102 years ago today, Lee Marvin was born in New York City. One of the great screen tough guys, Lee Marvin played stoic and determined men who you didn’t want to upset.
That was certainly true of his role as Walker in 1967’s Point Blank. A thief who was double crossed by his partner and the organization to which his partner was in debt, Walker is determined to get back the money that he stole from someone else. Relentlessly, Walker moves from one mob boss to another and repeatedly, those bosses make the mistake of thinking that they can double cross him again.
Point Blank (1967, directed by John Boorman)
In this scene, which was reportedly considered to be shockingly violent by 1967 standards, Carter (Lloyd Bochner) attempts to fool Walker, just to discover that Walker is smarter and far more ruthless than anyone realizes.
4 Shots From 4 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!
John Frankenheimer was born 96 years ago today, in New York City. He got his start working in live television and went on to become one of the best directors of thrillers around. After getting off to a strong start in the 60s, directing several classic films (many of which had a political subtext), Frankenheimer struggled in the 70s (though even that decade saw him directing the classic Black Sunday) before making a comeback in the 90s. (1998’s Ronin is regularly cited as having one of the best car chases ever captured on film.) He was also one of the first film directors to make the transition to regularly working for cable channels like TNT and HBO. Indeed, the films that he made for HBO played no small part in establishing HBO’s reputation as being a “prestige” network.
It’s time for….
4 Shots From 4 John Frankenheimer Films
The Manchurian Candidate (1962, dir by John Frankenheimer, DP: Lionel Lindon)
Seconds (1966, dir by John Frankenheimer, DP: James Wong Howe)
Black Sunday (1977, dir by John Frankenheimer, DP: John A. Alonzo)
52 Pick-Up (dir by John Frankenheimer, DP: Jost Vocana)
Reality Check: Inside America’s Next Top Model is the latest three-episode docuseries from Netflix. It takes a look at the history of the groundbreaking reality show that was once loved and which has since been declared problematic. It features interviews with some of the models, most of whom share some very harrowing stories about how they were treated while appearing on the show. (Shandi Sullivan’s story epitomizes everything that is exploitive about reality television.) Producer Ken Mock talks about how the show’s format was inspired by the first season of Making the Band. (Ken seems to be under the impression that O Town is currently a beloved cultural institution.) Jay Manuel talks about being a part of the show and how he was treated by Tyra Banks after he tried to leave. J Alexander talks about how, after he suffered a stroke, Tyra never reached out to him. Nigel Barker pretends to be ashamed of some of the challenges that he photographed and judged. We get clips of TikTokers watching the show during the COVID lockdown and complaining about …. well, everything.
Tyra Banks is also interviewed. The series paints Banks as a villain and yet, she not only consents to be interviewed but actually seem to enjoy it. That’s because Tyra Banks isn’t stupid. She apologizes without actually apologizing because she understands that a real apology would be seen as a sign of weakness, even by those demanding one. Even more importantly, she understands that reality television demands a villain. It demands someone who can say outrageous things with style. It demands someone that people will watch so that they can be shocked and scandalized. While being interviewed, Tyra mentions that she’s trying to put together at least one more season of America’s Next Top Model. If you look at the online reactions, you’ll find a lot of people and entertainment reporters who claim to be angered by her audacity but let’s be honest. If Tyra gets her 25th season of America’s Next Top Model, most of the people complaining about the show will watch. The sites that are currently posting lists of the “Most Disturbing Revelations From Inside America’s Next Top Model” will recap the entire season and post galleries of “Tyra’s Most Outrageous Looks.” They might complain about it. They would definitely make room in their reviews to post the usual litany of complaints. (To be honest, whenever I hit those paragraphs, I always skip over them because it’s always the same thing.) They might claim to hate the show but they would still recap it and they would still get the clicks and they would accept the money the comes from those clicks.
For all the criticism to be found in this docuseries, it was ultimately a commercial for America’s Next Top Model. There’s a reason why you can find the first sixteen seasons on Disney Plus, Hulu, and Pluto TV.
