Banjo Hackett: Roamin’ Free (1976, directed by Andrew V. McLaglen)


The great Don Meredith will always be remembered for a few things.

He’s remembered for being the first Dallas Cowboys quarterback, leading the team to multiple championship games but sadly never making it to the Super Bowl.  If you’ve seen North Dallas Forty, the quarterback played by Mac Davis was based on Meredith.  North Dallas Forty was based on a book by Phil Gent, a former Cowboys wide receiver.  When asked about the book and Gent’s portrayal of himself as being the best player on the team, Meredith reportedly said, “Hell, if I had known Phil was that good, I would have thrown him the ball more often.”

Don Mereidth was also one of the first players to make the jump from playing on the field to calling plays in the broadcast booth.  He was the good old boy who served as a foil to Howard Cosell and who sang “Turn out the lights, the party’s over” whenever it became obvious that one team was going to win the game.

He will also always be remembered for an incident in 1979 when, while covering a game in Denver, he supposedly said, “Welcome to Mile High Stadium — and I am!”  This is actually an urban legend.  Meredith never actually said he was high on national television but if a member of the original Monday Night Football Team was going to say that, it probably would have been Dandy Don.

Don Meredith is less remembered for his acting career but, like a lot of retired football players in the 70s, he tried his hand at performing.  As an actor, Don Meredith was a very good quarterback.  His performances were superior to Joe Namath’s but his range was undeniably limited.  Smart producers essentially had Don Meredith play himself, a laid back good old boy who liked his beer and enjoyed hanging out with his buddies.

Banjo Hackett was typical of Don Meredith’s films.  In this made-for-TV movie, Meredith plays the title character.  He’s the nicest horse trader in the old west but not even someone as laid back as Banjo Hackett is going to stand for someone stealing from him.  When he learns that his nephew, Jubal (Ike Eisenmann), has been put into an orphanage and that evil bounty hunter Sam Ivory (Chuck Conners) has stolen Jubal’s favorite horse, Banjo steps up to the huddle.  First, he engineers Jubal’s escape from the orphanage. Then he and his nephew track Sam across the frontier, determined to catch up with him before he sells Jubal’s horse.

Banjo Hackett was obviously meant to serve as a pilot for a television series.  The series never happened but Banjo Hackett itself is a likable film that will be best appreciated by western fans who are looking for something harmless to watch.  Don Meredith may not have been a versatile actor but he had a sincere screen presence and Chuck Conners was always an effective bad guy.  The cast is full of familiar western actors, including Slim Pickens, L.Q. Jones, and Jeff Corey.  As a movie, Banjo Hackett is as amiable as its lead character.

True Grit: A Further Adventure (1978, directed by Richard T. Heffron)


Warren Oates as the legendary, one-eyed old west lawman Rooster Cogburn?

That was the idea behind True Grit: A Further Adventure, a made-for-TV movie that was meant to serve as a pilot for a potential television series.  The film is a direct sequel to 1969’s True Grit and it features Warren Oates stepping into the role of Rooster Cogburn, the character that John Wayne famously played in the original film and who Jeff Bridges later played in the 2010 remake.  In A Further Adventure, Cogburn is once again hired to escort teenager Mattie Ross (Lisa Pelikan) across the country.  Along the way, Rooster gambles away all their money, meets an attractive widow (Lee Meriwether), and gets a job in a mining town.  With the help of Mattie, he also gets a job as a bounty hunter and the two of them go after a group of wanted outlaws.  Mattie tries to reform Rooster and make him act like more of a traditional western hero while Rooster drinks and gambles and complains.

I am a huge Warren Oates fan but even I have to admit that he’s miscast of Rooster Cogburn.  In both Charles Portis’s original novel and the two films that were adapted from it, Rooster was overweight and physically imposing,  He wasn’t book-smart but he was wise in the ways of the frontier.  Physically, Warren Oates is too slightly built and his trademark nervous energy feels out of place in the role of Rooster.  Wayne and Bridges were both believable as men who would draw first and ask questions later but Oates was a natural-born talker.  That’s one of the things that made him one of the best actors of the 70s but it doesn’t serve him well in the role of Rooster Cogburn.

