Retro Television Review: St. Elsewhere 1.7 “Legionnaires: Part Two”

Posted on by Lisa Marie Bowman

Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Fridays, I will be reviewing St. Elsewhere, a medical show which ran on NBC from 1982 to 1988.  The show can be found on Hulu!

This week, the hospital’s in chaos!

Episode 1.7 “Legionnaires: Part Two”

(Dir by Mark Tinker, originally aired on December 14th, 1982)

With one of the wards shut down due to a Legionnaires outbreak, the hospital is in crisis.  All of the patients from the infected ward and their doctors have been moved to a new floor and now, everyone is stressed and overworked.  Dr. Westphall insists to the Hospital Board that he has no regrets about shutting down the ward and that he did what he had to do.  Westphall is vindicated when it turns out that he was correct about the Legionnaires outbreak but he still has to admit that administrator H.J. Cummings (Christopher Guest) has a point about Westphall’s actions causing a panic.  Cummings argues that Westphall could have quietly closed the ward without alerting the media.  In the end, it doesn’t matter as Cummings explains that he’ll be the one who gets fired over the bad publicity, not Westphall.  The episode ends with Westphall returning to his small home, carrying the birthday present that he was supposed to give his son that day.  Westphall has dedicated his life to the hospital and it’s obvious that his family has often had to wait until he has time for them.

(I’m starting to understand why Westphall always seems so damn depressed.)

Some people take advantage of the chaos.  Two gang members (one of whom is played by a very young Robert Davi) hit Fiscus over the head and steal his wallet after Fiscus stitches up one of their hands.  Peter White, eager to get away from his troubled marriage, shows up to work Morrison’s shift for him.  Dr. Chandler glares at a nurse that he previously accused of unprofessional behavior.  Dr. Craig tries to find someone foolish enough to buy his old convertible from him.  And head nurse Helen Rosenthal finds herself being called over and over again to the room of patient Martha Mulvahey (Ann Bronston).

Poor Martha!  She has a reputation for being a problem patient, because she’s always calling for the nurses and asking them to do things for her, like wash her hair or raise her bed.  Only Helen is willing to put up with Martha but even Helen loses her temper when Martha asks for help putting on her makeup.  Finally, Martha breaks down and explains that her arthritis is so severe that she can barely move her hands.  She’s a librarian and she can’t even turn the pages of a book anymore.  (Excuse me, I think I have something in my eye….)  A friend is coming to visit her at the hospital and she just wants to look good for him because she doesn’t want him to remember her as someone who can’t even get out of a hospital bed.  Helen helps Martha put on her makeup.  At the end of the episode, the hospital may be in chaos but Martha gets to see her friend and that made me happy and brought even more tears to my eyes.

Meanwhile, psychiatric patient Jane Zontell (Laraine Newman) returns to the hospital and checks herself back in for treatment.  Dr. Beale (G.W. Bailey) is shocked to learn that Jane is three months pregnant.  But it’s only been two months since Jane was last a patient at St. Eligius so that father must be someone at the hospital.  Uh-oh.

(Personally, I suspect Fiscus.)

This was a good episode.  I cried for Martha.  I felt bad for Westphall.  I hope someone buys Dr. Craig’s car so he’ll stop bothering everyone else about it.  This episode was about how bad things can get at a hospital but, with Martha and Rosenthal, it offered up some hope as well.  All in all, it worked.

Brad’s Song of the Day: “BUSINESS TIME” by Flight of the Conchords (this song will change your life!)

Posted on by Bradley Crain

Today, the Shattered Lens is in the business of wishing a happy birthday to Jermaine Clement, one half of the “Flight of the Conchords” musical group. And you know what that means… it’s BUSINESS TIME!

A friend of mine shared this song with me many years ago, and I still refer to it often. I just laughed my ass off watching this video again. Enjoy, my friends!

Song of the Day: Hurt Feelings/Tears of A Rapper by Flight of the Conchords

Posted on by Lisa Marie Bowman

Today, the Shattered Lens wishes a happy birthday to Jermaine Clement, who is half of Flight of the Conchords.  For today’s song of the day, we have Jeremaine and Bret performing my favorite of their songs, Hurt Feelings (a.k.a. Tears of a Rapper.)

