Blast From The Past: Warren G. Harding Is Sworn In As Our Greatest President


Happy Presidents Day!

Since today is Presidents Day, I wanted to take a moment to acknowledge and honor my favorite president, Warren G. Harding of Ohio.  The former newspaper editor-turned-Senator was elected in 1920, by one of the largest landslides in American history.  (Interestingly enough, his opponent was another newspaper man from Ohio, James Cox.)  Harding was elected on a platform that promised a “return to normalcy” after the authoritarian excesses of Woodrow Wilson.  He was the first president to be elected in a national election in which all states allowed women to vote and he overwhelmingly won their vote.  A politician who remembered his friends and who had little trouble entertaining his constituents in his office, Warren Harding epitomized everything that was fun about the early 1920s.

And we have actual newsreel footage of Warren Harding’s inauguration!  For today’s blast of the past, here is newsreel footage of my favorite President renewing America’s greatness.  This footage is over 100 years old and, in all seriousness, it shows why film is so important.  The video below is not just a short movie of someone taking the oath of office in Washington, D.C.  Instead, it’s a portal into the past.  At a time when history itself is often altered to fit whatever the current narrative may be, it’s good that we can still see things for ourselves.

Monday Live Tweet Alert: Join Us For Smokey Bites The Dust and Along Came A Spider!


As some of our regular readers undoubtedly know, I am involved in hosting a few weekly live tweets on twitter and occasionally Mastodon.  I host #FridayNightFlix every Friday, I co-host #ScarySocial on Saturday, and I am one of the five hosts of Mastodon’s #MondayActionMovie!  Every week, we get together.  We watch a movie.  We snark our way through it.

Tonight, for #MondayActionMovie, the film will be 1981’s Smokey Bites The Dust! I picked it so you know it’ll be good.

Following #MondayActionMovie, Brad and Sierra will be hosting the #MondayMuggers live tweet.  We will be watching Morgan Freeman in 2001’s Along Came A Spider!  This film is also available on Prime!

It should make for a night of fun viewing and I invite all of you to join in.  If you want to join the live tweets, just hop onto Mastodon, pull up Smokey Bites The Dust on YouTube, start the movie at 8 pm et, and use the #MondayActionMovie hashtag!  Then, at 10 pm et, switch over to Twitter, start Along Came A Spider, and use the #MondayMuggers hashtag!  The live tweet community is a friendly group and welcoming of newcomers so don’t be shy.   

4 Shots From 4 Films: Special John Frankenheimer Edition


4 Shots From 4 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!

John Frankenheimer was born 94 years ago today, in New York City.  He got his start working in live television and went on to become one of the best directors of thrillers around.  After getting off to a strong start in the 60s, directing several classic films (many of which had a political subtext), Frankenheimer struggled in the 70s (though even that decade saw him directing the classic Black Sunday) before making a comeback in the 90s.  (1998’s Ronin is regularly cited as having one of the best car chases ever captured on film.)  He was also one of the first film directors to make the transition to regularly working for cable channels like TNT and HBO.  Indeed, the films that he made for HBO played no small part in establishing HBO’s reputation as being a “prestige” network.

It’s time for….

4 Shots From 4 John Frankenheimer Films

The Manchurian Candidate (1962, dir by John Frankenheimer, DP: Lionel Lindon)

Seconds (1966, dir by John Frankenheimer, DP: James Wong Howe)

Black Sunday (1977, dir by John Frankenheimer, DP: John A. Alonzo)

52 Pick-Up (dir by John Frankenheimer, DP: Jost Vacano)

Song of the Day: Wand’rin Star, sung by Lee Marvin


Continuing our tribute to Lee Marvin on what would have been his 100th birthday, our song of the day is a reminder that Lee Marvin was not just a tough guy actor.

He was also a singer who had a number one single in the UK and Ireland with this song from 1969’s Paint Your Wagon!  The same two weeks that Lee Marvin had the number one spot, The Beatles had the number two spot with Let It Be.

Scenes That I Love: Lee Marvin on Point Blank


100 years ago today, Lee Marvin was born in New York City.  One of the great screen tough guys, Lee Marvin played stoic and determined men who you didn’t want to upset.

That was certainly true of his role as Walker in 1967’s Point Blank.  A thief who was double crossed by his partner and the organization to which his partner was in debt, Walker is determined to get back the money that he stole from someone else.  Relentlessly, Walker moves from one mob boss to another and repeatedly, those bosses make the mistake of thinking that they can double cross him again.

Point Blank (1967, directed by John Boorman)

In this scene, which was reportedly considered to be shockingly violent by 1967 standards, Carter (Lloyd Bochner) attempts to fool Walker, just to discover that Walker is smarter and far more ruthless than anyone realizes.

