Late Night Retro Television Review: CHiPs 4.10 “Forty Tons Of Trouble”


Welcome to Late Night Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past!  On Mondays, I will be reviewing CHiPs, which ran on NBC from 1977 to 1983.  The entire show is currently streaming on Prime!

This week, two sets of thieves cause trouble!

Episode 4.10 “Forty Tons Of Trouble”

(Dir by Gordon Hessler, originally aired on January 11th, 1981)

A group of criminals is stealing equipment from construction sites and selling it on the black market.  An attempt to steal a loader leads to it rolling down a Los Angeles street until Baker is able to jump onto it and crash it into a (hopefully) abandoned building.  Getraer points out that Baker just destroyed a building.  Baker shrugs and says he’s always wanted to do that.

A different group of criminals is stealing parts for their drag racer.  The CHiPs have their own car entered into the drag races.  Of course, it’s driven by Ponch.

After two accidents on the highway and several chases, Baker and Ponch (but mostly Ponch) capture the bad guys.  Paula Kohl (Mary Louise Weller), the owner of Kohl Construction, appreciates the efforts of Baker and Ponch (but mostly Ponch).

In other words, this was a typical episode of CHiPs.  Still, it’s memorable because of the supporting cast.  Amongst the construction site thieves is Robert Englund.  Englund thinks that Sarge (Taylor Lacher) is taking to many risks when it comes to trying to steal loaders and bulldozers but Sarge is like, “I got it under control.”  Meanwhile, amongst the drag race thieves, is Chris Mulkey.  Mulkey doesn’t get to do much but he does get two scenes where he smirks at Ponch.  Sadly, both characters end up getting arrested during this episode but have no fear.  Robert Englund went on to play Freddy Krueger.  Chris Mulkey went on to play the sleazy but strangely likable Hank Jennings on Twin Peaks.

As for the rest of the episode — hey, I don’t ask for much from CHiPs.  As long as there’s a good crash scene and a lot of cool cars, I’m happy.  This episode delivered.  One could ask why Ponch is always the one who gets to do the cool things, like driving in the race and taking Paula out on a fancy date.  Earlier seasons usually tried to portray Ponch and Baker as being equals.  This season, though, has clearly been The Ponch Show.  It’s a legitimate criticism but …. eh.  Sometimes, you just want to watch a chase or two.

 

What do Sean Connery and Charles Bronson have in common?


Sean Connery in DIAMONDS ARE FOREVER (1971)
Charles Bronson in RED SUN (1971)

Sean Connery and Charles Bronson, despite being much different actors, shared the Golden Globe Henrietta Award for “World Film Favorite – Male” back in 1972. As the ultimate Bronson fan, I’ve always appreciated this special connection between the icons.

Happy Birthday in cinema heaven, Sean! We miss you!

Josh O’Connor Leads A Double Life In The Trailer For The Mastermind


I don’t think anyone was ever expecting to see a Kelly Reichardt heist film but I guess we should never say never.  In The Mastermind, Josh O’Connor stars as a suburban family man who leads a double life as an art thief.  As you can see in the trailer below, The Mastermind may be a crime film but it still features Reichardt’s signature minimalist style.

The Mastermind is scheduled to be released on October 17th.

Retro Television Review: Miami Vice 4.17 “Hell Hath No Fury”


Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past!  On Mondays, I will be reviewing Miami Vice, which ran on NBC from 1984 to 1989.  The entire show can be purchased on Prime!

This week, Trudy is once again the main character.  Fortunately, there’s no UFOs this time around.

Episode 4.17 “Hell Hath No Fury”

(Dir by Virgil W. Vogel, originally aired on March 11th, 1988)

Alan Beaks (Don Harvey), the scion of a prominent Florida family, has been released from prison after serving only a few years for raping a black school teacher named Ellen Mason (Carla Brothers).  Beaks claims that he’s reformed and, at the start of the episode, he appears on a talk show where the audience agrees that Alan Beaks is the perfect example of someone who has straightened out his life.

“I wouldn’t want it to happen to me,” one woman in the audience says, “but if it did, I would hope he would be as charming as Alan Beaks.”

Beaks now wants to make a public apology to Ellen.  However, she refuses to see him.  When she starts to get threatening phone calls, both she and her best friend Trudy are convinced that Beaks is the one calling.

