant and is soon disillusioned, having affairs with a Russian woman Anya (Quayle), Ilse (Quayle) from Germany, and the All American Ginnie (Quayle). It wasn’t until the end that he begins to realize just how much he wasted his life.

The strength of the play is the music, with one of the best scores of all time. “Once in a Lifetime,” “Gonna Build a Mountain,” and especially “What Kind of Fool Am I?” are standards, but the rest of the score is excellent.  One song – “Typically English/Glorious Russian/Typische Deuche/All American” – is sung, with different lyrics by all four of the women.  “Family Fugue/Nag! Nag! Nag!” is a hilarious narrative of a deteriorating marriage.  “Mumbo Jumbo” makes fun of politicians, while “Lumbered” shows Littlechap’s second thoughts about his marriage.

The  play was a hit in the UK, and moved to the US, partly because its small cast – four main characters and a chorus, all performed on a single set – made it cheap to produce.  It was nominated for four Tonys, and won one, for Anna Quayle.

But the play seems to have faded away. Much of the plot to too topical about the Cold War and politics of the time. But certainly it has nothing to do with the score. There were two revivals, one with Sammy Davis, Jr. (who love the score) in 1978, and another starring Newley in London in 1989, which did poorly.

Newley and Bricusse continued to work together. Their next attempt, The Roar of the Greasepaint, the Smell of the Crowd, did adequately and produced a couple of standards, but their best known work was writing the songs for Willy Wonka and the Chocolate Factory. 

Newley died in 1999.

Sunday, October 1, 2017


Written and Directed by
Ingmar Bergman
Starring Liv Ullmann, Max von Sydow, Gunner Bjornstrand
IMDB Entry

Ingmar Bergman is considered the master of gloom. While he did do some comedies, most of his work was not even close to being cheerful.

I had a major immersion on Bergman in college, taking a film course that concentrated on his works – 19 films in ten weeks.* It fascinating to see him develop over the years.  Shame was one film that really stuck with me.

Jan (Max von Sydow) and Eva (Liv Ullman) are living on the remote farmhouse when it becomes caught up in a war. Troops “liberate” them, though they don’t feel very liberated and Col. Jacobi (Gunner Bjornstrand), the former mayor, comes by, seeming to help, but he has plans for Eva, offering to help them out – for a terrible price.

Liv UllmanLiv Ullman was one of the 20th century’s greatest film actresses and Max von Sydow is nearly as well regarded, though better known in the US. They make Jan and Eva real and we share their pain.

Gunner Bjornstrand is lesser known, but he was a consistent member of Bergman’s stock company, making nearly 20 films with him. He never gained international acclaim, but I began to look forward to his presence as I watched the Bergman film.

An interesting aside is that the movie was set in the near future, making it science fiction.  It’s one of the best evocations of how war can brutalize bystanders.

*Union College had (and still has) a trimester system: three ten-week terms where you take three courses.  It makes transferring credits challenging.

Sunday, September 24, 2017

I Was a Male War Bride

Directed by
Howard Hawks
Written by Charles Lederer & Leonard Spigelgass and Hagar Wilde, from a story by Henri Rochard.
Starring Cary Grant, Ann Sheridan
IMDB Entry

Cary Grant is generally thought of today as a suave and romantic leading man. But Grant was also a fine comedian, and seemed very much to like playing comic roles.  One of the best of these was in I Was a Male War Bride.

It’s set in Germany after WWII has ended.  Cathy Gates (Ann Sheridan) is a American assigned to drive French Army Captain Henri Rochard (Cary Grant) in a mission to recruit a German to join the American side.  Cathy and Henri rub each other the wrong way from the start,* but slowly warm to each other and fall in love. They marry, but Cathy is immediately ordered back to the states. Henri wants to go with her, but the only way to do it is to get permission under the War Brides Act.**  The problem is that, even though the law does allow this, it happens so rarely that no one believes it.

The movie has the typical Hawks fast pace, and works very nicely in making the romance seem believable. Red tape can be very funny onscreen, and the movie makes the most of that.

Grant is Grant and is willing to take a pratfall in order to sell a gag.