14 Days of Paranoia #3: The Passover Plot (dir by Michael Campus)


First released in 1976 and based on a book that had come out ten years previously, The Passover Plot is a film that asks, “What if Jesus was a political revolutionary who faked his own death?”

Even when the film was first released, that wasn’t a particularly novel or new theory.  Ever since the Crucifixion, there have been conspiracy theorists who have claimed that the entire thing was staged.  Indeed, the early days of the Church were defined by conflicts between different sects debating the true nature of Jesus, with those who believed that he was the son of God and that he had risen from the dead eventually winning out over sects who claimed that Jesus was not divine or that he had actually escaped from the Romans and was instead hiding out in Egypt or even on the island that would eventually become known as Britain.  (The fact that so many Gnostics and other heretics were executed by the Church and their texts suppressed only served to lend them credibility with future theorists.)  Still, every few decades, some new book or film will claim that Jesus faked his death or married Mary Magdalene and gullible people will act as if this is somehow a new argument.  It’s been over 20 years since all of that Da Vinci Code nonsense convinced bored suburbanites across America that they could be experts on both boxed wine and historical conspiracy theories.  We’re about due for a new version of the old story.

As for The Passover Plot, it features Zalman King as Yeshua of Nazareth, an angry young man who dreams of the day when Judea will be free of the Romans.  Having a knowledge of the prophecies of a messiah and also knowing that he is descended from King David, Yeshua specifically patterns his life after the prophecies and presents himself as being not just another revolutionary but instead as being sent by God.  However, he is also aware that it will be necessary for him to “die” and “rise from the dead,” so he goes out of his way to force the hand of Pontius Pilate (Donald Pleasence).  Having seen plenty of crucifixions when younger, Yeshua arranges for the local revolutionaries to drug him so that he’ll appear to be dead.  When he later wakes up, everyone will believe that he has returned from the dead.  The film ends with several title cards, all arguing that the Gospels were written long after Yeshua’s death (“Mark lived in Italy!” one title card proclaims with almost comical indignation) and were subsequently rewritten by “unknown” hands.

The Passover Plot is a weird combination of biblical epic and conspiracy thriller.  Scenes of Yeshua preaching feel as if they could have come from any traditional Biblical epic but they are awkwardly placed with scenes of Yeshua having secret, melodramatic meetings with various conspirators.  It would make for an interesting contrast if not for the fact that the film itself is so slowly paced and boring.  Zalman King, who is best-known for his subsequent career as a softcore filmmaker, spends a lot of time yelling and smoldering intensely but he still doesn’t have the charisma or screen presence necessary to be convincing in the role.  In the scene were he’s meant to be passionate, he shrieks with such abandon that he makes Ted Neeley’s performance in Jesus Christ Superstar feel restrained.  This film asks us to believe that people would not only abandon their previous lives to follow Yeshua but that they would also take part in an elaborate conspiracy that could have gone wrong at any time.  For that to be believable, Yeshua needs to be played by someone who doesn’t come across like the drama student that everyone dreads having to do a scene with.  Far more impressive is Donald Pleasence, whose portrayal of a ruthless and unfeeling Pilate is a marked contrast to some of the more sympathetic interpretations of the character that tend turn up in the movies.

On the plus side, the film does look good.  It was shot on location in Israel and there is a certain authenticity to the film’s recreation of the ancient world.  Along with Pleasence, character actors like Scott Wilson (as Judas!) and Dan Hedaya get a chance to shine.  But otherwise, The Passover Plot is too slowly paced and kooky for its own good.  Conspiracy theorists never seem to understand that the more elaborate a conspiracy theory becomes, the less convincing it is to anyone who isn’t already a true believer.  In the end, how one feels about the film’s conclusions will probably be connected to how one already views Jesus and the Church.  The Passover Plot is not a film that’s going to convince anyone who wasn’t already convinced.

14 Days of Paranoia:

  1. Fast Money (1996)
  2. Deep Throat II (1974)

Retro Television Reviews: Live Again, Die Again (dir by Richard A. Colla)


Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past!  On Sundays, I will be reviewing the made-for-television movies that used to be a primetime mainstay.  Today’s film is 1974’s Live Again, Die Again!  It  can be viewed on YouTube.

30 years ago, Caroline Carmichael (Donna Mills) died.

Except, she really didn’t.  Instead, when on the verge of death, she was put into cryogenic suspension.  She has spent the last three decades in suspended animation and, as a result, she has not aged in all that time.  In fact, her hair still looks perfect.  (I have some doubts about the scientific validity of any of this but let’s just go with it.)  As this movie begins, Caroline Carmichael finally wakes up.