Castillo, however, doesn’t want Trudy to have anything to do with Ellen or Beaks.  It’ll make the Vice Quad look bad, he says.  (Since when has Castillo ever used that type of logic?)  Still, when Ellen hires a hitman (John Finn) to kill Beaks, the Vice Squad finds itself involved.  No one on the Squad has any sympathy for Beaks and they don’t make much of an effort to protect him.  When a shootout leaves both Beaks and the hitman dead, Castillo tells the members of the Squad that they have failed and if they’re not going to full commit themselves to the job, they can transfer to another department.  Meanwhile, even with Beaks dead, Ellen is still getting phone calls, implying the Beaks was actually not her stalker.  The episode ends with a terrified Ellen listening as the caller threatens her….

Here’s my number one question about this episode: Why didn’t anyone trace the calls?  Ellen, the victim in a high-profile rape case, is getting calls from someone threatening to harm her.  That right there seems like the sort of thing that the police would normally investigate.  Trudy is Ellen’s best friend.  Trudy knows about the calls.  Trudy is a cop.  So, why didn’t the Vice Squad try to track down the caller?  If they could have proven that Beaks was the caller, Beaks would have gone back to prison.  If it turned out that someone else was the caller, that person would have gone to prison.  Beaks would still be free but at least Ellen wouldn’t be getting threatened every ten minutes.  In the past, that’s what would have happened on this show.  For some reason, this episode features everyone forgetting how to act like a cop.

In the end, this episode tried to deal with a lot of issues — tabloid journalism, rehabilitation, vigilante justice, racism, classism — but it ultimately felt like fan faction that was written by someone who really didn’t know much about the show or the characters.  (One would think that Gina, a rape survivor who gunned down her rapist during the first season, would have some thoughts on Ellen’s plan but instead, she spends the episode cheerfully exchanging one-liners with Switek.)  This was another Season 4 disappointment.

Song of the Day: Diamonds Are Forever, performed by Shirley Bassey


Today, on Sean Connery’s birthday, our song of the day is the theme for one of my favorite Bond films.  I know that some people claim that Diamonds are Forever is a lesser Bond film but personally, I think it’s just silly enough to be effective.  James Bond and Las Vegas are a match made in heaven.

Scenes That I Love: James Bond Meets Pussy Galore In Goldfinger


Today’s scene that I love features Sean Connery, born on this day 95 years ago.  In this scene from 1964’s Goldfinger, Connery needs only one simple line — “I must be dreaming,” — to create an iconic moment.

Daniel Craig, as good as an actor as he is, could not have pulled this off.  Only Sean Connery could have made this scene unforgettable and that’s why Sean Connery will continue to be the Bond to which all others should be compared.

4 Shots From 4 Films: Special Sean Connery 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 would have been Sean Connery’s 95th birthday.  It’s time for….

4 Shots From 4 Sean Connery Films

From Russia With Love (1963, dir by Terence Young, DP: Ted Moore)

Goldfinger (1964, dir by Guy Hamilton, DP: Ted Moore)

The Man Who Would Be King (1975, dir by John Huston, DP: Oswald Morris)

Highlander (1986, dir by Russell Mulcahy, DP: Gerry Fisher)

 

Music Video of the Day: Come On Eileen by Dexys Midnight Runners (1982, directed by Julien Temple)


One it comes to one-hit wonders, there really aren’t many that hold up as well as Come On Eileen. In a year dominated by Michael Jackson’s Thriller, Come On Eileen managed to take first place on the Billboard 100, displacing Billie Jean before then being displaced itself by Beat It.

The music video of Come On Eileen was filmed in the inner south London district of Elephant and Castle in the vicinity of the corner of Brook Drive and Hayles Street, then known as Austral Street and Holyoak Road.  Playing the role of Eileen was Máire Fahey, the sister of Bananarama’s Siobhan Fahey.  “Poor old Johnnie Ray” appears as himself, via footage of him arriving at Heathrow Airport in 1954.

Director Julien Temple is perhaps best known for his association with the Sex Pistols, having directed both The Great Rock and Roll Swindle and The Filth and the Fury.

Enjoy!