Pep Stories was an “adult” magazine that was irregularly published from 1926 to 1938. Because no one is really sure of who published the magazine or even how many issues there were, Pep Stories is now a highly sought collectible. Here’s a sampling of the covers of Pep!
Artist Unknown
Artist Unknown
Artist Unknown
by Raymond Albert Burley
by Enoch Bolles
by Earle Bergey
by Frank Dorias
by Enoch Bolles
by Earle Bergey
by Enoch Bolles
Back in the early 90’s, I was finishing up my high school years and starting up my college years, but I was still paying attention to every move my movie hero Charles Bronson was making. Bronson was at a very difficult place personally during those years as he was continuing to mourn the passing of his wife, Jill Ireland, and it really shows in his choice of roles. His first two films of the 90’s, THE INDIAN RUNNER and YES VIRGINIA, THERE IS A SANTA CLAUS, featured the aging star in the roles of a man dealing with great suffering and loss. Bronson’s third role, as Captain Wolf Larsen in the made for cable TV film, THE SEA WOLF (1993), featured him as the “thinking man’s megalomaniac” from Jack London’s work of classical literature. I couldn’t wait to see the film, but I had just one small problem. We didn’t have cable-TV in Toad Suck, Arkansas, so I would not be able to watch it on the night of its April 18th, 1993 premiere on the TNT channel. It was tough waiting a few months for that VHS release, but it was worth it!
In a nutshell, Charles Bronson plays Wolf Larsen, the captain of the ship The Ghost, who saves shipwrecked aristocrat Humphrey Van Weyden (Christopher Reeve) and con woman Flaxen Brewster (Mary Catherine Stewart). He saves them, but once they’re on board his boat, they find out that Larsen rules over the crew with an iron fist. They also find out that he’s on a life or death mission to find his brother, Death Larsen, and exact revenge for past conflicts. Will they be able to survive this voyage?
Charles Bronson had mostly steered clear of roles that could be described as “villainous” later in his career, but it must have felt great to take on one of Jack London’s most famous characters. I remember the advertising would show him maniacally spouting lines like, “It’s better to reign in hell than serve in heaven!” Wolf Larsen is a man of contradictions. He’s ruthless and mad with power when it comes to the men and his boat, but he also appreciates great works of literature and philosophy. Even at 71 years of age, the icon is able to project arrogant menace and brute strength. Charles Bronson and Wolf Larsen almost seem made for each other, and he’s fantastic in the role. It’s his strongest performance of the 1990’s.
There’s another great performance in the film, and it comes from Christopher Reeve as Humphrey Van Weyden. Most famous as Superman, Reeve was not having a lot of success at this point in his film career and was wanting meatier roles when he accepted this part. I was blown away with his performance as the intelligent and bullied aristocrat-turned-cabin boy who is forced to resort to some level of savage and barbaric behavior in order to survive Larsen’s boat! Christopher Reeve had really become a good actor at this point in his career, and he handles the role expertly. You believe his transformation throughout the course of the film as he adapts to the brutal conditions aboard the ship yet still retains his humanity. Reeve himself has been quoted as saying that THE SEA WOLF was a project “I really believed in and still think of as some of my best work.” I couldn’t agree more, Mr. Reeve.
THE SEA WOLF was directed by veteran filmmaker Michael Anderson who had been working since the 1940’s with credits like AROUND THE WORLD IN 80 DAYS (1956) and LOGAN’S RUN (1976) to his name. He and Bronson were roughly the same age, and they’re both in fine form. In order for these types of films to work, you need a good director who can deliver a solid finished project and Anderson brings his A-game to this production.
I’ve included the trailer for THE SEA WOLF below:
As some of our regular readers undoubtedly know, I am involved in a few weekly live tweets on Twitter and Mastodon. I host #FridayNightFlix every Friday, I co-host #ScarySocial on Saturday, and 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, #FridayNightFlix presents one of my Arleigh’s favorite movies, The Sword and the Sorcerer!
If you want to join us this Friday, just hop onto twitter, start the movie at 10 pm et, and use the #FridayNightFlix hashtag! It’s a friendly group and welcoming of newcomers so don’t be shy.
The Sword and the Sorcerer is available on Prime! See you there!
Norman Mailer was better-known as a writer than a filmmaker but, over the course of his limited directorial career, he did come up with one scene that will never be forgotten. That scene is a scene that I love from 1987’s Tough Guys Don’t Dance.