Some people say that rappers don’t have feelings
We have feelings. (We have feelings)
Some people say that we are not rappers. (We’re rappers.)
That hurts our feelings.
(Hurts our feelings when you say we’re not rappers.)
Some people say that rappers are invincible
We’re vincible. (We’re vincible.)
What you are about to hear are true stories
(Real experiences)
Autobiographical raps.
Things that happened to us, all true
Bring the rhyme!

I make a meal for my friends,
Try to make it delicious,
Try to keep it nutritious,
Create wonderful dishes.
Not one of them thinks about the way I feel
Nobody compliments the meal

I got hurt feelings, I got hurt feelings
I feel like a prize asshole
No one even mentions my casserole.
I got hurt feelings, I got hurt feelings.
You coulda said something nice about my profiteroles

Here’s a little story to bring a tear to your eye,
I was shopping for a wetsuit to scuba dive,
But every suit I tried is too big around the thighs,
And the assistant suggested I try a ladies’ size

I got hurt feelings, I got hurt feelings
I’m not gonna wear a ladies’ wetsuit I’m a man!
I got hurt feelings, I got hurt feelings
Get me a small man’s wetsuit, please

It’s my birthday, 2003
Waitin’ for a call from my family
They forgot about me

I got hurt feelings, I got hurt feelings
The day after my birthday is not my birthday, Mum

I call my friends and say, “Let’s go into town”
But they’re all too busy to go into town
So I go by myself, I go into town
Then I see all my friends, they’re all in town

I got hurt feelings, I got hurt feelings.
They’re all lined up to watch that movie
“Maid in Manhattan.”

Have you even been told that your ass is too big?
Have you ever been asked if your hair is a wig?
Have you ever been told you’re mediocre in bed?
Have you ever been told you’ve got a weird-shaped head?
Has your family ever forgotten you and driven away?
Once again, they forgot about J
Were you ever called “homo” ’cause at school you took drama?
Have you ever been told that you look like a llama?

Tears of a rapper
(don’t wanna make a rapper cry then watch what you say)
I’m crying tears of a rapper
(I pouring out the bullets of my Icannon)
Go play the tears of a rapper
(These are the tears of a rapper now)
The diamond tears of a rapper
(These are the bullet proof 24 karat of tears, of a rapper)

Songwriters: Bret Mckenzie / Jemaine Clement

Live Tweet Alert: Join #FridayNightFlix For Quick Change!

Posted on by Lisa Marie Bowman

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 Bill Murray in Quick Change!

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.

Quick Change is available on Prime!  See you there!

Scenes That I Love: “Can You Dig It?” From The Warriors

Posted on by Lisa Marie Bowman

Cyrus?

He’s the one and only.

From 1979’s The Warriors (which was directed by Walter Hill, who celebrates his birthday today), here’s a scene that I love.  Playing the role of Cyrus, the man who could bring all of the gangs of New York together, is Roger Hill.  Playing the role of his assassin is the great David Patrick Kelly.

Cyrus knew what he was talking about but the world wasn’t ready for him.

Can you dig it?

4 Shots From 4 Films: Special Walter Hill Edition

Posted on by Lisa Marie Bowman

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, we here at the Shattered Lens wish a happy 83rd birthday to the great director Walter Hill.

Walter Hill is one of those legendary figures who has a devoted cult of fans but it still seems like he’s never quite gotten all of the opportunities and the acclaim that he deserved.  Perhaps because so many of his films are considered to be genre pieces, they were often not appreciated until a few years after they were first released.  But for film lovers and film students, Walter Hill is one of the most important directors of the past 50 years.

Today, we celebrate with….

4 Shots From 4 Walter Hill Films

The Warriors (1979, directed by Walter Hill, DP: Andrew Laszlo)

Southern Comfort (1981, dir by Walter Hill, DP: Andrew Laszlo)

Streets of Fire (1984, dir by Walter Hill, DP: Andrew Laszlo)

Last Man Standing (1996, dir by Walter Hill, DP: Lloyd Ahern II)

Catching Up With The Films of 2024: Saturday Night (dir by Jason Reitman)

Posted on by Lisa Marie Bowman

Saturday Night, which presents what I assume to be a highly fictionalized account of the 90 minutes before the 1975 premiere of Saturday Night Live, did the impossible.  It made me feel sorry for Chevy Chase.