Caroline has an entirely new world to discover.  At a party to celebrate her awakening, Caroline is shocked to discover that, while she still appears to be young, all of her friends are now in their 60s. Her husband, Thomas (Walter Pidgeon), is now old and sickly.  Her beautiful home is now looked after by a strict and suspicious housekeeper (Geraldine Page).    Her two children (played by Mike Farrell and Vera Miles) both appear to be older than her.  In fact, her daughter was so traumatized by Caroline’s “death,” that she is now terrified of being left alone with her mother.

You might expect that this film would be dedicated to Caroline adjusting to the world of the 70s and that it might feature some thoughts on whether it’s ethical to keep someone in suspended animation for 30 years.  And there are elements of that.  Caroline is amazed by all the tall buildings.  Her daughter’s reaction to Caroline’s return is hardly heart-warming and even Caroline’s whiny son doesn’t seem to be quite as happy about it as one might expect.  Her husband has spent the last 30 years of his life waiting for Caroline to wake up and it’s hard not to consider how many opportunities for happiness or success that he missed as a result.

That said, the film itself quickly becomes more of a gothic murder mystery, as Caroline comes to realize that someone is trying to kill her.  That’s kind of a shame because I actually found all of the cryogenic stuff to be much more interesting and the idea that one could basically just stop aging for 30 years was an intriguing one.  It’s an interesting question.  If it could save your life at some undetermined point in the future, would you be frozen?  Myself, I think I would be reluctant to do so because you never know what type of world you might wake up in.  Caroline is lucky enough to wake up wealthy in the 70s but what if you woke up and discovered that your entire family had died while you were in your coma?  What if you woke up and discovered that your country had become some sort of socialist Hellhole?  Imagine if someone went into hibernation in 1994 and then woke up in 2024?  They would probably want to go back to sleep.

The film was written Joseph Stefano, who also did the script for Psycho and was one of the producers behind The Outer Limits.  Not surprisingly, the script is full of snappy dialogue and the cast features two Psycho cast members, Vera Miles and Lurene Tuttle.  Director Richard Colla keeps the action moving and, early on in the film, he does a good job of depicting Caroline’s disorientation with finding herself in an entirely new world.  The film is well-acted by the entire cast, with Donna Mills especially doing a good job as Caroline.  This was an intelligent, well-made, and — most importantly — short made-for-TV movie.  At a time when almost all movies and TV shows seem to be too long for their own good, it’s hard not appreciate Live Again, Die Again‘s 73-minute runtime.

14 Days of Paranoia #2: Deep Throat Part II (dir by Joseph Sarno)


First released in 1974, Deep Throat II (also known as Linda Lovelace, Secret Agent) is the R-rated sequel the legendary X-rated film, Deep Throat.  I should, at this point, confess that I have never seen Deep Throat, though I have seen the 2005 documentary about the making of the film and its subsequent cultural impact, Inside Deep Throat.  I’ve also read Legs McNeil’s oral history of the adult film industry, The Other Hollywood.  Perhaps most importantly, I’ve watched Boogie Nights a dozen times.

Anyway, Deep Throat II….

The star of the original film, Linda Lovelace, returns as …. Linda Lovelace!  Linda is working as a nurse for a perpetually turned-on sex therapist (Harry Reems) who, when told that he got laid just last night, whines, “Last night was a long time ago!”  Among the therapist’s patients is nerdy Dilbert Lamb (Levi Richards), who is obsessed with black lingerie and his aunt, Juliet.  Dilbert has built a giant super computer named Oscar.  In its electronic voice, Oscar says stuff like, “Why do you want to talk to me, baby?”

The plot is not particularly easy to follow but, as far as I could tell, the head of the CIA (played by adult film vet Jamie Gillis) is concerned that Dilbert has been compromised by either the Russians or by a bunch of do-gooder activists led by a Ralph Nader-style journalist named Kenneth Whacker (David Davidson).  (The journalist’s followers call themselves Whacker’s Attackers.)  The decision is made to recruit Linda Lovelace to investigate because Lovelace apparently has a mysterious technique that she can use to get men to tell her anything.

When Linda is first approached by the CIA, she thinks that she is being drafted into the Army so that she can fight in Vietnam.  “But I have asthma and I need new reading glasses!” she says.  Hey, me too!  Anyway, Linda is relieved to discover that she will not being going to Vietnam and that her new codename is Agent — wait for it — 0069.  (Just in case you were wondering what the level of humor was in this particular film….)

