A Blast From The Past: Contract For Life (dir by Joseph Pevney)


Our regularly scheduled review of Friday the 13th: The Series will not be posted tonight so that we might bring you this special presentation….

My retro television reviews will return next week.  For tonight, check out 1984’s Contact For Life, an earnest and actually pretty well-acted short film about teenagers and drunk and driving.  Yes, that is William Zabka in the thumbnail below.  I imagine that Zabka is the main reason most people would watch this film today.  He plays a slightly nicer version of Johnny Lawrence in this film.  Be careful about getting too attached to him.

The film also features a hockey practice where everyone apparently practices getting hurt by deliberately falling on the ice and then slamming against a wall.  Ouch!  That game will never make sense to me.  (Sorry, Leonard.)

Without further ado, here is Contract For Life!

The Oklahoma City Dolls (1981, directed by E.W. Swackhamer)


At an Oklahoma manufacturing plant, the women are always expected to put in extra hours while their male co-workers practice as a part of the company’s football team.  Shop steward Sally Jo (Susan Blakely) files a complaint with the EEOC.  John Miller (Robert Hooks) pays a visit to the plant and says that the women have to be given the same opportunities and benefits as the man, including recreation time.  The plant’s foreman, J.D. Hines (David Huddleston), agrees.  The woman can have recreation time as long as they’re doing what the men are doing and that’s playing football.  Determined to show up Hines and all of her sexist co-workers (and her boyfriend, played by Waylon Jennings), Sally Jo puts together a football team and even gets a broken-down former NFL coach (Eddie Albert) to serve as their trainer.

There actually was a woman’s football team called The Oklahoma City Dolls.  They played in the National Women’s Football League and they won the league’s championship three times.  However, they don’t appear to have anything to do with this movie, which is as much about Sally Jo trying to get a fair treatment for the workers as it is about hitting the field and running it in for a touchdown.  There are some parts of the movie that work.  I liked Eddie Albert’s performance as the alcoholic coach and the scene where he discovered that his community service would include coaching a group of women who had never played football before.  Folk singer Ronee Blakley was good as the team’s emotionally fragile wide receiver.  I even liked that the women didn’t all automatically become the world’s best football players.  The movie’s main weakness was that Susan Blakely just wasn’t believable as someone who lived in a trailer park, used “ain’t” in every sentence, and spent her time organizing a union.  She was too glamorous for the role and her scenes with Waylon Jennings all felt overwritten and overacted.  The story couldn’t decide if it wanted to be a drama about working in a factory or a football comedy and it was pretty uneven as a result.  The good thing is that the movie’s heart was in the right place, even if it didn’t always score a touchdown.

As for the real life Oklahoma City Dolls, they were active from 1976 to 1979.  An attempt to revive the team in 1982 failed when their financial backers pulled out at the last seconds.  The National Women’s Football League folded in 1988.

Lady and Gent (1932, directed by Stephen Roberts)


When veteran prize fighter Stag Bailey (George Bancroft) gets cocky and doesn’t bother to properly train for the big fight, he is knocked out by a young up-and-comer named Buzz Kinney (John Wayne).  Stag’s manager, Pin (James Gleason), had all of his money riding on Stag winning.  Now broke and with the mob after him, Pin tries to steal the cash from the boxing arena and ends up getting shot by a security guard.  Stag and his girlfriend, Puff (Wynne Gibson), take in Pin’s young son, Ted, and they devote themselves to raising him.  Years later, Ted (Charles Starrett) wants to become a prizefighter but Stag and Puff, who know what years of getting punched in the head can do to someone, try to convince him to go to college instead.

This boxing film is of interest to western fans because of some of the faces in the cast.  This was an early John Wayne role and he’s only seen in the ring and then in one brief scene where he confronts Stag and Puff in a bar.  Wayne still plays an important role, though, because Buzz’s transformation from being a fresh-faced boxer to being a bitter, punch-drunk bully serves as a warning for what waits for Ted if his adoptive parents can’t keep him out of the fight game.  Charles Starrett, of course, would go on to find greater fame as the Durango Kid.

