Monsters will not be reviewed tonight so that we may bring you this very special presentation of 1983’s Have You Ever Been Ashamed Of Your Parents?
Yes, my retro television reviews will return next week but, until then, enjoy this blast from the past. In this hour-long presentation, Fran Davies (Kari Michaelson) is upset when her mother (Marion Ross) takes a summer job working as a maid for a rich family. At first, Fran thinks that Andrea (Jennifer Jason Leigh), the daughter of her mother’s employer, is a stuck-up snob but she soon learns that Andrea is instead painfully shy and that she has parents who are rich but unloving. Meanwhile, Fran’s parents are …. well, I wouldn’t call them poor. The film acts as if they’re poor but, from all indications, they appear to be comfortably middle class. The point is that they’re not rich but they are loving.
This is worth watching for Jennifer Jason Leigh’s performance as Andrea, a character to whom I could relate. It’s not easy being both shy and beautiful. Fans of great character actors will also be happy to see James Karen, playing Andrea’s father.
Now, without further ado, here is Have You Ever Been Ashamed Of Your Parents?
The unique character actor, Strother Martin, is established as one of the most quoted people to ever grace the silver screen. His line from COOL HAND LUKE (1967), “What we’ve got here is… failure to communicate” ranks as number 11 on the American Film Institute’s list of the 100 greatest movie quotes of all time! He’s an incredibly talented man, and every time I see him pop up on an old TV show or movie, I smile.
My personal favorite film of all time is HARD TIMES (1975) starring Charles Bronson, James Coburn, Jill Ireland, and yes, Strother Martin. He is so good as Poe, Charles Bronson’s cut man, who also happens to be a recovering drug addict. HARD TIMES is Walter Hill’s debut film, and Hill couldn’t have picked a better cast to introduce himself to the world. It’s my opinion that Martin’s unique talents are a perfect compliment to Bronson’s strong, silent persona, and James Coburn’s motormouth, business man. I think it’s one of his best performances.
My favorite scene with Bronson and Strother Martin in HARD TIMES is the scene where they first meet. Unfortunately, I couldn’t find it on YouTube so I’m sharing this scene where Bronson collects their earnings from a guy who cheated them earlier in the day. Martin’s character isn’t featured in this scene, but he’s always right there with Bronson as a loyal friend. On what would have been Martin’s 106th birthday, I just wanted to take a moment to remember and appreciate him for his great work.
Today would have been James Caan’s 85 birthday so today’s scene that I love comes from one of Caan’s best-known films, The Godfather.
This scene features Caan’s Sonny Corleone in all of his glory, congratulating Michael on his broken jaw and getting on Tom Hagen’s nerves. Robert Duvall and James Caan were close friends in real life and that friendship definitely comes through in their performances as Tom and Sonny.
4 Or More Shots From 4 Or More Films is just what it says it is, 4 shots from 4 of our favorite films. As opposed to the reviews and recaps that we usually post, 4 Shots From 4 Films lets the visuals do the talking!
Today would have been Tennessee Williams’s 114th birthday! It’s time for….
4 Shots From 4 Tennessee Williams Films
A Streetcar Named Desire (1951, dir by Elia Kazan, DP: Harry Stradling)
Cat On A Hot Tin Roof (1958, dir by Richard Brooks, DP: William Daniels)
Suddenly, Last Summer (1959, dir by Joseph L. Mankiewicz, DP: Jack Hildyard)
Episode 13 of SHANE opens with a beautiful woman walking into Grafton’s General Store while Joey (Christopher Shea) is there looking at the candy jars. Since Joey doesn’t have a penny, she offers him one, which he immediately converts to 8 pieces of peppermint. She asks Joey his name, and when he replies “Joey Starett,” she asks back, “Is your grandpa, Tom Starett?” When Joey answers in the affirmative, this classy lady takes on the look of someone who has found what she’s been looking for. She takes a room at Grafton’s and tells Sam that someone will be joining her soon and that she’ll need a second room for when he arrives.
Back at the ranch that evening, Joey is telling Shane (David Carradine) and his grandpa Tom (Tom Tully) about the woman at Grafton’s. Tom immediately gets a troubled look about him when Joey tells him that her name is Lydia Montgomery (Joanne Linville). Coincidentally, Shane knows Lydia Montgomery because he had worked for her husband Dave awhile back in Springfield, IL, which is where Tom had lived before moving out west to Wyoming to be with his son Joe & daughter-in-law Marian (Jill Ireland). Shane asks Tom how he knew Dave Montgomery, and Tom surprisingly reveals, “I had him hanged.” It turns out that Tom had been a judge in his prior life. Convinced of her husband’s innocence and blaming “Judge Tom Starett” for his death, Lydia and her hired gun Lee (Bill Fletcher) have come to Cross Roads to kill him on the 5th anniversary of the hanging. Even Shane may not be enough to stop them.