Don’t get me wrong.  As played by Cory Michael Smith, Chevy Chase is not presented as being a sympathetic character in Saturday Night.  The film acknowledges his talent as a comedian and that he was the first star to come out of Saturday Night Live.  But he’s still presented as being arrogant, self-centered, rude, and often deliberately self-destructive.  The film portrays Chevy Chase in much the same way that most people describe him in real life.  Chevy Chase has apparently always been a difficult person to work with and, I suppose to his credit, it doesn’t appear that Chevy himself has ever claimed anything different.  But Saturday Night so piles on Chevy that even I felt it went a bit overboard.  It’s one thing to present Chevy as being the arrogant jerk that he’s admitted to being.  It’s another thing to fill the movie with moments in which people stop what they’re doing to tell Chevy that his career is going to start strong and then fade due to his bad behavior.  At one point, the NBC executive played by Willem DaFoe comments that Chevy could host his own late night talk show.  We’re all meant to laugh because eventually, Chevy Chase did host a late night talk show and it was such a disaster that it’s still, decades after its cancellation, held up as a prime example of a bad career move.  But, in the context of the film, it feels a bit like overkill.  It’s one thing to be honest about someone being a pain in the ass.  It’s another thing to repeatedly kick someone while they’re down.  Chevy, much like the NBC censor who is chanted down in the film’s cringiest moment, simply feels like too easy of a target.

Of course, Saturday Night is full of moments that are meant to comment more on the future than on whatever was going on in 1975.  The whole point of the film is that Saturday Night Live, a show that the network has little faith in and which is being produced by a hyperactive visionary (Gabriel LaBelle as Lorne Michaels) who seems to be making it up as he goes along, is eventually going to become a cultural phenomenon.  Every time someone tries to convince Lorne Michaels to cancel the premiere or to miss with the format, we’re meant to think to ourselves, “Little do they know that this show is going to be huge for several decades before eventually just becoming another predictable part of the media landscape.” The scenes of Garrett Morris (Lamorne Morris) wandering around the set and asking, “What is my purpose?  Why am I here?” may not feel like something that would have happened in 1975 but they’re there because it’s something that people were asking about in 2024.  Watching the film, it helps if you know something about the history of Saturday Night Live.  It helps to know that Dan Aykryod (Dylan O’Brien), John Belushi (Matt Wood), and Gilda Radner (Ella Hunt) are going to carry the show after Chevy Chase leaves.  It helps to know that Billy Crystal (Nicholas Podany) is going to become a Hollywood mainstay even after he gets dumped from the premiere for refusing to cut any material out of his act.  It helps to know that the mellow, pot-smoking band leader is actually Paul Shaffer (Paul Rust).  It helps to know that Lorne Michael and Dick Ebersol (Cooper Hoffman, giving one of the best performances in the film) are going to become powerful names in American television.  The film may be set in 1975 but it’s actually about all the years to come.

It’s still an entertaining and well-made film, one that I enjoyed watching.  Saturday Night manages to create the illusion of playing out in real time and director Jason Reitman captures the excitement of being backstage before opening night.  It’s an excitement that everyone can relate to, whether their opening night was on television, Broadway, or just a community theater in their small college town.  The backstage chaos of Saturday Night is wonderfully choreographed and, most importantly, it captures the feeling of being young, idealistic, and convinced that you can change the world.  Reitman also gets good performances from his cast, with Cooper Hoffman, Dylan O’Brien, and Rachel Sennott (playing writer Rosie Shuster) as stand-outs.  That said, the film is pretty much stolen by J.K. Simmons, who has a memorably lecherous cameo as Milton Berle and who provides Chevy Chase with a look at what waits for him in the future.  If the film is never quite as poignant as it wants to be, that’s because Saturday Night Live is no longer the cultural powerhouse that it once was.  If Saturday Night had been released just 18 years ago, before SNL became best-known as the place where Alec Baldwin hides out from bad publicity, it would probably be an Oscar front runner right now.  Released today, it’s just makes one feel a little bit sad.  The show that was built on never selling out eventually sold out.

BORDERLINE (1980) – Charles Bronson battles human smuggler Ed Harris (in his first major film role)!