Otherwise, Lady and Gent is a standard pre-code melodrama.  It’s a little more realistic than some of the other boxing films that came out in the 30s.  Boxing is portrayed as a dirty business that leaves its participants with struggles that all of the prize money in the world can’t make up for.  Puff sacrifices her carefree life to raise Ted but it’s worth it in the end.  You can tell this was a pre-code film because Stag and Puff are a couple but they only decide to get married so they can adopt Ted.

George Bancroft was a star in the late 20s and early 30s but eventually, he transitioned to character parts.  He retired from acting 1942 and became a full-time rancher.  One of his final films was 1939’s Stagecoach, starring his Lady and Gent co-star, John Wayne.

 

A Blast From The Past: You Can’t Take It With You (dir by Kirk Browning and Ellis Rabb)


Our regularly scheduled review of St. Elsewhere will not be posted today so that we may bring you this special presentation….

My retro television reviews will return next week but for now, check out this 1984 production of You Can’t Take It With You, starring the great Jason Robards.  Back in 1938, this play served as the basis of a perfectly charming Frank Capra film.  (It also won best picture of the year.)  This filmed version of the play’s Broadway revival is just as charming.

And now, without further ado, here is You Can’t Take It With You….

4 Shots From 4 Films: Special Texas Edition


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, I celebrate my home state!

4 Shots From 4 Texas Films

Slacker (1991, dir by Richard Linklater, DP: Lee Daniel)

Dazed and Confused (1993, dir by Richard Linklater, DP: Lee Daniel)

Bottle Rocket (1996, dir by Wes Anderson, DP: Robert Yeoman)

Rushmore (1998, dir by Wes Anderson, DP: Robert Yeoman)

Scenes I Love: Newsroom


No matter what side of the ideological aisle one stands on this speech should be watched, debated and studied not just for the powerhouse acting throughout the monologue but as to its content.

There’s opinions and discussion to be had about differing takes on the first half of the speech, but it’s the latter half when Will McAvoy (played with an equal amount of life-earned cynicism and hope by Jeff Daniels) explains why we as a country has lost its way and how we’ll never get back on track until we realize there is a problem and a problem to be solved not through hate and fear but through understanding and hope.

“We sure used to be. We stood up for what was right! We fought for moral reasons, we passed and struck down laws for moral reasons. We waged wars on poverty, not poor people. We sacrificed, we cared about our neighbors, we put our money where our mouths were, and we never beat our chest. We built great big things, made ungodly technological advances, explored the universe, cured diseases, and cultivated the world’s greatest artists and the world’s greatest economy. We reached for the stars, and we acted like men. We aspired to intelligence; we didn’t belittle it; it didn’t make us feel inferior. We didn’t identify ourselves by who we voted for in the last election, and we didn’t scare so easy.

And we were able to be all these things and do all these things because we were informed. By great men, men who were revered. The first step in solving any problem is recognizing there is one—America is not the greatest country in the world anymore.”

I’m sure there’ll be those who will disagree vehemently about the scene’s message and content. Yet, no one seem to be able to find a strong argument as to why they disagree or debunk what was said in the monologue.

The decade since Newsroom aired it’s final episode we see more and more the truth in Will McAvoy’s words and it may take a decade or decades to right the ship.

Live Tweet Alert: Join #FridayNightFlix for Touch of Evil!


Touch of Evil (Universal 1958)

As some of our regular readers undoubtedly know, I am involved in a few weekly watch parties.  On Twitter, I host #FridayNightFlix every Friday and I co-host #ScarySocial on Saturday.  On Mastodon, I am one of the five hosts of #MondayActionMovie!  Every week, we get together.  We watch a movie.  We tweet our way through it.

Tonight, at 10 pm et, I will be hosting #FridayNightFlix!  The movie?  1958’s Touch of Evil, a true classic!

If you want to join us this Friday, just hop onto twitter, start the movie at 10 pm et, and use the #FridayNightFlix hashtag!  I’ll be there tweeting and I imagine some other members of the TSL Crew will be there as well.  It’s a friendly group and welcoming of newcomers so don’t be shy.

Touch of Evil is available on Prime!

See you there!

Touch of Evil (1958, dir by Orson Welles, DP: Russell Metty)