The Blues Brothers (1980, directed by John Landis)


The Blues Brothers!  They’re on a mission from God.

Jake (John Belushi) and Elwood Blues (Dan Aykroyd) are two Chicago orphans who love the blues and committing crime.  After Jake is paroled from Joliet Prison, he’s picked up by Elwood in an old police car.  Elwood traded the original Bluesmobile for a microphone.  Jake understands, even if he still doesn’t like being seen in a police car.  When they  visit the orphanage where they were raised, Sister Mary Stigmata (Kathleen Freeman) beats them with a ruler and tells them that the orphanage is going to close if she can’t pay a $5,000 tax bill.  Jake and Elwood set out to reform their band, raise $5,000, and save the orphanage.  Jake and Elwood may be two career criminals who never take off their dark glasses but they’re on a mission from God.

Along the way to putting the band together and raising $5,000, Jake and Elwood meet characters played by everyone from James Brown to Ray Charles to Aretha Franklin.  You never know when a big production number might break out.  Jake and Elwood also step on a few toes.  Soon, the Blues Brothers being chased by the police, the national guard, Jake’s parole officer (John Candy), Charles Napier’s country-western band, and a group of Illinois Nazis (led by Henry Gibson).  There’s also a mysterious woman (Carrie Fisher) who wants to kill them.  She has an impressive array of weapons but terrible aim.

The Blues Brothers was the first comedy to be based on a Saturday Night Live bit.  Unlike most other SNL movies, The Blue Brothers develops its plot far beyond what was originally seen on television.  Jake and Elwood get a full backstory and they also get personalities that go beyond the black suits and the dark eyewear. The Blues Brothers features Belushi at his most energetic but it’s also one of the few films to actually know what to do with Dan Aykroyd’s eccentric screen presence.  If Belushi’s Jake is all about earthly pleasures, Aykroyd’s Elwood almost seems like a visitor for another world.  Aykroyd’s performance of the Rawhide theme song is one of the film’s highlight.

The Blues Brothers has its share of funny lines and its famous for the amount of pointless destruction that it manages to fit into its storyline (with the “unnecessary violence” being authorized by the Chicago police to stop the Blues Brothers) but it’s also as surprisingly sincere tribute to the blues.  It’s a movie that can balance Ray Charles shooting at a shoplifter and a massively destructive car chase in a suburban mall with Cab Calloway playfully performing Minnie the Moocher and Aretha Franklin bringing down the house (or diner, as the case may be).  The movie can feature both a jump over an open drawbridge and Steven Spielberg as the clerk at the tax office.  It’s one of the strangest comedies ever made and it features all the excesses that would bring an end to 70s Hollywood but when Jake and Elwood say they’re on a mission from God, you believe them.

 

Retro Television Review: The Love Boat 5.20 and 5.21 “The Musical/My Ex-Mom/The Show Must Go On/The Pest/My Aunt, the Worrier”


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!

It’s time to set sail for adventure, your mind on a new romance.  The Love Boat promises something for everyone so welcome aboard …. it’s love!

Episode 5.20 and 5.21 “The Musical/My Ex-Mom/The Show Must Go On/The Pest/My Aunt, the Worrier”

(Dir by Roger Duchowny, originally aired on February 27th, 1982)

I tried, everyone.  Seriously, I really did try.

This week’s episode was a musical.  It’s not just that the crew of the Love Boat was putting together their first annual crew talent show.  It’s not just that Ethel Merman appeared as Gopher’s mom while Carol Channing played Julie’s aunt and Della Reese played Isaac’s mom while Ann Miller showed up as Doc’s former mother-in-law.  All of that was fine.  The episode was called The Musical and, looking at that guest list, I expected that the majority of this super-sized, two hour musical would feature the crew and their relatives rehearsing.  I was looking forward to it.  I’m a dancer.  Ann Miller’s one of my heroes.  Bring it on!

The problem was that the crew also sang and danced when they weren’t rehearsing.  Every few moments there was a big production number.  Some of them were entertaining.  Again, Ann Miller was there and I love watching her dance.  But most of the production numbers were pretty bad.  It quickly became obvious that the Love Boat crew was not made up of natural-born singers and dancers.  Fred Grandy tried really hard whenever he had to sing and he earnest dedication was charming but otherwise, most of the musical numbers fell flat.  Each number was followed by wild applause but, seeing as how The Love Boat was not shot in front of a live studio audience, it quickly became apparent that the applause — much like the laugh track — was being piped in.  Fake applause just made the whole thing feel …. not right.

I really wanted to like this episode but it just didn’t work for me.  If it had limited the singing and dancing to the talent show, it would have been fun.  But by turning the entire episode into a musical, it just became a bit too much, an experiment that ultimately didn’t work.

Do I sound like a feel guilty for not liking this episode?  Well, I guess I do.  Of all the shows that I review, The Love Boat is frequently my favorite and I really, really wanted to like this episode.  I could tell that the cast was doing their best.  I could tell that they probably had fun shooting this episode.  But, in the end, it just didn’t work.  I wanted it to work but it didn’t.

Oh well.  I applaud the show for experimenting, even if it didn’t quite come together.  Next week will be better!