Bill Murray at his best!
I wish the literal video for this was still up. Oh, well.
All these years later, I still don’t have any idea why she goes into that house. I guess we are supposed to believe she lives there with these two kids that miss their cue?
These other kids nail it.
Despite finding lists of all the celebrities in this video, I have no idea who this guy is that Ray Parker Jr. becomes for this bit.
I also wonder why she didn’t see him while turning away from the moving table to go to the window.
In the window is footage of the movie that has aged horribly. Parker Jr. is blue screened in there for this famous shot.
He ain’t afraid of no ghost. A lawsuit on the other the hand, that’s a different matter. I hope this music video doesn’t remind me of a Huey Lewis & The News video as well.
Now Ray Parker Jr. stands creepily outside of her window.
This is looking familiar.
Chevy Chase can call Ghostbusters if he has a ghost problem…
but what about if he gets stuck in Benji again?
Who can he call then?
I knew this looked familiar.
I’m sure it’s a coincidence. I just find it humorous to see that considering the lawsuit saying that this song ripped off, to one extent or another, the Huey Lewis & The News song I Want A New Drug. The scene above is from the video that helped kick off their career on MTV and set the tone for their future videos since it was such a success despite being ridiculous. Is the riff in You Crack Me Up…
sound like the same riff from Johnny And Mary by Robert Palmer?
Or is it just me?
What a feeling. Thanks for making that one easy, Irene Cara.
Something tells me that Cindy Harrell was hired by someone who saw the movie Model Behavior (1982), which she was in.
From what I’ve read, they just showed up on the set of a movie Candy was shooting to try and get him to make this cameo appearance.
Ray Parker Jr. rising from the top of the stairs like he’s Michael Myers come to kill her. Why?
Or at least scare her. It’s probably a reference to Gozer.
Melissa Gilbert. I have no idea what she’s doing here. I’ve only seen an episode or two of Little House On The Prairie, so I guess there could have been some episodes with ghosts. Some of these cameos feel like they happened because the celebrities were involved with NBC.
Speaking of cameos I can’t explain, it’s former baseball player Ollie Brown.
I do like that for the majority of the shot it looks like she should be falling over but isn’t.
More people that Parker can summon for some reason.
Don’t worry about them.
Pose for the featured image of this post.
Is it 555-5555…
or 555-2368 as you showed earlier?
George Wendt apparently got in trouble with the Screen Actors Guild for his appearance in this video. I’ll link to the article with that information at the end.
Senator Al Franken.
Now we get a series of confusing cameos.
Danny DeVito. I think this is only the second music video he has ever been in. The other one was for the song Billy Ocean did for The Jewel Of The Nile (1985).
Carly Simon for some reason. She would go on to do the theme song to Working Girl (1988) with Sigourney Weaver. Maybe they were friends. I don’t know.
Umm…one more thing. Have you tried calling the Ghostbusters? No clue as to why Peter Falk is here.
The breakdancing was improvised. So was Parker Jr. pushing Bill Murray around.
I think Teri Garr has one of the best cameos.
Don’t swallow that cigarette, Chevy.
Fun fact: In European and other non-US markets, the “no” sign was flipped.
If you want to read some more information about the video, then follow this link over to ScreenCrush where they have a write-up on the video with information from people who worked on the video.
According to mvdbase, Ivan Reitman directed, Keith Williams wrote the script, Jeff Abelson produced it, Daniel Pearl shot it, and Peter Lippman was the production manager.
If you ever get a chance to watch the literal music video for this, then do so. I doubt it will surface again though seeing as this music video almost didn’t get an official release because of the issues surrounding all the cameos.
From start to end, the 1994 film Ed Wood is a nearly perfect film.
Consider the opening sequence. In glorious black-and-white, we are presented with a house sitting in the middle of a storm. As Howard Shore’s melodramatic and spooky score plays in the background, the camera zooms towards the house. A window flies open to reveal a coffin sitting in the middle of a dark room. A man dressed in a tuxedo (played to snarky and eccentric perfection by Jeffrey Jones) sits up in the coffin. Later, we learn that the man is an infamously inaccurate psychic named Criswell. Criswell greets us and says that we are interested in the unknown. “Can your heart handle the shocking facts of the true story of Edward D. Wood, Jr!?”