One of my favorite running gags is Grant having to repeatedly recite “I am an alien spouse of female military personnel en route to the United States under public law 271 of the Congress” whenever he has to explain what’s going on.  The payoff is when they finally get things settle and someone explains to him – in the exact same words he’s been using all along.  I’ve had similar things happen to me and they always remind me of the movie.

*A typical event in romantic comedies of the era.

**An actual law, that allowed GIs to bring their wives back to the US without being screened out at immigration.

Sunday, September 17, 2017

Oscar Levant (actor, musician, wit)

Wikipedia Page

Some people are famous for being famous. That was how I first noticed Oscar Levant in the 60s, most notably from the title of his autobiography, Memoirs of an Amnesiac. All I knew was that he seemed to show up on talk shows and people regarded him well. It wasn’t until much later that I learned about his genius.

Levant was born in Pittsburg, but moved to New York City in his teens, where he studied piano. He became quite good at it, and moved to Hollywood, where he befriended George Gershwin and worked as a composer, writing both film music and hit songs, as well as working on classical pieces.

In the early 30s, he came to public attention as one of the panelists on the radio show Information Please.  Levant became known for his encyclopedic knowledge and his quick wit. He was a master of ad libbing hilarious one-liners.

This became his step toward stardom. He started appearing in movies, usually playing a wisecracking pianist. His most extensive role was probably in The Band Wagon, where he’s songwriting parter with Nanette Fabray.*  He even briefly had a TV show.

His piano playing, though, took him into the classical world. He became known as one of the best interpreters of George Gershwin and his recording of Rhapsody in Blue was for many years considered one of the best.

Through everything, Levant had a rather complicated personal life. He was a massive hypochondriac, and had numerous neuroses, which he was very open about.

He also tended to do his own thing.  Harpo Marx told of how he just showed up on his doorstep one day, announcing he was going to be Harpo’s houseguest and stayed there for months. Levant did that to other of this friends and then, suddenly, announce he was leaving and go somewhere else.

Harpo also praised his piano playing. In one story, he interrupted the performance of a trio, replaced the pianist and finished the piece with them – one he had never played before – so that the others in the group felt like he’d been practicing with them for years.

Levant was a heavy smoker and died of a heart attack in 1972. Much of his radio work has been lost, and the talk show appearances are even harder to find. But I still was able to find one of of his greatest one-liners, the one that showed me he was a comic genius.

There’s not a lot about him on the Internet, and his book is out of print, but he was a man who was always a delight wherever he appeared – neurotic tics and all.

*Supposedly, based on Betty Comden and Adolph Green.

Sunday, August 20, 2017

O Lucky Man!

O Lucky Man(1973)
Directed by
Lindsay Anderson
Written by David Sherman, based on an original idea by Malcolm McDowell
Starring Malcolm McDowell, Ralph Richardson, Rachel Roberts, Arthur Lowe, Helen Mirren

In 1968, British director Lindsay Anderson had a success with the movie, If…, starring Malcolm McDowell in his first major film role as a British schoolboy who ends up leading a bloody revolution against his school.  McDowell want to work with Anderson again, and the director suggested he write a screenplay based upon his life so far. A few years later, McDowell, now a big name after his lead role in A Clockwork Orange, handed a treatment to screen writer David Sherman.* The result was O Lucky Man!

In the meantime, Anderson had struck up a friendship with songwriter Alan Price, planning a documentary about the band touring England. That fell through, but Anderson decided to ask Price to write the songs for the movie.  These were quickly included and an album released.

The movie is hard to describe.  It shows Mick Travis** trying to find his way in life, starting out as a coffee salesman*** and moving on, trying to keep his principles in a world where success requires he ignore him.  It’s a very picaresque movie, where Mick goes from one thing to another, some real, some surreal. Actors play multiple characters throughout the film and there’s an allegorical subtext about the entire enterprise.

The final scene is memorable:  Travis ends up at a casting call, where a director (Lindsay Anderson) is clearly casting If… 

Throughout, the Alan Price songs comment on the action.