After mostly playing the kind old grandpa up to this point in the series, Tom Tully takes center stage in episode 13. It’s actually quite surprising because it reveals things about Tom’s past that had not even been hinted at in prior episodes. Not only do we learn that Tom was a judge, but we also learn that he was a terrible drunk who escaped out west to be with his son and daughter-in-law and get away from the guilt associated with decisions he made from the bench. His entire countenance changes from the man we’ve come to know the moment he hears the name Lydia Montgomery, and we watch him go through several stages that are quite predictable for a man living with guilt. First, we see him get extremely defensive and start lashing out at his family as he tries to explain why he sentenced Dave Montgomery to be hanged. This is clearly a man who doesn’t feel good about the decision. Next, we see him go back to the bar to get drunk, something he hasn’t done in many years, in order to numb his pain and help him forget, if even for just a little while. We can see that he almost feels that he deserves whatever he gets from Mrs. Montgomery, and her gunman. And finally, when he’s confronted by Mrs. Montgomery again at the end, he’s arrived at the point where he can plainly state the truth of what happened, admit his own shortcomings in the situation and accept whatever fate comes his way. I won’t reveal the entire circumstances of the case that brought all of this about, but I will say that it definitely points out the shortcomings of the American justice system where justice and the law don’t always coincide. Tully does a good job of presenting a much more complex man underneath the hardworking and kind grandpa character we’ve been presented with thus far. Tom is like the rest of us, we’ve all got our different stories and some of them aren’t so pretty when you scratch beneath the surface.
Guest star Joanne Linville is very good as Lydia Montgomery, the grieving widow who, in the years after her husband’s death sentence, has elevated him from being a mere mortal to a place of sainthood. Through her relationship with the gunman Lee Maddox, a man who clearly loves her, we learn that she has never come to terms with the reality of his life or death, and she certainly has never accepted that he’s really gone. Her obsession with taking revenge on one man, Tom Starett, has basically stopped her life in its tracks and she needs to deal with her emotions even more than Tom does. The rest of the cast doesn’t have that much to do in the episode, although there are a few good moments for them. Shane is mostly there to provide Tom some physical protection, while also questioning his decision on that fateful day from five years earlier. His interactions with gunman Lee Maddox are pretty good as they had worked together in the past and respect each other. They don’t want to have to go against each other, but they will if it comes down to it. Jill Ireland has a good scene as Marian where she confronts Lydia Montgomery about her plans to kill Tom. It’s a tense scene and the ladies go at it back and forth nicely. They don’t resolve anything, but it’s another effective way to beat home the moral dilemma the episode presents.
Prior to watching Episode 13, the last thing I was expecting was an installment of the series devoted entirely to Tom Starett, and I probably wouldn’t have really wanted one. With that said, I enjoyed it for what it was and I’m glad to be able to see Tom as a more complex man. This didn’t really leave any time for longing looks between Shane and Marian, but we did get a brief look of love at the very end, and I’ll take it.
Some of the toughest criminals in America are being transported, via train, to a high security prison. For some reason, instead of using an entire train to transport the prisoners and guards, it’s decided to just put the criminals in one car attached to a normal passenger train. Did the passengers in the other cars get a warning that would be traveling with a bunch of desperate criminals? Did they at least get a discount on their tickets? Of course, Mafia kingpin Enzo Martini (Roy Scheider, slumming) engineers a takeover with the rest of the prisoners. It’s up to Sheriff Wes Blaidek (Ray Wise) and bartender Zoe Clark (Delane Matthews) to stop the prisoners.
This is a fast-moving, dumb-as-Hell action movie that’s memorable mostly for having a cast that was very much overqualified for the film. Keith Coogan, Dorian Harewood, Don Swayze, Ed O’Ross, and Sam J. Jones are all in this thing. Clint Howard plays the homicidal serial killer who lets a child live because the kid has seen Taxi Driver. Dick Van Patten plays the head of the parole board. I can understand why Roy Scheider might be selected to play a mob boss and how Clint Howard and Don Swazye ended up playing killers. But how do you look at this film’s story and think, “This need Dick Van Patten?” It’s Die Hard on a train but without the wit or the budget. The movie moves quickly, there’s plenty of train and helicopter action and it’s still good to see so many familiar and eccentric talents gathered together to bring too life one very stupid movie. It’s too bad they couldn’t find room for Joey Travolta or Joe Estevez but I guess you can’t have everything.
“The Love Boat will not be reviewed tonight so that we might bring you this special presentation….”
My Retro Television Reviews, including my reviews of The Love Boat, will return next week. For now, let’s enjoy a blast from the past. First aired in 1973, Don’t Call me Mama Anymore was the second television special to feature Cass Elliott. Like the first one, it was essentially a pilot for a weekly variety show. This special was a far better showcase for Cass Elliott and it actually led to her getting a show for the 1974 season. Unfortunately, Cass passed away in London before filming began.