As streaks of lightning flash across the sky, the opening credits appear and disappear on the screen. The camera zooms by tombstones featuring the names of the cast. Cheap-looking flying saucers, dangling on string, fly through the night sky. The camera even goes underwater, revealing a giant octopus…
It’s a brilliant opening, especially if you’re already a fan of Ed Wood’s. If you’re familiar with Wood’sfilms, you know that Criswell’s appearance in the coffin is a reference to Orgy of the Dead and that his opening monologue was a tribute to his opening lines from Plan 9 From Outer Space. If you’re already a fan of Ed Wood then you’ll immediately recognize the flying saucers. You’ll look at that octopus and you’ll say, “Bride of the Monster!”
And if you’re not an Ed Wood fan, fear not. The opening credits will pull you in, even if you don’t know the difference between Plan 9 and Plan 10. Between the music and the gorgeous black-and-white, Ed Wood is irresistible from the start.
Those opening credits also announce that we’re about to see an extremely stylized biopic. In the real world, Ed Wood was a screenwriter and director who spent most of his life on the fringes of Hollywood, occasionally working with reputable or, at the very least, well-known actors like Lyle Talbot and Bela Lugosi. He directed a few TV shows. He wrote several scripts and directed a handful of low-budget exploitation films. He also wrote a lot of paperbacks, some of which were semi-pornographic. Most famously, he was a cross-dresser, who served in the army in World War II and was wearing a bra under his uniform when he charged the beaches of Normandy. Apparently, the stories of his love for angora were not exaggerated. Sadly, Wood was also an alcoholic who drank himself to death at the age of 54.
Every fan of Ed Wood has seen this picture of him, taken when he first arrived in Hollywood and looked like he had the potential to be a dashing leading man:
What people are less familiar with is how Ed looked after spending two decades on the fringes of the film business:
My point is that the true story of Ed Wood was not necessarily a happy one. However, one wouldn’t know that from watching the film based on his life. As directed by Tim Burton, Johnny Depp plays Ed Wood as being endlessly positive and enthusiastic. When it comes to determination, nothing can stop the film’s Ed Wood. It doesn’t matter what problems may arise during the shooting of any of his films, Wood finds a way to make it work.
A major star dies and leaves behind only a few minutes of usable footage? Just bring in a stand-in. The stand-in looks nothing like the star? Just hide the guy’s face.
Wrestler Tor Johnson (played by wrestler George “The Animal” Steele), accidentally walks into a wall while trying to squeeze through a door? Shrug it off by saying that it adds to the scene. Point out that the character that Tor is playing would probably run into that wall on a regular basis.
Your fake octopus doesn’t work? Just have the actors roll around in the water.
The establishment won’t take you seriously? Then work outside the establishment, with a cast and crew of fellow outcasts.
You’re struggling to raise money for your film? Ask the local Baptist church. Ask a rich poultry rancher. Promise a big star. Promise to include a nuclear explosion. Promise anything just to get the film made.
You’re struggling to maintain your artistic vision? Just go down to a nearby bar and wait for Orson Welles (Vincent D’Onofrio) to show up.
Personally, I’m of the opinion that Ed Wood is Tim Burton’s best film. It’s certainly one of the few Burton films that actually holds up after repeat viewings. Watching the film, it’s obvious that Wood and Burton shared a passionate love for the movies and that Burton related to Wood and his crew of misfits. It’s an unabashedly affectionate film, with none of the condescension that can sometimes be found in Burton’s other film. Burton celebrates not just the hopes and dreams of Ed Wood, Bela Lugosi, Tor Johnson and Criswell but also of all the other members of the Wood stock company, from Vampira (Lisa Marie) to Bunny Breckenridge (Bill Murray), all the way down to Paul Marco (Max Casella) and Loretta King (Juliet Landau). Though Ed Wood may center around the character of Wood and the actor who plays him, it’s a true ensemble piece. Landau won the Oscar but really, the entire cast is brilliant. Along with those already mentioned, Ed Wood features memorable performances from Sarah Jessica Parker and Patricia Arquette (one playing Wood’s girlfriend and the other playing his future wife), G. D. Spradlin (as a minister who ends up producing one of Wood’s films), and Mike Starr (playing a producer who is definitely not a minister).
For me, Ed Wood is defined by a moment very early on in the film. Wood watches some stock footage and talks about how he could make an entire movie out of it. It would start with aliens arriving and “upsetting the buffaloes.” The army is called in. Deep delivers the line with such enthusiasm and with so much positive energy that it’s impossible not get caught up in Wood’s vision. For a few seconds, you think to yourself, “Maybe that could be a good movie…” Of course, you know it wouldn’t be. But you want it to be because Ed wants it to be and Ed is just do damn likable.
