I can’t remember if this song was ever featured on Degrassi but you know what? It should have been!
Speaking of Degrassi, Lisa Mann also directed videos for Jakalope, who performed the show’s opening theme song from season 4 to season 7!
Enjoy!
Author Archives: Lisa Marie Bowman
Film Review: My Cousin Vinny (dir by Jonathan Lynn)
In the 1992 film, My Cousin Vinny, two college students from New York City, Bill Gambini (Ralph Macchio) and Stan Rothstein (Mitchell Whitfield), make the mistake of driving through Alabama. The two students stop off at a convenience store. When the clerk is subsequently shot dead during a robbery, Bill and Stan are arrested for the crime. The viewers know they’re innocent. Bill and Stan know they’re innocent. But the entire state of Alabama seems to be determined to send Bill and Stan to prison for life.
Fortunately, Bill’s cousin, Vinny (Joe Pesci, star of Half Nelson), is a lawyer. Unfortunately, he just recently passed the bar exam and he has yet to actually try a case. Still, Vinny and his fiancée, Mona Lisa Vito (Marisa Tomei), come down to Alabama. Vinny takes the case, lying to the judge (Fred Gwynne) about his qualification as a trial attorney. Vinny is momentarily impressed when the prosecutor (Lane Smith) shares with him all of the files about the case. “It’s called disclosure, dickhead!” Lisa snaps at him, revealing that she actually has more common sense than Vinny. That becomes increasingly important as Vinny tries to keep Bill and Stan from spending the rest of their lives in prison.
To be honest, considering how much I complain about stereotypical portrayals of the South, I really shouldn’t like My Cousin Vinny as much as I do. Almost every character in the film is a stereotype to some extent or another, from the farmers and rednecks who take the witness stand to Fred Gwynne’s no-nonsense judge who rules that Vinny is in contempt of court because he’s wearing a leather jacket. Fortunately, though, the Southern stereotypes don’t bother me because both Vinny and Lisa are New York stereotypes. Just as the judge and the townspeople seem to confirm every prejudice that someone like Vinny would have against the South, Vinny seems to be the epitome of everything that people in the South dislike about the North. When Vinny first shows up on the scene, he’s loud and brash and obnoxious. But, as the film progresses, Vinny reveals himself to not only be a better attorney than anyone was expecting but he also calms down and adjusts to the more relaxed pace of life in the country. Just as Vinny reveals himself to be not as bad as everyone originally assumed, both the Judge and the prosecutor are also allowed to reveal some hidden depths. Neither one is the cardboard authority figure that viewers might expect. The Judge does sincerely want justice to be done and the prosecutor sincerely wants to keep the county safe, even if he is prosecuting two innocent men. Just as Vinny learns not to be too quick to judge them, they learn not to be too quick to judge Vinny. The end message is that everyone is innocent until proven guilty and deserves a fair hearing, whether in a court of law or just in the courts of public and private opinion. It’s not a bad message. In fact, it’s one that more than a few people could still stand to learn today.
Of course, the best thing about the film is Marisa Tomei, who not brings a lot of energy to the film but whose hair is amazing and whose clothes are to die for. Tomei won an Oscar for her performance in My Cousin Vinny, a victory that was so controversial that there were unfounded rumors that presenter Jack Palance had read the wrong name by mistake. (As we all learned a few years ago when Warren Beatty and Faye Dunaway actually did read the wrong winner, the accountants aren’t going to let anyone get away with that.) Watching the film last night, it was obvious to me that Tomei deserved that Oscar because Lisa is the heart of the film. Pesci, Gwynne, and Lane Smith are all give good performances but, without Marisa Tomei’s performance, My Cousin Vinny would ultimately just be another culture clash comedy. A lesser actress would have just played Lisa as being a stereotype. But Tomei turned Lisa into the most believable and sincere character in the film. While Lisa won the case, Tomei saved the movie.
(And needless to say, I’m a fan of any movie that features a Lisa saving the day.)
My Cousin Vinny holds up as an enjoyable film. Watch it the next time you’re losing faith in humanity.
