Tag Archives: David Selby

The Super Cops (1974, directed by Gordon Parks)

Posted on by Jedadiah Leland

David Greenberg (Ron Liebman) and Robert Hantz (David Selby) are two tough and smart New York City cops who become detectives and play by their own rules.  They make arrests off-duty.  They drive their lieutenants crazy.  They bust drug dealers and prostitutes and single-handedly clean up their police precinct.  They’re the Super Cops and they’re even nicknamed Batman and Robin.  When they throw punches, a graphic “POW” appears on screen with a sound effect.

There’s an old saying about how, when the truth is different from the legend, always print the legend.  That’s certainly the case here.  The real-life David Greenberg went into politics and ended up doing time for mail fraud, insurance fraud, and obstruction of justice.  Robert Hantz was busted for possessing marijuana while he was on vacation in the Bahamas.  The arrest led to a demotion and Hantz quit the force as a result.  The film hints at Greenberg and Hantz’s involvement with the Knapp Commission, which investigated police corruption in the 70s.  (Lisa wrote about it when she reviewed Serpico.)  But the film does not mention that the Knapp Commission suspected that Greenberg and Hantz murdered two drug dealers.

You don’t get any of that with The Super Cops, which tries to mix the grittiness of films like The French Connection, The Seven-Ups, and Serpico with moments of cartoonish comedy and it really doesn’t work.  (Years after The Super Cops was released, Hill Street Blues proved that gritty drama and dark comedy could be mixed but it has to be done just right.)  Ron Liebman overacts while David Selby doesn’t seem to be acting at all.  (Liebman and Selby are both good actors but you wouldn’t know that from this movie.  For Liebman, I suggest checking out his performance in Night Falls On Manhattan.  For Selby, I recommend an overlooked dark comedy called Headless Body in Topless Bar.)  It’s hard to believe that Gordon Parks went from doing Shaft to doing this.  Shaft would have tossed the Super Cops through a window.  Popeye Doyle would have given him an assist.

There is one good thing to note about The Super Cops.  Edgar Wright is a fan of this film and it partially inspired the far superior Hot Fuzz.

 

Horror Film Review: Night of Dark Shadows (dir by Dan Curtis)

Posted on by Lisa Marie Bowman

Since I just reviewed House of Dark Shadows, it only makes sense to now take a look at 1971’s Night of Dark Shadows today!

While Night of Dark Shadows is not a direct sequel to the first film, it is still definitely a part of the same cinematic universe.  There may not be any vampires in this film but it does take place in the same house and it features two members of the family that was decimated over the course of the previous film.  At one point, it’s mentioned that Joan Bennett’s character from House of Dark Shadows died after the first film but no one goes into any details.  I guess a vampire in the family is something that’s simply not discussed amongst polite company.

Night of Dark Shadows deals with Quentin (David Selby) and Tracy Collins (Kate Jackson).  Quentin is an artist who confesses that he wasn’t particularly nice before he married Tracy.  When they move into the Collins mansion, they bring two friends with them, Alex (John Karlen) and Claire (Nancy Barrett.)  Interestingly enough, Karlen and Barrett both played different characters in House of Dark Shadows.  Grayson Hall, who played Dr. Hoffman in House of Dark Shadows, also returns for Night of Dark Shadows.  This time Hall is playing Carlotta Drake, the creepy housekeeper.  (Needless to say, all mansions comes with a creepy housekeeper.)

Soon after everyone moves in, Quentin starts acting strangely.  He becomes obsessed with the painting of a beautiful woman who was named Angelique (Lara Parker) and with the story that Angelique was hanged when it was discovered that she was having an affair with Quentin’s ancestor, Charles.  (For his part, Charles was apparently walled up in the mansion.  That sounds a bit extreme to me but I guess that’s the way they did things in the 19th century.)  Quentin starts to have visions and nightmares involving his ancestor who, it turns out, looked exactly like him!  Meanwhile, Carlotta and the groundskeeper, Gerard (Jim Storm), seem to be determined to make sure that Tracy doesn’t feel welcome in her new home.  It’s almost as if they’re trying to drive everyone but Quentin away from the house.

Night of Dark Shadows is a much more polished film than House of Dark Shadows but it also unfolds at a far more leisurely pace.  It lacks the relentless energy that distinguished House of Dark Shadows.  This wouldn’t be as much of a problem if the plot itself wasn’t so totally predictable.  From the minute that Quentin first sees that portrait of Angelique, you know that he’s going to get possessed and start acting strangely.  There are a few atmospheric scenes but, for the most part, the film just doesn’t grab the viewer’s attention the way that House of Dark Shadows did.

On the plus side, David Selby is properly intense and brooding in the dual roles of Quentin and Charles Collins while Lara Parker does an equally good job as the wonderfully evil Angelique.  Grayson Hall, who tended to go overboard in House of Dark Shadows, gives a much better and far more menacing performance here.  Night of Dark Shadows isn’t a bad film.  It’s just not a particularly memorable one.

A Movie A Day #69: Intersection (1994, directed by Mark Rydell)

Posted on by Jedadiah Leland

This one is just dumb.

Vincent Eastman (Richard Gere) and his wife, Sally (Sharon Stone), own an architectural firm.  Vincent is supposed to be creative and passionate but mostly he’s just Richard Gere in mom jeans.  Sally is a brilliant businesswoman but she is also emotionally repressed to the point of being frigid.  Vincent eventually starts having an affair with a travel writer named Olivia (Lolita Davidovich), who is everything that Sally is not.  Despite Martin Landau telling him that he has to make a decision because, and I quote, “Keep everything under one roof. That’s a basic rule of architecture,” Vincent cannot choose between his hateful wife and his loving mistress.  First he writes a letter to Olivia, telling her that he can not leave his wife.  Then, he sees a little girl who, like Olivia, has curly red hair and he takes that as a sign that he should leave his wife.  He calls Olivia and leaves a gushing message on her machine, telling her that he’s leaving Sally.  But before the letter is sent or the message is heard, Vincent is in a car crash that leaves him in a coma.  As both his wife and his mistress wait outside his hotel room, Vincent has visions of his two lovers swimming by him and struggles to decide who to follow.  Even in a coma, Vincent is an indecisive prick.

Intersection was on HBO while I was sick.  I watched it and it just made me feel worse.  Intersection was made during a weird period of time when Richard Gere was a romantic star and Sharon Stone was trying to prove that she was a serious actress.  Stone lobbied to be cast against type as Sally but she plays the role as so hard and bitchy that there’s never any question as to whether or not Vincent should leave her for Olivia.  Lolitia Davidovich (whatever happened to her?) does what she can with Olivia but the character never has any existence beyond her relationship with Vincent.  As for Richard Gere, when he starts hyperventilating about seeing a little girl who looks like his mistress, you’ll want to report him to social services.

Sadly, Intersection was directed by Mark Rydell and written by Marshall Brickman, two people who did great work before Intersection and have done very little since.