Oh yeah, I thought as I watched, I remember the crime scene photo shoot! Yeah, you’re right, that was totally insensitive. And the photoshoot were the girls had to pretend to have an eating disorder! That was so messed up! And which episodes were those again?
In the end this docuseries doesn’t so much inspire outrage as much as it inspires nostalgia for a time before outrage. Some people would consider that to be a good thing. Some people definitely wouldn’t. But the end result is the same. The viewer wants to go back and rewatch, either to bask in the nostalgia or to have an excuse to get angry.
As for the docuseries itself, it’s only three episodes long. The first episode and the first half of the second episode are effective. Then, the series falls apart as it tries to cram ten years worth of scandal and drama into the remaining 90 minutes. The interviews with Jay Manuel are interesting, though Jay seems to be even worse than Tyra when it comes to dodging responsibility for the show’s more infamous moments. (He says that he asked not to take part in a blackface challenge but, significantly, he did not threaten to quit.) My heart broke for Miss J and for Shandi Sullivan and for Dani Evans, the model who was ordered to close between her front teeth. There was so much wrong with America’s Next Top Model and yet, we’ll all be watching Season 25.
And if Tyra offers him enough money, she can probably get Jay Manuel back.
Welcome to Late Night Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Wednesdays, I will be reviewing 1st and Ten, which aired in syndication from 1984 to 1991. The entire series is streaming on Tubi.
Some will never play the game….
Episode 3.4 “The Comeback Trail”
(Dir by Stan Lathan, originally aired on August 26th, 1987)
The Bulls are in disarray! Yinessa is in the hospital and might never play again. Diane wants to trade John Manzak for a new quarterback but TD Parker explains that Manzak is actually one of the best players that they have.
Then, OJ — I mean TD — heads to the locker room and catches Manzak shooting up steroids in the bathroom. TD tries to take the steroids away from him and Manzak …. well, Manzak doesn’t appreciate that.
Manzak apologizes and explains that, after ten years of injuries, he needs the steroids to play. TD orders him to stop using them. Manzak doesn’t listen and during the next practice, he collapses on the field. TD runs out to him and checks his pulse.
OJ would know!
So ends the saga of John Manzak. He just wanted to play football but he took too many steroids and collapsed dead on the practice field.
How will the Bulls survive without him? We’ll find out next week!
Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Wednesdays, I will be reviewing the original Love Boat, which aired on ABC from 1977 to 1986! The series can be streamed on Paramount Plus!
Love won’t hurt anymore….
Episode 7.9 “Long Time No See/The Bear Essence/Kisses and Makeup”
(Dir by Don Weis, originally aired on November 12th, 1983)
This week, it’s a carnival cruise!
No, I don’t mean the type of cruise that starts as a dance party and devolves into a riot. I mean, there’s an actual carnival occurring on the cruise. The head of the carnival (Howard Keel) is an old friend of Captain Stubing’s and Stubing loves a carnival. That’s all good and well but I hope they gave the passengers fair warning what type of cruise they were buying tickets for. I don’t mind carnivals but I wouldn’t necessarily want to deal with one while on a romantic cruise.
Young photographer Aurora Adams (Jan Smithers) takes an interest in the carnival owner. Is she hitting on a man old enough to be her father? No, specially because the man is her father! She doesn’t reveal this until towards the end of the cruise.
Meanwhile, Chip Ryan (Michael Lembeck) and Chester O’Brien (Christopher Mayer) are a comedy team who are training a bear. When it turns out that the bear cannot be trained to follow orders, they decide that one of them should wear a bear suit and…. no, I’m not making this up. Anyway, Chip and Chester both fall for Dottie Becks (Randi Oakes) and, by the end of the cruise, it looks like they’re going to have a very modern arrangement. *wink* *wink*
Newlywed Scott Pryor (Dean Butler) is overwhelmed by the beauty of his wife (Crystal Bernard). His wife takes off her makeup and he doesn’t recognize her. Eh. Let’s just ignore this storyline.