As I said before, Ed Wood is a highly stylized film. It focuses on the good parts of the Ed Wood story, like his friendship with Bela Lugosi and his refusal to hide the fact that he’s a cross-dresser who loves angora. The bad parts of his story are left out and I’m glad that they were. Ed Wood is a film that celebrates dreamers and it gives Wood the happy ending that he deserved. The scenes of Plan 9 From Outer Space getting a raptorous reception may not have happened but can you prove that they didn’t?
I suppose now would be the time that most reviewers would reflect on the irony of one of the worst directors of all time being the subject of one of the best films ever made about the movies. However, I’ll save that angle for whenever I get a chance to review The Disaster Artist. Of course, I personally don’t think that Ed Wood was the worst director of all time. He made low-budget movies but he did what he could with what he had available. If anything, Ed Wood the film is quite correct to celebrate Ed Wood the director’s determination. Glen or Glenda has moments of audacious surrealism. Lugosi is surprisingly good in Bride of the Monster. As for Plan 9 From Outer Space, what other film has a plot as unapologetically bizarre as the plot of Plan 9? For a few thousand dollars, Wood made a sci-fi epic that it still watched today. Does that sound like something the worst director of all time could do?
Needless to say, Ed Wood is not a horror film but it’s definitely an October film. Much as how Christmas is the perfect time for It’s A Wonderful Life, Halloween is the perfect time for Ed Wood.
Summer is finally here, so what better way to celebrate than with a summer movie starring Bill Murray! Bill had joined the cast of SATURDAY NIGHT LIVE in 1979 (back when it was actually funny) and quickly became a fan favorite with his smarmy, snarky persona and silly characterizations. After the film success of John Belushi, it was only natural for Hollywood to come calling, right? Wrong, bucko… it was Canada that lured Bill for his first starring vehicle, the oh-so-70’s teen comedy MEATBALLS! Yeah, you heard right, ’twas the Great White North that plucked Bill away from being “Live from New York” to a location shoot at good ol’ Camp White Pines in the wilds of Ontario.
Bill’s fellow ‘Second City’ alumnus Harold Ramis (or as he was called in SCTV’s credits, ‘Ha-Harold Ramis’!) was a cowriter of the screenplay, beginning a long string of movie collaborations between the two (STRIPES, CADDYSHACK, GHOSTBUSTERS I…
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At his Colorado ranch, journalist Hunter S. Thompson (Bill Murray) is up against a deadline. He has to finish his story about his friendship with the radical lawyer and activist, Carlo Lazlo (Peter Boyle). Thompson flashes back to the time that he covered a trial in which Lazlo defended a group of young men charged with possession of marijuana. When the men are sent to prison, Lazlo snaps and physically attacks the prosecutor. Later, Lazlo resurfaces during the Super Bowl and tries to convince Thompson to join him in fighting a revolution in Latin America. And finally, in 1972, Lazlo tracks Thompson down while Thompson is traveling with the Nixon campaign.
Bill Murray as the legendary gonzo journalist, Dr. Hunter S. Thompson?
It sounds like a great idea, it’s just too bad that the movie’s not any good. Where The Buffalo Roam may be based on three of Thompson’s best known articles but it never feels gonzo. It never comes close to capturing Thompson’s anarchistic spirit. The real Thompson did drugs by the handful, was fascinated by guns, and always seemed to be on the verge of plunging into the abyss. Where The Buffalo Roam’s Thompson is a mild prankster and an ironically detached hipster, the type who the real Dr. Thompson probably would have kicked out of a moving car. As for Carlo Lazlo, the character is based on Oscar Zeta Acosta, the infamous “Samoan attorney” that Thompson renamed “Dr. Gonzo” in Fear and Loathing In Las Vegas. The movie never figures out what to do with the character or Peter Boyle.
While preparing for the role, Bill Murray spent months hanging out with Thompson and, according to the book, Saturday Night: A Backstage History of Saturday Night Live by Doug Weingard and Jeff Hill, literally became Hunter Thompson for not only the duration of the filming but for several months afterward:
“In a classic case of the role overtaking the actor, Billy returned that fall to Saturday Night so immersed in playing Hunter Thompson he had virtually become Hunter Thompson, complete with long black cigarette holder, dark glasses, and nasty habits. ‘Billy,’ said one of the writers, echoing several others, ‘was not Bill Murray, he was Hunter Thompson. You couldn’t talk to him without talking to Hunter Thompson.'”
Neither Thompson nor Bill Murray were happy with Where The Buffalo Roam‘s neutered version of gonzo and the film is really for Murray completists only. The closest that Hollywood had gotten to getting Thompson right remains Terry Gilliam’s adaptation of Fear and Loathing in Las Vegas.