On the plus side, Lisa Pelikan is a considerable improvement on Kim Darby in the role of Mattie, though she’s nowhere near as good as Hailee Steinfeld would later be in the 2010 film.  Lee Meriwether and Warren Oates shares some good scenes together but the film’s made-for-TV origins makes Meriwether’s overall performance feel like a special guest star diversion.  True Grit: A Further Adventure is a throw-back to the type of formulaic western television programs that were popular in the late 60s.  It’s easy to see why the pilot didn’t get picked up.  It was miscast and it was too late.  If it had aired a few years earlier, it’s possible to imagine Oates and Pelikan traveling to a different town and getting involved in a different story on a weekly basis and perhaps the role would have been changed to better suit Oates’s style of acting.  But, by 1978, television was heading in the direction of Hill Street Blues and the days of the western were over.

Unfortunately. Warren Oates would die just four years after this film aired, a tragically early passing that robbed the world of a unique actor who was in his prime.  Though Oates may not have been right for Rooster Cogburn, he will always be remembered for films like Badlands, Bring Me The Head of Alfredo Garcia, Stripes, Dillinger, and Two-Lane Blacktop.  He was truly a one of a kind talent.

Great Moments In Television History #15: The Second NFL Pro Bowl is Broadcast


On January 12th, 1952, NBC aired the Pro Bowl.

Though this was the first time that the Pro Bowl was aired on network television, it was actually the second Pro Bowl to be played.  The 1951 Pro Bowl, which was not televised, was a legendary game featuring amazing plays by both the American Conference Team and the National Conference Team.  The final score was 28 to 27, with the America Conference triumphant.  That was the unaired Pro Bowl.

The second Pro Bowl, which went out to viewers all across America, was closer than the final score indicated.  At the end of the first half, the American Conference led by a score of 13-10.  After a scoreless Third Quarter, the National Conference came roaring back during the 4th Quarter.  During the final quarter, the National Team scored 20 unanswered points and went on to win by a score of 13-30.

I haven’t been able to find out much about what specifically happened during the second Pro Bowl but the stats would seem to indicate that it was a good game!  And it played out to a nationwide audience on January 12th, 1952.

As far as Pro Bowls go, it’s all been downhill from there.

Previous Great Moments In Television History:

  1. Planet of the Apes The TV Series
  2. Lonely Water
  3. Ghostwatch Traumatizes The UK
  4. Frasier Meets The Candidate
  5. The Autons Terrify The UK
  6. Freedom’s Last Stand
  7. Bing Crosby and David Bowie Share A Duet
  8. Apaches Traumatizes the UK
  9. Doctor Who Begins Its 100th Serial
  10. First Night 2013 With Jamie Kennedy
  11. Elvis Sings With Sinatra
  12. NBC Airs Their First Football Game
  13. The A-Team Premieres
  14. The Birth of Dr. Johnny Fever

Not So Great Moments In Comic Book History #19: NFL SuperPro Is Here!


Behold, the one Marvel super hero who will never get his own movie or even a show on Disney Plus!  Behold, NFL SuperPro!

He went from sacking quarterback to tackling crime!  That tells you all you really need to know about NFL SuperPro.  His real name was Phil Grayson.  He dreamed of being a football star until he was sidelined by a knee injury.  Working as a sports reporter, Phil one day interviewed an eccentric fan who revealed that he specialized in making special football uniforms that would turn the players into superheroes.  At that very moment, a group of burglars broke into the fan’s home.  They stole all of the fan’s memorabilia (and later set it all on fire) but, for some reason, ignored all of the super costumes on display.  The fan ended up dead but Phil Grayson ended up with a uniform and, thanks to a chemical spill, super strength!

It may sound like a parody but it was actually a very real comic book and, due to guest appearances from both Spider-Man and Captain America, NFL SuperPro was very much a part of the Marvel universe.  Marvel, back in the days when the company was always just a few months away from bankruptcy, partnered with the NFL to develop NFL SuperPro. The NFL wanted to reach news fans.  Marvel needed money.

Fabian Nicieza, who wrote the first five issues of NFL SuperPro, said that he only worked on the book because the NFL agreed to give him free tickets to all the games.  The NFL thought they would be getting some new fans.  Marvel thought they’d be getting some NFL money.  Instead, they both got years of ridicule that lasted far beyond the end of NFL SuperPro’s series.