Retro Television Reviews: Fantasy Island 2.17 “The Stripper/The Boxer”
Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Tuesdays, I will be reviewing the original Fantasy Island, which ran on ABC from 1977 to 1986. The entire show is currently streaming on Tubi!
Smiles, everyone, smiles! This week, we’ve got stripping and boxing!
Episode 2.17 “The Stripper/The Boxer”
(Dir by Lawrence Dobkin, originally aired on February 10th, 1979)
This week, Tattoo is wearing a monocle because his cousin Igor has discovered that they are descended from royalty. Roarke is not impressed. Indeed, he seems to be genuinely angered by Tattoo’s suggestion that he’s somehow better than him.
As for the fantasies, first off the plane is Maureen Banning (Laraine Stephens). Maureen is a runaway heiress. Her father doesn’t want her to marry a poet named Barnaby (William Beckley) so she has snuck off to Fantasy Island so that she can get married over the weekend. Unfortunately, her father’s private detectives have followed her to the island. In a panic, Maureen hops onto the first bus that she sees. It turns out the bus is the tour bus for a burlesque show and the show’s manager, Russ McCoy (Michael Callan), has a fantasy that concerns bringing the show to Broadway. Maureen is mistaken for a famous burlesque dancer. Fortunately, Sheba Palumbo (Mamie Van Doren) and Betty (Beverly Powers) are avid tabloid readers and they immediately recognize Maureen as the runaway heiress. They agree to teach her how to dance so that she can stay on the island and marry Barnaby. Except, of course, Maureen is now starting to feel more attracted to Russ….
This fantasy was okay. I enjoyed the dancing and I also enjoyed thinking about how much Gary Loggins would have enjoyed watching his favorite actress, Mamie Van Doren, teach Maureen all the moves. I think the main problem with this fantasy is that, even after she ran way, Maureen never seemed to be in control of her own fate. The appeal of dancing on stage, whether you’re an old school burlesque performer or a modern-day stripper, is that it gives you all the power but, for Maureen, it just seemed like something to do until she finally got around to getting married.
The other fantasy involves Billy Blake (Ben Murphy), a boxer who only has three years to live. He wants a chance to fight the other leading leading championship contender. Even though the fight will be unofficial, Billy just wants a chance to show that, if not for his fatal disease, he could have been a champ. Of course, if he takes too many hits to the head, Billy could die in the ring. Billy is okay with that until he discovers that his former high school girlfriend, Jennie Collins (Maureen McCormick), is working on the Island. Billy’s trainer (Forrest Tucker) tells Jennie to stay away from Billy and Jennie is ashamed of all of the “things” she did when she ran off to Hollywood to try to become a star. (Like starring on The Brady Bunch Hour, perhaps….) But, in the end, Billy realizes that his real fantasy is to spend his last remaining years with Jennie. Personally, I found myself wondering why Billy didn’t consider a fantasy where he was cured of his terminal but unnamed disease. Then he could both be champion and spend the rest of his life with Jennie.
There weren’t many surprises with this fantasy but Ben Murphy and Maureen McCormick were an undeniably cute couple. I hope they had many good times before Billy’s agonizing and tragic death.
Next week …. John Saxon comes to Fantasy Island!
4 Shots From 4 Films: Special Uli Edel 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, the Shattered Lens wishes a happy 76th birthday to German director, Uli Edel! It’s time for….
4 Shots from 4 Uli Edel Films
Christiane F. (1981, dir b Uli Edel, DP: Justus Pankau and Jürgen Jürges)
Last Exit to Brooklyn (1989, dir by Uli Edel, DP: Stefan Czapsky)
Confessions of a Sorority Girl (1994, dir by Uli Edel, DP: Jean de Segonzac)
The Baader Meinhof Complex (2008, dir by Uli Edel, DP: Rainer Klausmann)
Scenes I Love: “Avenge Me!” from Red Dawn
Today, the Shattered Lens wishes a happy birthday to a true Hollywood iconoclast, John Milius! In honor of Milius and his career and his legacy, today’s scene that I love comes from Milius’s 1984 film, Red Dawn.