Despite the film’s cast of veteran adult performers and the fact that it’s a sequel to the movie that some people went to jail for transporting across state lines, Deep Throat II is an incredibly tame movie.  The film is edited so haphazardly that it feels as if at least half of it was left on the cutting room floor.  At first, I assumed that I was watching a heavily edited version of the original film but a few minutes of research online revealed that I was watching the original.  (Apparently, director Joe Sarno directed the film so that more explicit scenes could be directed by another filmmaker and inserted into the action but, for whatever reason, those scenes were never filmed.  Sarno was usually one of the more aesthetically interesting and thematically daring of the directors working in the adult film industry.  You would not necessarily know that from his work on this film.)  The actors struggle to keep a straight face while delivering their lines, Harry Reems enthusiastically jumps up and down in almost every scene in which he appears, and Linda Lovelace seems to be trying really hard but she just has a blah screen presence.  Unlike Marilyn Chambers in Rabid or Sasha Grey in The Girlfriend Experience, Linda Lovelace does not come across as having been a particularly good actress.

That said, there is one interesting aspect to Deep Throat II.  Kenneth Hacker worries that Oscar could become smarter than the human being who programmed it and that the computer’s creation could be the first step to the creation of a permanent surveillance state, one in which even private thoughts will be used against the citizens of the United States.  In the film, everyone laughs him off.  50 years later, it no longer sounds that fanciful.

14 Days of Paranoia:

  1. Fast Money (1996)

Live Tweet Alert: Watch Harpoon With #ScarySocial!


As some of our regular readers undoubtedly know, I am involved in a few weekly live tweets on twitter.  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, for #ScarySocial, I will be hosting 2019’s Harpoon!

If you want to join us on Saturday night, just hop onto twitter, start the film at 9 pm et, and use the #ScarySocial hashtag!  The film is available on Prime!  I’ll be there co-hosting and I imagine some other members of the TSL Crew will be there as well.  It’s a friendly group and welcoming of newcomers so don’t be shy.

14 Days of Paranoia #1: Fast Money (dir by Alex Wright)


First released in 1996, Fast Money opens with Francesca March (Yancy Butler) stealing a car.

This is what Francesca does for a living.  She steals cars and she’s good at it.  She’s the type of who can look in any trashcan and find something that she can use to pick a lock.  She’s master at hot-wiring a car.  I personally have no idea how to hot-wire a car but, judging from the movies that I’ve seen, it appears to be the easiest thing in the world to do.  Francesca doesn’t just steal cars for the money.  She sincerely enjoys doing it, to the extent that it’s a compulsion for her.  If she sees a car, she has to steal it.

This has not made her popular with the LAPD.  In fact, an entire taskforce has been set up to stop her.  Realizing that she has to get out of town, she rushes to the airport.  It’s there that she runs into Jack Martin (Matt McCoy), a nerdy journalist who is working on a story that could take down a powerful U.S. Senator.  Jack is looking to catch a flight to Reno.  For reasons that aren’t particularly clear, Francesca rushes up to Jack and pretends to be his wife and the recently widowed Jack goes along with it.

Further complicating matters is that Francesca impulsively decides to seal one last car and the one that she picks just happens to have 3 million dollars in mob money and a bunch of counterfeit printing plates in the trunk.  The evil Sir Stewart (Jacob Witkin) wants his money back and he sends Regy (Trevor Goddard) and corrupt detective Lt. Diego (John Ashton) to track down Francesca and Jack.

Soon, Francesca and Jack are desperately trying reach the Mexican border while dodging corrupt cops, FBI agents, and mobsters.  It leads to a lot of car chases, explosions, helicopters, and shoot-outs.  (The otherwise meek Jack turns out to be a surprising good shot.  Neither he nor Francesca freaks out after he shoots multiple people, which is the sort of thing that I would probably freak out about.)  Francesca and Jack also find themselves falling in love but wondering just how much they can trust each other.  Stolen money does that to people.

Fast Money is a cheerfully dumb but entertainingly fast-paced movie, one in which the chase never stops long enough for the viewer to have too much time to try to figure out why the ultracool Francesa would be willing risk her freedom for a relationship with someone as whiny as Jack.  Yancy Butler plays Francesca as being so confident and so fearless that it’s hard not to admire her but there’s also no way that she seems like she would ever have much use for someone as meek and repressed as Jack, regardless of how deadly his aim might be.  One gets the feeling that the only thing keeping this couple together is the adrenaline rush of being hunted.  If Jack and Francesca do make it to safety, their relationship will probably be over by the end of the week.

Though Fast Money is ultimately a fun but somewhat generic direct-to-video action film, I appreciated the film’s vision of a world where everyone from the mob to the police to the FBI were basically working together to track down one career criminal and one innocent man.  When even the usually likable John Ashton is trying to murder you in a cheap motel, you know you have reached the other side of the looking glass.  Jack learns what Francesca has always understood, which is that one should be suspicious of authority.  Though it may not have been the film’s intent, Fast Money‘s ultimate message becomes, “Trust no one but yourself.”