NFL SuperPro ran for 12 issues, from 1991 all the way to 1992.  He fought a collection of villains who were all related to football.  His main enemy was a crime boss called Sanction and let’s just say that the Kingpin wasn’t losing any sleep over losing his status as Marvel’s main criminal mastermind.  NFL SuperPro also faced off against a time traveling assassin named, you got it, Instant Replay!  And then there was Quickkick, a villain who used to be a placekicker!  In one issue, NFL SuperPro fought a gang of Hopi criminals and the reaction from representatives of the Hopi Tribe was so fiercely negative that the issue itself was recalled.  That’s probably not what the NFL had in mind when it came to attracting new fans.

Along with that controversy, NFL SuperPro did not last because it wasn’t very good and an early 90s comic book reader was probably the least likely person to idolize someone who was essentially a jock.  In fact, as a character, NFL Superpro has not appeared since 1992, which is a little amazing when you consider that Marvel still occasionally trots out U.S. Trucker for a guest appearance or two.  It is tempting to think that Marvel is embarrassed by NFL SuperPro but his absence probably has more to do with NFL copyright issues.  And the NFL definitely was embarrassed.

As much as Marvel has tried to memoryhole the character, NFL SuperPro has not been forgotten.  He may never appear in a film but he will live on as long as collectors and fans debate who was the worst Marvel hero of all time.

Previous Great Moments In Comic Book History:

  1. Winchester Before Winchester: Swamp Thing Vol. 2 #45 “Ghost Dance” 
  2. The Avengers Appear on David Letterman
  3. Crisis on Campus
  4. “Even in Death”
  5. The Debut of Man-Wolf in Amazing Spider-Man
  6. Spider-Man Meets The Monster Maker
  7. Conan The Barbarian Visits Times Square
  8. Dracula Joins The Marvel Universe
  9. The Death of Dr. Druid
  10. To All A Good Night
  11. Zombie!
  12. The First Appearance of Ghost Rider
  13. The First Appearance of Werewolf By Night
  14. Captain America Punches Hitler
  15. Spider-Man No More!
  16. Alex Ross Captures Galactus
  17. Spider-Man And The Dallas Cowboys Battle The Circus of Crime
  18. Goliath Towers Over New York

Game Review: Locked Door III: Crate Expectations (2022, Cody Gaisser)


Once again, you are standing in a white room that is the most boring room in existence.  There are two archways, one to the east and one to the west.  There’s a man named Bob who you might remember from a previous game.  And there’s a door to the north that’s locked.

Can you unlock the door?  You’ll have to figure out how to get the key first!

This is the third Locked Door game.  You’ve now got slightly more rooms to explore.  And you’ve got a puzzle to solve.  Unlike the first two Locked Door games, you now have to use your IF skills if you want to unlock that door.  Luckily, it’s a very simple puzzle and your trophy awaits!  I solved it in 27 turns and scored all 3 points.

Like the previous two games, Locked Door III works best as a parody of the locked room puzzles that every IF player has gotten frustrated with at some point.  It’s amazing how there’s always something just lying around that the player can use to open whatever needs to be opened.  Most houses don’t have crowbars, hammers, and and wooden planks in every room.

Next week: Locked Room 4!  As long as I can keep figuring out how to unlock the doors, I’ll keep playing each installment.

Play Locked Room III.  

Rescue From Gilligan’s Island (1978, directed by Leslie H. Martinson)


I know that this is going to shock some people but Rescue From Gilligan’s Island is dumb.  In fact, it is not just dumb.  Instead, it is very, very, very dumb.  It’s just about the dumbest goddamn thing I’ve ever seen.

The first TV movie sequel to the 60s television show about a group of castaways on an uncharted isle, Rescue From Gilligan’s Island picks up ten years after the final episode of Gilligan’s Island.  The castaways are still living on the island and trying to figure out how to get back home.  There’s the Skipper (Alan Hale, Jr.) and Gilligan (Bob Denver).  There’s Mary Ann (Dawn Wells), the Howells (Jim Backus and Natalie Schaefer), and the Professor (Russell Johnson).  Ginger is also there but there’s something different about her.  Tina Louise refused to return to the role because she always said appearing on Gilligan’s Island ruined her career.  Ginger is now played by Judith Baldwin, who looks glamorous but who also plays her role distressingly straight, as if she was the only person unaware that nothing about Gilligan’s Island should have been taken seriously.