After their small town is taken over by a combination of Cuban and Russian soldiers, a group of teenagers flee to the hills. After a few months, they sneak back into town. In this scene, two brothers (Patrick Swayze and Charlie Sheen) discover that their father (Harry Dean Stanton) is one of the many townspeople who have been sentenced to a reeducation camp. Their dad says a few final words to them, knowing that he’ll probably never see them again. He leaves them with one final instruction: “AVENGE ME!” Not even the propaganda film playing in the background can cover the sound of their father demanding vengeance.
And, of course, they do get their revenge, sacrificing their lives so that America might once again be free. It’s a classic John Milius moment and an appropriate scene with which to celebrate his birthday.
Music Video of the Day: Amnesia by Niki DeMar (2023, dir by Will Stockwell)
Enjoy!
Film Review: Hi, Mom! (dir by Brian De Palma)
Released in 1970, Hi, Mom!, tells the story of Jon Rubin (played by a 26 year-old Robert De Niro). The somewhat spacey and kind of creepy Jon has just returned to New York City from Vietnam. After moving into a run-down apartment building and meeting the building’s superintendent (Charles Durning), Jon is hired to direct a pornographic film by producer Joe Banner (Allen Garfield). Jon’s idea to simply point his camera at his building and to film his neighbors as they go about their day. As quickly becomes apparent, Jon is mostly just looking for an excuse to watch and film Judy Bishop (Jennifer Salt).
Also living in the building is Gerrit Wood (Gerrit Graham), who is first seen triumphantly putting posters of Che Guevara and Malcolm X up in his apartment. Gerrit is a freshly-minted political radical and the leader of a group of performance artists who put on a show called Be Black, Baby, in which the white audience members are forced to wear blackface and are then chased, attacked, and assaulted by black actors wearing whiteface. (Gerrit himself is white.) Jon is hired to play the police officer who beats and arrests the members of the audience at the end of the performance. Of course, eventually, the real police show up….
An attempt at an episodic counter-culture comedy, Hi, Mom is definitely a product of the time in which it was made, both in its style and its thematic content. Today, it’s best-known for being one of Brian De Palma’s early independent films and for featuring Robert De Niro in one of his first starring roles. De Palma and De Niro aren’t exactly the first names that come to mind when one thinks about comedy and Hi, Mom shows that there’s a good reason for that. As both a screenwriter who felt he had something important to say and a young director who was obviously eager to show off everything that he could do with a camera, Brian De Palma simply cannot get out of his own way. Scenes are needlessly sped up. Scenes are pointlessly slowed down. The musical cues are obvious. The dialogue is often so broad that it comes across as being cartoonish. One gets the feeling that De Palma didn’t trust the audience to get the jokes so he went overboard to make sure everyone knew when to react. All of the pointless camera trickery serves the same purpose that a laugh track would on an old sitcom. Interestingly enough, the only sequence that really works as satire is the Be Black, Baby sequence and that’s because De Palma directs it in a semi-documentary fashion. De Palma gets out of his own way and allow the sequence to develop a natural rhythm. (Of course, seen today, the scene will bring to mind the upper class white liberals who pay money to have an activist lecture them about their privilege while having their friends over for dinner.)
As for Robert De Niro, he gives a typically nervy performance, one that feels like a dry run for his later work in Mean Streets, Taxi Driver, and King of Comedy. Despite the reputation of those films, there are some genuinely funny moments to be found in all of them. Most of them, like the classic Taxi Driver conversation between De Niro’s Travis and Peter Boyle’s Wizard, are funny because of how people react to De Niro’s obviously unhinged characters. Both Taxi Driver and King of Comedy got mileage out of having normal people try to deal with De Niro’s unstable characters. In Hi, Mom, everyone is equally wacky and, as such, De Niro doesn’t really have anyone to play off. No one is really reacting to anything, De Niro-included. (There is some spark to his scenes with Charles Durning and Allen Garfield but even those scenes seem to drag on forever.)