If you need any further proof that 2016 is a screwed-up year, just consider the fact that Ghostbusters, an entertaining but ultimately rather mild-mannered and innocuous summer action/comedy, has become the center of one of the biggest controversies of the year.
It all started, of course, when the reboot was first announced. Fanboys reacted with outrage, offended that Hollywood would even consider remaking a film that was apparently one of the defining moments of their childhood. Then, it was announced that Ghostbusters would feature an all-female cast and it would be directed by Paul Feig, the director of Bridesmaids. The howls of outrage grew even louder. Then that infamous trailer was released and even I felt that trailer sucked. I wasn not alone because the trailer quickly became one of the most disliked videos in the history of YouTube. Reading the comments underneath that trailer was literally like finding yourself trapped in a production of Marat/Sade.
Suddenly, in the eyes of very vocal group of internet trolls, the reboot of Ghostbusters went from being simply another dubious idea to being a crime against humanity. And the trolls were so obnoxious that they managed to turn this big-budget, studio-backed production into an underdog. Here was a movie directed by one of Hollywood’s biggest directors and starring some of Hollywood’s hottest stars and suddenly, it had become David in a biblical showdown with the Goliaths of internet.
And then it happened. Earlier last week, Ghostbusters was finally screened for critics. The first reviews started to come in and they were surprisingly positive. In fact, they were so positive that I found myself distrusting them. I found myself wondering if critics were reacting to the film or if they were simply trying to prove that they were better than the trolls who leave obscene comments on YouTube.
Which was true, I wondered. Was Ghostbusters the worst film ever made or was it the greatest? Or was it perhaps just possible that Ghostbusters would turn out to be a typical summer film?
With all the controversy, it’s tempting to overpraise a film like Ghostbusters. Battle lines have been drawn and sometimes, I feel as if I’m being told that failing to declare Ghostbusters to be the greatest and most important comedy of all time is the equivalent of letting the trolls win.
Well, that’s not true. Ghostbusters is not the greatest or the most important comedy of all time but you know what? Ghostbusters is good. Ghostbusters is entertaining. Especially during the first half, it’s full of laugh out loud moments. At times, Ghostbusters is everything that you could hope for.
No, it’s not a perfect film. Paul Feig is a great comedy director but, in this film at least, his direction of the big action sequences often feels uninspired (especially when compared to his previous work on Spy). The final fourth of the film gets bogged down in CGI and the film goes from being a clever comedy to being just another summer spectacle. Even the one-liners, which flowed so naturally at the start of the film, feel forced during the final half of the film. Ghostbusters is good but it never quite becomes great.
Here’s what did work: the cast. As he previously proved with Bridesmaids, Paul Feig is a director who is uniquely skilled at creating and showcasing a strong comedic ensemble. Kristen Wiig plays Erin Gilbert, who is denied tenure at Columbia when it is discovered that a book she wrote on the paranormal has been republished and is being sold, on Amazon, by her former best friend, Dr. Abby Yates (Melissa McCarthy). When Erin goes to confront Abby, she not only meets Abby’s newest colleague, Dr. Jillian Holtzmann (Kate McKinnon) but she also gets dragged into investigating an actual case of paranormal activity.. Soon, Erin, Abby, and Holtzmann are investigating hauntings and capturing ghosts, all with the secret approval of the Mayor of New York (Andy Garcia). Of course, for PR reasons, the mayor’s office has to continually disavow the Ghostbusters and occasionally have them arrested. Working alongside the three scientists are Patty (Leslie Jones), who apparently knows the history of every building in New York, and Kevin (Chris Hemsworth), their adorably stupid receptionist.
As written, both Patty and Kevin are fairly thin characters. Kevin’s the handsome dumb guy. Patty is streetwise and sassy. But both Hemsworth and Jones give such enthusiastic and sincere performances that they transcend the stereotypical nature of their roles. At times, Kevin runs the risk of becoming too cartoonish for even a Ghostbusters film. But if you can’t laugh at Chris Hemsworth explaining that he took the lenses out of his glasses because they were always getting dirty, what can you laugh at?
Erin is an interesting character and Kristen Wiig deserves a lot of credit for her performance. Erin is actually given a fairly affecting backstory, centering around how she was haunted by the ghost of the old woman who used to live next door to her. Erin is a former believer, someone who, in order to succeed in the “real” world, gave up her beliefs and conformed to the expectations of society. When she actually meets a ghost, it’s more than just a confirmation of the supernatural. It’s a chance for Erin to finally embrace who she truly is and what she truly cares about. When she and the other ghostbusters chase after evil spirits, Erin is not just doing a job. Instead, she’s finally found somewhere where she belongs. She no longer has to pretend to be someone that she isn’t. Wiig plays the role with just the right touch of neurotic wonder. She grounds the entire film.