After ten years of being stranded, the professor finally figures out how to get the castaways off the island!  You’ll never believe the plan he comes up with.  He decides that the castaways should build, get this … a raft!  Ten years on the island and it never occurred to them to just make a raft?  The castways do get some help from a tsunami, which pushes them out to the ocean.  And then when Gilligan sets the raft on fire, they’re saved by the Coast Guard.

(How did they spend ten years on the island without killing Gilligan?)

Despite having been away from ten years, everyone settles back into their old routines but it’s not just the same.  The Professor tries to teach but the students just want to hear about what it was like to be marooned on an island.  Ginger returns to acting but is expected to now appear in PG-rated films!  Mary Ann agrees to marry her old boyfriend, Herbert, despite not loving him.  The Howells go right back to their old lives because the Howells are just as weird as on the mainland as they were on the island.

As for Gilligan and Skipper, they try to convince their insurance company to pay to fix the Minnow so that they can go back to giving three-hour tours but to do that, they have to convince all of the castaways to sign a form swearing that the Skipper was not liable for what happened during that last tour.  (But, even if they could fix up the Minnow, why would anyone want to take a tour with the Skipper and Gilligan when the entire world probably knows that doing so mean risking having to spend ten years on a deserted island?  There’s a reason why no one wanted to fly with George Kennedy after the fourth Airport movie.)  So, Gilligan and the Skipper travel the country and visit old friends while being pursued by two Russian agents (Vincent Shiavelli and Art LeFleur) who want to steal a metal disc that Gilligan found on the island.

I told you it was dumb.

Dumb it may have been but it was also the highest rated show for the week that it aired.  While this didn’t lead to a new series, it did lead to two more made-for-TV movies.  In the first one, the castaways opened a resort.  In the second one, they teamed up with a group of sports superstars and kept Martin Landau from exploiting the island’s natural resources.  Dumb as this movie may be, it was necessary steps towards teaming the Skipper up with the Harlem Globetrotters.

The Big Stampede (1932, directed by Tenny Wright)


On the New Mexico frontier, war is breaking out behind rancher Sam Chew (Noah Beery) and rustler Sonora Joe (Luis Alberni).  Both want to control the land and the cattle that graze upon it and innocent settlers are getting trapped in the middle!  The governor decides to send a young sheriff named John Steele to maintain order.  No sooner has Steele arrived then he meets a young woman (Mae Madison) and her father, who have both been attacked by and had their cattle stolen by Sam Chew.  After Sonora Joe and his gang save his life from Sam’s men, Steele realizes that Sam is more malicious and dangerous than Sonora Joe so he decides that the best way to handle the situation is to deputize Joe and team up with him to stop Sam and his men.  It’s a tall order but John Steele is just the man to handle it because John Steele is John Wayne!

This was one of the many B-westerns that the former Marion Morrison made in the decade before John Ford made him a star by casting him in Stagecoach.  Wayne was always a good hero, even in a 54-minute programmer like this one.  Though there is, as the title promises, an impressive stampede, Wayne is the main attraction here, with Noah Beery serving as a good heavy as always.  Perhaps the most interesting thing about this movie, if you’re a western or a John Wayne fan, is that Wayne’s horse is named Duke.  This was one of six films that Wayne made with Duke. Back in the 30s, the horses were often as a big a star as the men who rode them and, from the posters I’ve seen, it does appear that The Big Stampede was advertised as starring, “John Wayne and DUKE!”  At least Wayne was still able to get top billing.

The Big Stampede had previously been made as a silent film and the remake reuses a lot of old footage from the original.  John Wayne, needless to say, did not star in the original film, though he did wear the same costume that Ken Maynard wore in an attempt to keep people from noticing that the footage didn’t always match.  It’s not a totally successful ploy, though undemanding audiences in 1932 probably accepted it.  The Big Stampede would be remade one more time, in 1936, with Dick Foran taking the starring role.

4 Shots From 4 John Ford Films: The Informer, Stagecoach, The Quiet Man, The Man Who Shot Liberty Valance


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!

Yesterday was John Ford’s birthday.  Better late than never, here are four shots from four of my favorite John Ford films!