Posted on by Bradley Crain

After a couple of decades of toiling away in TV and supporting roles, Charles Bronson became a huge international film star in 1968 when he starred in the films FAREWELL, FRIEND (with Alain Delon), and Sergio Leone’s ONCE UPON A TIME IN THE WEST (with Henry Fonda). For the next 5 years, Bronson would star in successful international co-productions, before hitting it big in the United States with the influential 1974 blockbuster, DEATH WISH. From 1974 to 1977, Bronson had his pick of any role that he wanted. This was probably the most interesting time in his career as he truly tried to expand his range with films like the depression-era HARD TIMES (1975), the romantic comedy FROM NOON TILL THREE (1976), the Raymond Chandler-esque ST. IVES (1976), and the surreal western THE WHITE BUFFALO (1977). But after 1977’s TELEFON and a series of underwhelming box office returns in the states, Bronson’s star was on the wane. He wouldn’t have his next #1 box office hit until he joined forces with the infamous Cannon studios in 1982 for the sequel to his biggest hit and DEATH WISH II. Cannon Studios would provide Bronson with a guaranteed paycheck and a non-stop presence on cable TV and at the video store for the remainder of the decade. I call the films that Bronson made between 1977 and 1982 the in-betweens. They don’t really fit into his European phase (1968-1973), his post-DEATH WISH phase (1974-1977) or his Cannon phase (1982-1989). To be completely honest, it seemed his career was somewhat in limbo at this point, and the movies he made during these years are some of his least well-known.

One of the movies that Charles Bronson made during the in-between years was 1980’s BORDERLINE. In this film, he plays Jeb Maynard, a border patrolman and expert tracker who will stop at nothing to find the human smuggler responsible for killing his friend and fellow patrolman Scooter, played by Wilford Brimley. I like this lower-key Bronson film. Director Jerrold Freedman has made a more realistic film than a lot of the movies in Bronson’s filmography. Outside of the murder that gets the story going, and the final showdown with the lead smuggler (a young Ed Harris), most of the film is made up of good old-fashioned field work and investigation. Bronson even based much of his performance on the technical advice of legendary border patrolman Albert Taylor. Now that doesn’t mean there aren’t some solid, action-packed scenes during the movie. My favorites include a scene where an undercover Maynard goes into Mexico with the mother of a young Mexican boy who was accidentally killed at the same time as Maynard’s friend Scooter. Maynard poses as a family member of the woman in hopes of being smuggled across the border so he can see how the illegal immigrants are being brought in. When thieves intercept the group, all hell breaks loose, and Maynard and the woman must fight their way out. Another badass moment occurs when Bronson beats needed information out of one of the smugglers in a nasty bathroom. This last scene is especially enjoyable for us Bronson fans.

There are so many good actors in this film. Outside of Bronson, Brimley, and Ed Harris, the cast is filled out by other veterans like Bruno Kirby, Bert Remsen, Michael Lerner, John Ashton, and Charles Cyphers. On a side note, Ed Harris gets the “introducing” credit here, even though he had appeared in several TV shows, as well as the movie COMA with Michael Douglas. This was his first major role in a feature film though. I also want to throw out special mention to Karmin Murcelo. She’s not a household name, but she’s excellent as the mother of the young boy who gets killed with Wilford Brimley’s character, who then helps Bronson in his quest to find the killer. Her career extended over 3 decades, and it’s easy to see why based on this performance.

BORDERLINE may not be an explosive action film like some of Bronson’s other work, but it’s an effective drama with a good performance from the star. I think he embodies the character perfectly. It’s also just as relevant in 2025 as it was in 1980, and I give the film a solid recommendation.

Music Video of the Day: Three Marlenas by The Wallflowers (1997, dir by ????)

Posted on by Lisa Marie Bowman

You know, this is a good song by a good singer and good group of backing musicians.  (The Wallflowers have had many personnel changes over the years, with Jakob remaining the one consistent member.)  Jakob Dylan has always been a little overshadowed by his famous father and, while that’s understandable, it’s definitely a shame.  Jakob is a talented artist in his own right and this video shows that.

That said, the main reason I like this video is because of Jakob emerging from the ocean with those big blue eyes.  Hi, Jakob!

Enjoy!