For now, here is Don’t Call Me Mama Anymore, featuring Cass Elliott, Joel Grey, Michelle Phillips, and Dick Van Dyke.
I’ve probably mentioned this before. I’ve certainly reviewed enough films about deadly campgrounds and fatal walks through the woods that there’s no way that I haven’t talk about camping in the past. It’s just not for me. Even though I grew up largely in the country and I tend to think of myself today as being a country girl in the city, I have to admit that staying out in the wilderness has never appealed to me. I don’t like bugs. I don’t like the threat of wild animals suddenly appearing out of nowhere. I’ve seen enough horror movies to know that I should run if I ever see a guy walking through the woods while wearing a hockey mask. (Not that it would do any good, of course. I’m such a klutz that there’s no way I wouldn’t trip over a stick or something.) The fact of the matter is that I find the wilderness to be very creepy. The dark shadows, the feeling of being surrounded by trees that tower of above me, the isolation of it all …. nope, not for me!
The Black-Eyed Children, an upcoming horror from from director Jozsef Gallai, does a very good job of capturing just how creepy being alone in the wilderness can be. Kata Kuna stars as Claire, a young psychology major who is totally excited to have gotten a job as a counselor at St. Beatrice, a camp for children with special needs. Claire wants to make the world a better place and this seems like a wonderful opportunity to do so. (Honestly, I hate camping but if you told me that doing so would make life better for a child who hasn’t been given much in the world, I would be the first to head down to the sporting goods store and buy a tent.) However, when Claire enters the woods and finds herself at St. Beatrice, it’s not at all what she was expecting to find.
The camp appears to be totally deserted. The children who were supposed to be there are gone. The other counselors who were presumably employed there have disappeared. Claire walks through the camp, checking cabins and searching for an explanation. Finding the files on the kids who were supposed to be at camp, Claire starts dialing phone numbers and what she discovers shocks her. And no, I’m not going to tell you what she discovers. The Black-Eyed Children is scheduled for a late 2025 release so you can watch it then and find out the secret of St. Beatrice.
The Black-Eyed Children is a found footage film. Luckily, Jozsef Gallai is one of the best when it comes to working with the found footage genre and the film is full of creepy and atmospheric imagery. St. Beatrice and the woods surrounding it all give off a vibe of steady menace, leaving the viewer frightened about what might jump out of the shadows. Kata Kuna does a great job as Claire and what she discovers at St. Beatrice will leave you feeling uneasy, especially if you know about the urban legend that gives this film its name. Clocking in at 70 minutes, The Black-Eyed Children is an effective and creepy horror film. It’ll definitely keep you out of the woods.
My latest pick for “Song of the Day” takes me back….way back to those early days post-high school. Only a couple years removed from graduating high school and maneuvering my ways through the turbulent seas of what would be my college years, it was only typical that music would be one of the few things that would anchor things for me during my Adrift Years.
Stone Temple Pilots is part of what I consider as the Big Four of alternative rock of the 1990’s or as some would label that particular sound as “grunge”. Alternative rock, grunge or just plain old hard rock, Stone Temple Pilots made their mark in the early 90’s rock scene with the second single off of their 1993 debut album Core.
“Plush” has always been one of my favorite songs of that era. I played that song on repeat and was one of my go-to Stone Temple Pilots track until “Interstate Love Song” a year later came along. The song was carried by Scott Weiland’s iconic vocals and its dark lyrics. I never knew how dark a song “Plush” was until finding out from a Weiland interview that it was based on a true story of a girl who had been kidnapped and murdered in the early 90’s.
Whether a song inspired by a true-crime story or a metaphor for a failed relationship (as Weiland has said the lyrics represented), “Plush” will remain one of those songs from my young adult years that I would revisit every year to reminisce.
Plush
And I feel that time’s a wasted go So where you goin’ ’til tomorrow? And I see that these are lies to come So would you even care?
And I feel it And I feel it
Where you goin’ for tomorrow? Where you goin’ with the mask I found? And I feel, and I feel when the dogs begin to smell her Will she smell alone?
And I feel so much depends on the weather So, is it rainin’ in your bedroom? And I see that these are the eyes of disarray So would you even care?
And I feel it And she feels it
Where you goin’ for tomorrow? Where you goin’ with the mask I found? And I feel, and I feel when the dogs begin to smell her Will she smell alone?
When the dogs do find her Got time, time to wait for tomorrow To find it, to find it, to find it When the dogs do find her Got time, time to wait for tomorrow To find it, to find it, to find it
Where you goin’ for tomorrow? Where you goin’ with the mask I found? And I feel, and I feel when the dogs begin to smell her Will she smell alone?
When the dogs do find her Got time, time to wait for tomorrow To find it, to find it, to find it When the dogs do find her Got time, time to wait for tomorrow To find it, to find it, to find it