So, this episode …. you know, the newlywed and the long lost daughter stories were both pretty dumb but the bear storyline was just silly enough to be fun. I would not have chosen to take this particular cruise but, if I did, I’d spend the whole time watching the bear.
Given the fact that today is the birthday of both John Hughes and Molly Ringwald, it seems obvious what today’s song of the day should be.
Hey, hey, hey, hey Ooh, woah
Won’t you come see about me? I’ll be alone, dancing, you know it, baby
Tell me your troubles and doubts Giving everything inside and out and Love’s strange, so real in the dark Think of the tender things that we were working on
Slow change may pull us apart When the light gets into your heart, baby
Don’t you, forget about me Don’t, don’t, don’t, don’t Don’t you, forget about me
Will you stand above me? Look my way, never love me Rain keeps falling, rain keeps falling Down, down, down
Will you recognize me? Call my name or walk on by Rain keeps falling, rain keeps falling Down, down, down, down
Hey, hey, hey, hey Ooh, woah
Don’t you try and pretend It’s my feeling we’ll win in the end I won’t harm you or touch your defenses Vanity and security, ah
Don’t you forget about me I’ll be alone, dancing, you know it, baby Going to take you apart I’ll put us back together at heart, baby
Don’t you, forget about me Don’t, don’t, don’t, don’t Don’t you, forget about me
As you walk on by Will you call my name? As you walk on by Will you call my name? When you walk away
Or will you walk away? Will you walk on by? Come on, call my name Will you call my name?
I say La, la-la-la-la, la-la-la-la La-la-la-la-la-la-la-la-la-la La-la-la-la, la-la-la-la La-la-la-la-la-la-la-la-la-la La-la-la-la, la-la-la-la La-la-la-la-la-la-la-la-la-la When you walk on by And you call my name When you walk on by
In honor of this day, here’s a scene that I love, the opening credits of Saturday Night Fever. Watch as John Travolta, playing the role of Tony Manero, walks down the streets of Brooklyn, not letting the fact that he’s carrying two cans of paint do anything to lessen his strut. Watch as Tony puts a down payment on a pair of shoes! Thrill as Tony buys two slices of pizza! Cringe as Tony bothers a woman who wants absolutely nothing to do with him!
This is one of the greatest introductions in film history. Not only does it set Tony up as an exemplar of cool but it also subverts our expectations by revealing just how little being an exemplar of cool really means. I always relate to the woman who gets annoyed with Tony and tells him to go away. I know exactly how she feels, as does any woman who has ever been stopped in the middle of the street by some guy who thinks she has an obligation to talk him. It doesn’t matter how handsome he is or how much time he obviously spent working on his hair. He’s still just some guy carrying two buckets of paint and acting like she should be flattered that he spent half a minute staring at her ass before chasing after her. For all of his carefully constructed attitude, Tony comes across as being a rather ludicrous figure in this introduction. He carries those cans of paint like he’s going to war and you secretly get the feeling that he knows how silly he looks carrying them but he’s not going to allow anything to get in the way of his strut. And yet, as ridiculous as Tony sometimes seems and as bad as behavior does get, you can’t help but want the best for him. That’s the power of Travolta’s performance. He shows us who Tony could be if he only had the courage.
Happy birthday to John Travolta! And here is today’s scene that I love:
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!
Director John Hughes would have been 76 years old today. It’s time for….
4 Shots From 4 John Hughes Movies
Sixteen Candles (1984, dir by John Hughes, DP: Bobby Byrne)
The Breakfast Club (1985, dir by John Hughes, DP: Thomas Del Ruth)
Ferris Bueller’s Day Off (1986, dir by John Hughes, DP: Tak Fujimoto)
Planes, Trains, and Automobiles (1987, dir by John Hughes, DP: Donald Peterman)
It’s Ash Wednesday! Sharing this song by David Bowie is a bit of an Ash Wednesday tradition and I’m going to keep it going this year. (Yes, I understand the song isn’t actually about Ash Wednesday but, for me, it is.)