The movie was a critical success and eventually Anderson and McDowell were reunited for a third Mick Travis film,Britannia Hospital.  The three films a a long allegory about life in the UK in the 60s, and are fun to watch on many levels.

*Screenwriter of If…

**The same name of McDowell’s character in If…

***A job McDowell had before he became an actor.

Sunday, August 13, 2017

The Ventures (Music)

The Ventures(1958 – )
Don Wilson (rhythm guitar), Bob Bogle (lead guitar, bass), Nokie Edwards (bass, lead guitar), Howie Johnson (drums), Mel Taylor (drums).
Wikipedia Page
Band Webpage 

One of my jobs at my college radio station was to listen to new albums as they came in, pick the top tracks, and decide if we wanted to keep them. One day a new album came in from a group I had thought was washed up years ago. But playing it, I discovered that, even though they seemed to be relics of the past, they were still able to put out some excellent stuff, and I immediately gained a new respect for them.  That group, of course, was the Ventures.

The group was formed by Don Wilson and Bob Bogle in 1958.  Wilson and Bogle were both guitarists; they added Nokie Edwards as bass, and Howie Johnson as their drummer.  Edwards later switched to lead guitar, with Bogle picking up the bass.

Their first single, “Walk Don’t Run” was a major hit.  Like most of the Ventures’ work, it was an instrumental and a cover, but it put the group on the map. The Ventures helped to develop the “surf music” sound that the Beach Boys made their own.

After getting hurt in a car accident, Howie Johnson stepped out, and Mel Taylor replaced him to form the longest lived lineup of the group.

The Ventures were nothing if not prolific. They did dozens of studio albums in the 60s, 3-5 a year.  It probably helped that they were a cover band, which allowed them to keep up that sort of pace.  But they didn’t remain in the public consciousness.  Their albums* did OK, but they had very little success on the singles charts. They fell out of consciousness until 1969, when they were tapped to play the theme song for a new TV show.  “The Hawaii 5-0 Theme” was their biggest hit and what they’re best known for today.

The group is known for pioneering new musical ideas. They created concept albums, with The Colorful Ventures in 1961** and were one of the first to use a fuzzbox.

Though the group stopped making the charts with “Hawaii 5-0,” the continued to perform and record and were especially popular in Japan.***

The group was inducted into the Rock and Roll Hall of Fame in 2008.  They continue to tour today (mostly in Japan), with Don Wilson still taking part.


*They were primarily an album band, unusual for the early 60s.

**Each song had a color in the title.

*** Since they mainly did instrumentals, the language barrier isn’t an issue.

Saturday, August 5, 2017

Crazyhead (TV)

(Crazyhead: Susan Wakoma (l), Clara Theobald (r)2016)
Created and Written by
Howard Overman
Starring Clara Theobald, Susan Wakoma, Arinze Kene, Lewis Reeves, Riann Steele, Tony Curran, Lu Corfield
IMDB Entry

There’s so much good TV around these days that some excellent shows get lost in the shuffle. I didn’t hear about Crazyhead until recently, and when I discovered it was written by Howard Overman of Misfits  (the best superhero show ever broadcast), I knew I had to watch it.

The story starts out with Amy (Clara Theobald), who works at a bowling alley and has been having some strange visions. She thinks she’s cracking up until she runs into Raquel (Susan Wakoma), who sets her straight:  the two of them have the ability to see demons, who possess humans, killing them. Amy’s best friend Suzanne (Riann Steele) is one of them, and they have to perform an exorcism, which goes horribly wrong. But they discover that Raquel is an essential element of a plot by Callum (Tony Curran) to set loose the gates of hell and release demons into the world.  Callum also is Raquel’s psychologist, and uses this to keep one step ahead of them.  The enlist Jake (Lewis Reeves), a guy from work who has a crush on Amy as their ally, while keeping everything secret from Raquel’s brother Tyler – who Amy is attracted to.

The parallels to Buffy the Vampire Slayer are clear, and the show is much like it, with a sense of humor about everything, like the demon Mercy (Lu Corfield) who has taken over a single mother and laments having to get a babysitter when she goes out to destroy the world. 