Take it away, O’Neal!
Norman Mailer, running for mayor of New York City in 1969
4 (or more) Shots From 4 (or more) Films is just what it says it is, 4 (or more) shots from 4 (or more) of our favorite films. As opposed to the reviews and recaps that we usually post, 4 (or more) Shots From 4 (or more) Films lets the visuals do the talking.
Norman Mailer wasn’t just a writer and symbol of New York City. He was also an aspiring filmmaker, a director who made three experimental films in the 60s and one studio film in the 80s. And while none of his films could really be described as being a hit with either audiences or critics, they do — to a certain extent — epitomize an era. Plus, the story of Rip Torn hitting Mailer with a hammer during the filming of Maidstone will live forever.
In honor of Norman Mailer the director, here are….
4 Shots From 4 Norma Mailer Films
Wild 90 (1968, dir by Norman Mailer, DP: D.A. Pennebaker)
Beyond The Law (1968, dir by Norman Mailer, DP: D.A. Pennebaker)
Maidstone (1970, dir by Norman Mailer, DP: D.A. Pennebaker)
Tough Guys Don’t Dance (1987, dir by Norman Mailer, DP: Mike Moyer and John Bailey)
by Ed Valigursky
This alarming cover is from 1958.
Marianne Faithfull, RIP.
Welcome to Late Night Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Thursdays, I will be reviewing Highway to Heaven, which aired on NBC from 1984 to 1989. The entire show is currently streaming on Tubi and several other services!
This week, Jonathan invades the Senate.
Episode 3.11 “Jonathan Smith Goes To Washington”
(Dir by Michael Landon, originally aired on December 3rd, 1986)
Mark’s sister is getting married but her future stepdaughter desperately needs an experimental drug to survive a rare illness. Unfortunately, the Senate is voting on a budget that will cut funding for experimental drugs. So, Jonathan appears to Sen. Fritz McCorkindale (Eddie Albert) and pressures him to rewrite the budget. Senator McCorkindale is reluctant until he learns that his grandson will also need an experimental drug. So, it’s time to redo the end of Mr. Smith Goes To Washington, just with Jonathan providing advice to the Senator in his effort to keep the budget he wrote from being put to a vote. This is one of those episodes where no one else can see Jonathan but they can see the Senator talking to Jonathan and, for some reason, no one wonders why the Senator is talking to himself.
This episode was sincere, earnest, heartfelt, well-intentioned, and ultimately very, very cringey. Michael Landon’s heart was undoubtedly in the right place but, and this might just be my civil libertarian side coming out, I’m not really comfortable with the idea of an angel telling a senator how to vote on legislation. This was kind of like that episode where Mark inspires the President to sign an arms treaty. It was just too naive to be effective.
On another note, Mark refers to his sister as being his only relative but it seems like Mark visits a new relative nearly every episode. That type of sloppy writing didn’t occur often on Highway to Heaven so I’m going to guess this episode was written and filmed quickly, so deeply did Landon believe in the episode’s message. Again, you can’t fault Landon for caring and trying to do good but this episode just felt rushed.
Whenever I think about Caddyshack, which is one of the funniest moves ever made, I think first of the Gopher, burrowing across the course and dancing to the music.
I then think about Bill Murray, playing the demented groundskeeper and growing his own special grass that you can both play golf on and smoke afterwards.
I remember Rodney Dangerfield dancing on the green while Ted Knight throws a fit. This was the first film that I ever saw Rodney Dangerfield in. “It looks good on you, though,” was one of those simple lines that Rodney could turn into a classic.
I remember Ted Knight, appearing in one of his few film roles, and saying, “Well, we’re waiting!” and drawing out every single word.
I remember the scene in the pool. You know which one I’m talking about.
I remember Chevy Chase, back when he was still funny.
Then I remember how Rodney Dangerfield’s classic last line, “We’re all going to get laid,” was changed to “We’re all going to take a shower!” for television. Why the censors thought that sounded less dirty than the original, I’ll never know.
I remember the Bishop getting struck by lightning while playing the best game of his life.
And, of course, I remember Cindy Morgan as Lacy Underall.