4 Shots From 4 John Ford Films

The Informer (1935, directed by John Ford. Cinematography by Joseph August)

Stagecoach (1939, directed by John Ford, Cinematography by Bert Glennon)

The Quiet Man (1952, directed by John Ford. Cinematography by Winton C. Hoch)

The Man Who Shot Liberty Valance (1962, directed by John Ford. Cinematography by William Clothier)

Ride Lonesome (1959, directed by Budd Boetticher)


In the western Ride Lonesome, Randolph Scott plays Ben Brigade. Brigade is a bounty hunter. The only thing that really differentiates him from the outlaws that he captures is that he gets paid for what he does. When Brigade arrests a young outlaw named Billy John (James Best), he gives Billy just enough time to send word to his older brother, Frank (Lee Van Cleef). And when Brigade starts to lead Billy John back to the town of Santa Cruz, he takes his time and fails to cover his tracks, almost as if he is intentionally making time for Frank to eventually catch up to him. Along the way, Brigade meets up with three others, a woman named Carrie (Karen Steele) and two outlaws named Boone (Pernell Roberts) and Whit (James Coburn). Carrie is searching for her husband while Boone and Whit want to arrest Billy John themselves so that they can turn him in and get a pardon for their own crimes.

Ride Lonesome is one of the best of the many films that Randolph Scott made with director Budd Boetticher.  Boetticher specialized in making fast-paced westerns that had deceptively simple plots.  Nobody in a Boetticher western was totally good or totally bad and that’s certainly the case with Ride Lonesome, which may seem like a typical western but which is actually a character study of 6 very different people.  Brigade is often only the hero by default and his actions are often as ruthless as those of the men who are tracking him.  It’s only after he meets and gets to know Carrie that he starts to seriously consider that his plans could lead to innocent people getting hurt. Billy John may be a wanted killer but, underneath his bravado, he’s just someone trying to live up to his brother’s example.  Meanwhile, Boone and Whit may be outlaws but they turn out to be the most morally upright characters in the film.  Ride Lonesome takes a serious look at frontier justice and suggests that maybe black-and-white morality isn’t all that it’s cracked up to be.

Needless to say, the cast is great.  Randolph Scott was one of the great western heroes and Karen Steele, Pernell Roberts, Lee Van Cleef, and James Best all turn in memorable performances.  Best of all is James Coburn, making his film debut and showing that, even at the start of his career, he was already the epitome of cool.  Ride Lonesome is one of the best of of the Boetticher/Scott westerns and a true classic of the genre.

 

In The Line of Duty: Siege at Marion (1992, directed by Charles Haid)


After bombing several Mormon centers in Utah, religious extremist and polygamist Adam Swapp (Kyle Secord) has barricaded himself inside of a farm house with his wives and supporters. The FBI, led by Bob Bryant (Dennis Franz), have the house surrounded and are trying to convince Swapp to peacefully surrender. Swapp, however, has no intention of going down without a fight.

In the 1990s, NBC did a whole series of made-for-TV miniseries about real-life law enforcement operations that inevitably led to the death of at least one of the officers involved. They made so many of them and they churned them out so quickly that NBC even aired a movie about the Branch Davidian stand-off while it was still going on. Siege at Marion, the fourth of the In The Line of Duty films, feels like a precursor to what was eventually happen in Waco. Just as happened in Waco and with the attempts to arrest Randy Weaver at Ruby Ridge, critics claimed that the government came on too strong while the government claimed that they were merely enforcing the law.

Siege at Marion is the least interesting of all of the In The Line of Duty movies, mostly because the Marion siege was neither as mismanaged as what happened in Waco or as egregiously heavy-handed and disturbing as what happened in Ruby Ridge. Though based on a true story, Siege at Marion is a standard stand-off film with the only suspense coming from the film’s distasteful attempts to build up suspense as to whether it’ll be Dennis Franz, William H. Macy, or Ed Begley, Jr. who is killed in the line of duty. Since only one of them is given a backstory and a family, it’s easy to guess which one it will be.

The best thing about Siege of Marion is the cast. Dennis Franz was born to play cops and it’s interesting to see a pre-Fargo William H. Macy playing a non-nervous character. Kyle Secor is convincingly fanatical and unhinged as the messianic Adam Swapp. Secor would go on to star as Tim Bayliss on the much-missed Baltimore-set cop show, Homicide: Life on the Street. Speaking of classic cop shows, Siege at Marion was also directed by Charles Haid, who played Andy Renko on Hill Street Blues. As for the In The Line of Duty films, the last one was made in 1994 but they all live on in syndication.