On the plus side, Hi, Mom! is was shot on the actual streets of New York City, guerilla-style. (A “Re-Elect Mayor Lindsay” sign in the background confirms that the film was made on location in 1969.) When De Palma isn’t getting in his own way with all of his fancy camera tricks, he manages to capture so memorably bleak images of New York City. Hi, Mom! presents New York as being a dirty, crime-ridden, and menacing city but it also captures the odd grandeur of urban decay. At its best, Hi, Mom! captures the love/hate relationship that many seem to have New York City. The city feels both alive and dangerous at the same time. Hi, Mom! is too uneven to work as a sustained satire but, as a documentary about New York at the end of the turbulent 60s, it’s worth watching.
I should mention that this was not the first time that De Palma and De Niro teamed up. Indeed, De Niro was De Palma’s muse even before he met Martin Scorsese. Hi, Mom! was a loose sequel to an earlier De Palma/De Niro film called Greetings. (Like many of De Palma’s future films, both Greetings and Hi, Mom! were originally rated X but later re-rated R.) De Palma and De Niro, of course, would both go onto have long Hollywood careers. (They would later reunite for The Untouchables, a big-budget spectacle of a film that’s about as far from the grungy Hi, Mom! as one can get.) De Palma’s career has had its ups and downs but, as of late, many of his films have been positively reevaluated. As for De Niro, he can finally kind of play comedy. That said, I’d rather watch Hi, Mom than Dirty Grandpa.
Retro Television Review: Hang Time 4.9 “Love Triangle” and 4.10 “Texas Rose”
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 Hang Time, which ran on NBC from 1995 to 2000. The entire show is currently streaming on YouTube!
This week, we have one decent episode and one episode that …. well, just read the review.
Episode 4.9 “Love Triangle”
(Dir by Patrick Maloney, originally aired on October 10th, 1998)
Finally, a decent episode!
At the start of this episode, Kristy informs Mary Beth that she has a crush on Hammer but she’s too shy to talk to him. Not surprisingly, Mary Beth takes it upon herself to set them up. She tells Hammer to be at the Stadium at a certain time so that he can meet his blind date. Hammer agrees but is shocked when the blind date turns out to be Kristy. After the date, he approaches Mary Beth and tells her that, while he thinks Kristy is great, she’s not the girl that he’s interested in. He’s interested in …. MARY BETH!
Now, you can probably guess that this leads to Mary Beth dating Hammer in secret. And you can probably also guess that Kristy eventually figures out what’s happening while they’re all at the latest school dance. Mary Beth and Kristy argue and then they make up and then everything’s fine. Mary Beth has a boyfriend, Hammer has a girlfriend, and Kristy …. well, okay. It kind of sucks for Kristy. That said, Mary Beth and Hammer are a cute couple.
This was a pretty simple episode and it almost felt like a throwback to the type of episodes that dominated the show’s first season. (Remember when Danny tried to date Julie before eventually realizing that Sam was perfect for him?) But it was kind of nice to take a break from all the basketball stuff and Megan Parlen and Amber Barretto did a good job with both the dramatic and the comedic moments of the episode. And, after a rough few episodes, Mark Famiglietti finally got to display some bad boy charm in the role of Hammer.
All in all, this wasn’t a bad episode.
Episode 4.10 “Texas Rose”
(Dir by Patrick Maloney, originally aired on October 10th, 1998)
*sigh*
This episode finds the team going to a basketball tournament in San Antonio, Texas so, of course, it opens up with stock footage of an oil derrick. From the minute I saw that cliché, I knew this would be a difficult episode for me. As a Texan, I’m very sensitive to all the silly stereotypes and clichés that television shows tend to fall back on whenever they try to tell a story about my part of the world.
The oil derricks were followed by a shot of the Alamo. That was good. The Alamo is a huge part of Texas culture. This was followed by the Tornadoes checking into their San Antonio hotel and, of course, everyone in the lobby is wearing a cowboy hat. I rolled my eyes so hard that I gave myself a headache. “Is it me or does everyone around here look like Garth Brooks?” Mary Beth says.
Oh c’mon, I muttered for neither the first nor the last time.