I remember so many classic moments and funny lines that I’m always surprised when I rewatch the movie and discover that it’s not really about the Gopher, Bill Murray, Rodney Dangerfield, Chevy Chase, or even Lacy Underall. Instead, the main character in the movie is Danny Noonan (Michael O’Keefe), a teenage caddy at Bushwood Country Club who wants to win a scholarship so he can go to college and avoid having to work in the lumber yard with his father (Albert Salmi). Danny has a friendly rivalry with caddy Tony D’Annuzio (Scott Colomby) and is dating Maggie (Sarah Holcomb). Danny has to decide whether to ally himself with the snobs (led by Ted Knight) or the slobs (led by Rodney Dangerfield).
Caddyshack was originally envisioned as being Danny’s story but, once filming started, Harold Ramis (making his directorial debut) realized that the comedic characters were actually more interesting. The movie went from being a straight-forward coming-of-age story to an almost plotless collection of gags and jokes, with both Bill Murray and Rodney Dangerfield improvising the majority of their dialogue and the Gopher emerging as the film’s true star. That was bad news for the younger actors playing the caddies, who all found their roles greatly reduced in the film’s final cut but that was good news for audiences. Caddyshack may not have much of a narrative structure but it does have some of the funniest people who ever lived at the peak of their powers.
Despite a legendarily troubled production, Caddyshack was a huge success with audiences and eventually, the critics came around as well. Harold Ramis always said that he had a hard time watching it because all he could see were the mistakes that he made. All audiences could see, though, was a hilariously funny movie that continues to bring people joy to this day.
Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Thursdays, I will be reviewing Malibu CA, which aired in Syndication in 1998 and 1999. The entire show is currently streaming on YouTube!
This week, season one comes to an end!
Episode 1.26 “The Triathlon”
(Dir by Gary Shimokawa, originally aired on May 23rd, 1999)
Stads wants to enter the Malibu triathlon but training for it is such hard work and, over the past few episodes, Stads has gone from being an athletic and likable go-getter to becoming perhaps the whiniest character to have ever appeared on a Peter Engel-produced teen sitcom. Scott volunteers to help Stads train which freaks out Jason because Jason still has feelings for Stads.
First, Jason tries to train for the triathlon too but it’s too much work for him. So, Jason arranges for Murray to occupy Scott at the restaurant on the night before the triathlon. Murray demands a lot of shrimp. He follows Scott into the walk-in freezer. Murray accidentally locks them in! I guess they’re dead now.
Meanwhile, Jason pulls out his relationship scrapbook and keeps Stads up so late that she oversleeps and misses the triathlon. Stads isn’t too upset about it because at least she got to spend time with Jason. But then, after Murray and Scott are rescued from the freezer, she finds out that Jason arranged for Scott to miss their final training night. Scott and Stads team up to get revenge and somehow, it leads to Jason dressing up in armor and riding a horse across the beach.
This show is so stupid.
Meanwhile, Traycee slips on the restaurant’s wet flood and decides to sue Peter so that she can appear in a commercial for a personal injury lawyer. Peter goes out of his way to be nice to Traycee, leading to Traycee thinking that Peter wants to marry her and….
This show is so stupid!
But let’s give some credit where credit is due. Brandon Brooks (who played Murray) and Priscilla Inga Taylor (who played Traycee) were the best things about the first season, largely because they both so embraced the absurdity of their characters. While the rest of the cast often seemed to be sleepwalking through their roles, Brooks and Taylor totally threw themselves into their roles and they were responsible for what few laughs the show did achieve. And I’ll admit that I laughed at Taylor and Brooks during the finale. (I laughed when Taylor sang her little song about suing Peter. And I laughed at Brooks muttering, “Surfing” over and over again because he wanted to make sure those were his last words.) They deserve a lot of praise for their work.
The season finale ends with Stads and Jason, the two least likable characters on the show, sharing a kiss while the audience goes, “Whoo!” The finale really reminded how much the show changed over the course of the first season. True, Jason remained a sociopath. However, Scott actually become a halfway decent human being. Due to some very bad writing, Stads went from being likable to being whiny. Murray went from being annoying to genuinely funny. Peter went from being cool to being dorky. Traycee went from being a background character to one of the show’s highlights. And Sam went from being the center of the show to someone who was lucky to get any lines whatsoever. The pilot featured Jason and Scott as high school students but now, Scott is a part-time sportscaster and we never hear any talk of homework or anything else involving school. Change can be good but, in the case of this show, it’s just evidence that no one was really sure what Malibu CA was supposed to be about.
Next week, we start the second and final season. Yay.
Through the Shattered Lens 