Susan Wakoma is just plain terrific as Raquel – blunt, foul mouthed, and strongly opinionated.  She won an award for best performance and certainly deserves it.

Clara Theobald is very good as Amy, a voice of reason against Raquel’s wilder side.  Tony Curran makes a great villain – devious but capable of getting off some very good lines.

The show ran for six episodes, finishing the first story arc. Unfortunately, it was not picked up for a second season. But it’s available on Netflix and is extremely good. Not quite Misfits (but that’s  hard to top), but an excellent supernatural comedy horror show.

Sunday, July 30, 2017

To Be Alive!

Johnson's Wax Pavilion(1964)
Directed by
Francis Thompson and Alexander Hammid
Written by Francis Tompson, Alexander Hammid, Edward Field
Narrated by Edward Field
Wikipedia Entry
Most of the exhibits of the New York World’s Fair were real: models and buildings that portrayed the future and the past. But one of the most acclaimed exhibit of the fair was the Johnson’s Wax pavilion – a short movie called to be alive!
Part of it was a gimmick. This was a few years after Cinerama brought the (mixed) wonders of a super wide screen to theaters, but the fad had not quiet died yet.  To be alive! tried something similar, but instead of having three cameras projecting across one extra wide screen, it use three regular-sized screens separated by a foot of black. This was easier to deal with technically, and audiences learned to ignore the black space immediately.
The movie is the musings of a narrator, who, tired of the rat race,* starts to wax poetic about how things were when he was a child.  The movie starts with the life of a child, and then follows a life span as it celebrates human existence. 
The strength of the film is in its images, which show people from all over the world, doing what the love and enjoying the world around them. The three-screen format was a feast for the eyes.
The film was a sensation.  The New York Critics Film Circle gave it a special award, unprecedented for a nontheatrical film. It was considered ineligible for an Oscar because of its format, so they cut it down into on single-screen version that played in LA and won the award for documentary short.  While still inspiring, the movie loses much of its impact when you cut out 2/3rds of the images.  Here’s a look:

The movie, like most of the World’s Fair, was ephemeral, more so because it required special equipment to project it. But it was a minor masterpiece that deserves to be remembered.
*The images were very similar to those used years later in Koyaanisqatsi

Sunday, July 23, 2017

The Missionary

Directed by
Richard Loncraine
Written by Michael Palin
Starring Michael Palin, Maggie Smith, Trevor Howard, Denholm Elliott, Phoebe Nicholls
IMDB Entry

HandMade Films was a UK-based film company that had a long list of good films to its credit in the 1980s. It’s founding was due to a favor. The Monty Python group had discovered that the financing for Life of Brian fell through at the last minute, George Harrison stepped in to produce it.* The studio continued successfully for about twenty years, producing dramas like The Long Good Friday and comedies (often involving the Monty Python actors) like The Missionary.

In 1906, the Rev. Charles Fortescue (Michael Palin) is returning to England after ten years as a missionary in Africa, where his fiancée, Deborah Fairbanks (Phoebe Nicholls). Fortescue is soon given an assignment by the Bishop (Denholm Elliott) to help fallen women redeem themselves. To help set things up, Fortescue writes for money from Lord Ames (Trevor Howard) and is invited to their home, where he meets his wife Lady Isobel (Maggie Smith), who is especially interested in the project (and in Fortescue). But Fortescue goes into the work and begins to develop a . . . different way to bring the women to his church.

Michael Palin is perhaps the most underrated comedian in Monty Python, and shows off his acting in portraying Fortescue as an innocent who slowly begins to figure out what is going on. Maggie Smith is excellent (of course) as Lady Isobel, who is far from the prim and proper English lady.  Phoebe Nicholls is a wonderful surprise as the aggressively naïve fiancée** and the rest of the cast is filled with veteran UK actors who know how to make the most of their roles.

The movie is more amusing than laugh-out-loud funny, but is an entertaining and somewhat bawdy delight.

* Eric Idle called it “the most expensive movie ticket every bought.”

** When asked what she thinks a fallen woman is, she says, “Women who have hurt their knees?”