But the true star of the film is Kate McKinnon. Whether she’s cheerfully smiling as a ghost vomits all over her colleagues or cheerfully explaining how easily their equipment could kill them all, Holtzmann is the greatest character in the film and McKinnon gives the best performance. If Wiig grounds the film, McKinnon provides it with a truly demented soul.
The first half of the movie, which focuses on the relationships between the characters and features snappy and endlessly quotable dialogue, is wonderful and I was thrilled while watching it, convinced that the entire movie would be as good as the first hour. However, the second half of the film gets bogged down in a rather predictable plot and the final action sequences could have just as easily been lifted from Pixels or one of The Avengers movies. The surviving cast of the original Ghostbusters all show up in cameos that are, at best, inoffensive and, at worst, groan-worthy. The end result is rather uneven. If the film had maintained the momentum of that first hour, it would be a classic. But that second half transforms it into just another entertaining but not quite memorable summer action film.
That said, Paul Feig is an excellent comedy director and let’s hope that he never gets so self-important that he ends up turning into Jay Roach. Hopefully, if there is a sequel, Feig will return to direct it and Kate McKinnon will have an even bigger role.
I always wanted to be Egon Spengler.
I can not remember how old I was when I first saw the original Ghostbusters but I know I was young enough that “Gatekeeper” and “Keymaster” went over my head. But I do remember that Ghostbusters was one of my favorite movies from the first time I saw it and that Egon Spengler (played by the much missed Harold Ramis) was always my favorite character.
I know that, for most people, Peter Venkmen (Bill Murray) is their favorite. It is true that Peter got the best lines and Sigourney Weaver. But I always wanted to be Egon. Egon was the one who knew everything. He knew how to track down and capture ghosts. He knew that the only way to defeat Gozer was to cross streams. No matter what happened, Egon was never surprised or scared. Egon always knew what to do. Egon did not get Sigourney Weaver but he did get Annie Potts.
Dan Aykroyd’s Ray Stantz never gets as much attention as either Peter or Egon, even though, without Aykroyd, there never would have been a Ghostbusters. Aykroyd originally envisioned Ghostbusters as being a sci-fi epic that would be a vehicle for him and John Belushi. After Belushi died, Aykroyd and Harold Ramis rewrote the script and scaled back the story. Bill Murray took the role that would have been played by Belushi and the famous ghost, Slimer, was created as a tribute to their fallen friend.
As for Ernie Hudson’s Winston Zeddemore, his role was much larger in the original script. But with each rewrite, Winston’s role got smaller and Peter’s role got larger. Winston’s role is still important because he is the ghostbuster who stands in for the audience. He is not a skeptic like Peter but he’s not a true believer like Ray and Egon. Winston just wants a steady paycheck.
I remember loving the original Ghostbusters when I was a kid but a new Ghostbusters is being released today and I have read that some people think that it is going to destroy my childhood. Since the lovely Lisa Marie Bowman and I are planning on seeing the new Ghostbusters tonight, we rewatched the original on Wednesday. In case my childhood was on the verge of being destroyed, I needed to enjoy it one final time.
32 years after it was first released, the original Ghostbusters holds up well. With the exception of Slimer and the Stay Puft Marshmallow Man, the special effects are no longer special but the script is still full of laugh out loud moments, from the opening with Bill Murray testing students for ESP to Rick Moranis asking random New Yorkers if they were the Gatekeeper to “It’s true … this man has no dick” to “when someone ask you if you are a god, you say yes!” Even the song is still catchy.
As I watched the original Ghostbusters, I realized that my childhood was not in danger of being destroyed. I hope the remake is good but even if it is terrible, the original Ghostbusters will always be there and it will always be too good to be forgotten. The original Ghostbusters was both smart and funny enough to survive a bad sequel, which Lisa and I made the mistake of watching after we finished the original and about which we swore to never speak again. Ghostbusters will survive a remake. If the remake is bad, it can be placed in storage with Ghostbusters 2, The Phantom Menace, X-Men: Apocalypse, Gus Van Sant’s Psycho, Batman and Robin, and every other ill-conceived remake, reboot, and sequel of the past 50 years. If the remake is good, it will be continuing a fine legacy of comedy. If a new audience enjoys the remake as much as we enjoyed the original, who are any of us to begrudge them that pleasure?
Whether the remake is good or bad, I’m not worried.
My childhood is going to be fine and so is everyone else’s.
Or, at least, it will be until dogs and cats start to live together…