“I can’t wait to get on the court and kick some cowboy butt!” Michael declares.
So, I guess the point of this episode was to make sure no one in Texas ever watched another episode of Hang Time. I mean, we’ve got enough confidence down here to take a joke but that doesn’t mean we want to spend 30 minutes being made fun of by a bunch of people who think Indianapolis is a real city.
At the local restaurant, the boys go crazy watching some fat dude try to ride an electric bull while Kristy sees a handsome Latino and automatically assumes that he can’t speak English. She speaks to him in Spanish and, as we can see from the subtitles, her Spanish sucks. Still, Antonio (Jay Hernandez, of Crazy/Beautiful and Hostel fame) is so attracted to her that he doesn’t mention that he was born in America and he can speak English. Myself, I just find it interesting that Kristy and her friends assume that just because someone has brown skin in San Antonio, they must have been born in Mexico or Latin America and that they must not be able to speak English. I mean, did they not notice that the town itself is called San Antonio but it’s full of people who speak and understand both English and Spanish? Did they somehow never learn that Texas has a strong and politically active Latino community? Seriously, the whole world isn’t freaking Indiana.
(And they wonder why we dislike Yankee tourists down here….)
Meanwhile, Silk meets a girl named Rose and falls for her. However, Silk thinks that Rose is rich so he pretends to be rich in order to impress her. When Silk takes Rose to Coach K’s suite and tries to pretend that it’s actually his hotel room, it works until Coach K shows up. Oh well, Silk — that’s what you get!
The next day, as the team gets ready for their first game, Kristy is shocked to discover that Antonio is on the rival team and he can speak English! Kristy yells at him for not telling her that he could speak English. You know, Kristy, maybe you should have given him a chance to speak English before assuming that he couldn’t.
Things work out in the end. Silk discovers that Rose isn’t actually rich and then he commandeers the stage of the local country-western bar and sings her a country song. Wow, that’s stupid. The episode ends without any word as to whether or not The Tornadoes won their tournament. I really hope this doesn’t mean that I’m going to have sit through four more episodes about the Tornadoes in San Antonio.
*shudder*
Monday Live Tweet Alert: Join Us For The Silencer and My Cousin Vinny!
As some of our regular readers undoubtedly know, I am involved in hosting a few weekly live tweets on twitter and occasion ally Mastodon. I host #FridayNightFlix every Friday, I co-host #ScarySocial on Saturday, and I am one of the five hosts of Mastodon’s #MondayActionMovie! Every week, we get together. We watch a movie. We snark our way through it.
Tonight, for #MondayActionMovie, the film will be 1999’s The Silencer! Selected and hosted by Rev. Magdalen, this movie features Michael Dudikoff! So, you know it has to be good!
Following #MondayActionMovie, Brad and Sierra will be hosting the #MondayMuggers live tweet. We will be watching 1992’s My Cousin Vinny, starring Joe Pesci and Marisa Tomei! The film is on Prime!
It should make for a night of fun viewing and I invite all of you to join in. If you want to join the live tweets, just hop onto Mastodon, pull up The Silencer on YouTube, start the movie at 8 pm et, and use the #MondayActionMovie hashtag! Then, at 10 pm et, switch over to Twitter and Prime, start My Cousin Vinny, and use the #MondayMuggers hashtag! The live tweet community is a friendly group and welcoming of newcomers so don’t be shy.
Music Video of the Day: Don’t Leave Me This Way, covered by The Communards and Sarah Jane Morris (1986, dir by ????)
I came across this band (and this cover) while watching an episode of an old television show called Night Flight last Friday.
It’s a good cover, one that pays tribute to the original while also establishing its own identity. The video for this version adds a political element to the song by having the secret police show up to break up the performance. Despite being named after a group of early communists, the Communards still took a stand against the secret police. Good for them. Of course, the secret police are still with us, in countries that are both left-wing and right-wing. Unfortunately, modern people are a little bit less likely to take a stand against them than they once were. Authoritarianism is today more popular than its ever been.
Enjoy!
Through the Shattered Lens 