Retro Television Reviews: A Great American Tragedy (dir by J. Lee Thompson)


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 1972’s A Great American Tragedy!  It  can be viewed on YouTube!

Brad Wilkes (George Kennedy) had a good career, working as an aerospace engineer.  He was able to buy a nice house.  With his wife, Gloria (Vera Miles), he was able to raise a good family.  He was even able to buy a sailboat, one that is the pride of the entire marina.  But then, one day, he’s told that the company is letting him go.

Returning to his home, Brad tells Gloria that he’s lost his job but that everything’s going to be okay because not only does he have a $10,000 pension but he’s sure he can find a new job.  “Of course, I might not be making $35,000 a year….” he says.

(Watching at home, I said, “Pfffft!  I make more than that!”  But, of course, Brad is talking about $35,000 in 1972 money, which would be the equivalent of a quarter of a million today.)

However, Brad soon discovers that getting a new job will not be as easy as he assumed.  It turns out that there are a lot of people out there looking for work and most of them are younger, cheaper, and better educated than Brad.  The bills start to pile up.  His former boss (Robert Mandan) informs Brad that his pension is going to be $7,000 less than he thought.  Brad forces himself to go down to the unemployment office so that he can collect $25 a week and then suffers the humiliation of being offered a loan by his well-meaning son-in-law (played by a youngish James Woods).  Gloria gets a job at the same clothing store where she used to shop and her lecherous boss (Kevin McCarthy) starts to hit on her.

For Brad, the final humiliation comes when he has to sell the boat.  A younger boat owner (Tony Dow, with a huge mustache) puts Brad in contact with a woman named Paula (Natalie Trundy).  Paula wants to buy the boat and, after they take it out on the water, Brad finds himself tempted to cheat on his wife.  It all gets to be too much for Brad and soon, he’s on a plane to Nevada where hopefully one good night at the craps table will be enough to pay his bills….

Watching this film, I found myself feeling very sorry for Brad while, at the same time, becoming very frustrated with him.  On the one hand, his company tossed him out after years of loyal service and then tried to screw him out of his pension.  On the other hand, Brad spent almost the entire movie in denial about how bad things actually were.  It’s one thing to be proud and it’s another to just be stubborn.  Knowing that he has next to no money, Brad still insists on throwing his annual 4th of July party and he even invites his former boss to come over and celebrate.  Brad simply cannot bring himself to admit that his old life is over but really, who can blame him?  He’s not the one who chose to be fired.

A Great American Tragedy was directed by J. Lee Thompson, who also did Cape Fear, The Guns of Navarone, the Planet of the Apes sequels, and several Charles Bronson films.  There are no fight scenes to be found in A Great American Tragedy but Thompson does get good performances from his cast and the film makes great use of George Kennedy’s likability.  The viewer remains sympathetic to Brad, even when he makes mistake after mistake.  A film about a formerly secure family suddenly discovering just how much the economy sucks, A Great American Tragedy remains just as a relevant today as when it was first made.

Live Tweet Alert: Watch The Town That Dreaded Sundown 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 1976’s The Town That Dreaded Sundown!  Who was Texarkana’s Phantom Killer!?  Join us to investigate the mystery!

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.

Live Tweet Alert: Join #FridayNightFlix for I’m Gonna Git You Sucka!


 

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 has got the 1988 comedy, I’m Gonna Git You Sucka!

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.

I’m Gonna Git You Sucka! is available on Prime!  See you there!

Here’s The Trailer for Bradley Cooper’s Maestro!


Yesterday, the trailer for Bradley Cooper’s upcoming Maestro dropped.

In this Netflix film, Cooper plays Leonard Bernstein and Carey Mulligan plays his wife.  Ever since this project was first announced, it’s been promoted as a potential Oscar nominee and the trailer certainly has that awards bait feel.  The trailer also indicates that, as far as biopics are concerned, this is going to be something of a niche picture.  There’s nothing wrong with that, of course.  I would watch Bradley Cooper and Carey Mulligan in just about anything.

4 Shots From 4 Films: Special Nicolas Roeg Edition


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 would have been the 95th birthday of the great and enigmatic director, Nicolas Roeg.  As both a cinematographer and a director, Roeg was responsible for some of the most visually striking films ever made.  Today, we honor his legacy with….

4 Shots From 4 Nicolas Roeg Films

Walkabout (1971, dir by Nicolas Roeg, DP: Nicolas Roeg)

Don’t Look Now (1973, dir by Nicolas Roeg, DP: Anthony Richmond)

The Man Who Fell To Earth (1976, dir by Nicholas Roeg, DP: Anthony Richmond)

Insignificance (1985, dir by Nicolas Roeg, DP: Peter Hannan)

Monday Live Tweet Alert: Join Us For April Rain and Death Wish V!


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 2014’s April Rain 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 1994’s Death Wish V!  The film is 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 April Rain on YouTube, start the movie at 8 pm et, and use the #MondayActionMovie hashtag!  Then, at 10 pm et, switch over to Twitter and Prime, start Death Wish V, and use the #MondayMuggers hashtag!  The live tweet community is a friendly group and welcoming of newcomers so don’t be shy.   

Scene That I Love: Steve Martin Reveals What He Needs In The Jerk


Today, the Shattered Lens wishes actor and comedian Steve Martin a happy 77th birthday.  Originally from Texas, Martin has been a cultural mainstay for longer than I’ve been alive.  He’s an adept banjo player and an occasional actor, equally skilled at both comedy and drama.

Today’s scene that I love comes from 1979’s The Jerk, in which Steve Martin reveals all that he needs.

4 Shots From 4 Films: Special Wim Wenders Edition


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, the Shattered Lens wishes a happy 78th birthday to the great German director, Wim Wenders!  It’s time for….

4 Shots From 4 Wim Wenders Films

The American Friend (1976, dir by Wim Wenders, DP: Robby Muller)

Paris, Texas (1984, dir by Wim Wenders, DP: Robby Muller)

Wings of Desire (1987, dir by Wim Wenders, DP: Robby Muller)

Until the End of the World (1991, dir by Wim Wenders, DP: Robby Muller)

Retro Television Reviews: Houston, We’ve Got A Problem (dir by Lawrence Doheny)


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 Houston, We’ve Got A Problem!  It  can be viewed on YouTube!

The year is 1970 and Apollo 13 is the latest manned NASA mission into space.  The head of the mission of Jim Lovell and the destination is the Moon.  Unfortunately, the American public has gotten so used to the idea of men going to the Moon that hardly anyone is paying attention to Apollo 13.  That changes when Lovell contacts mission control in Houston and utters those famous words, “Houston …. we’ve had a problem.”  An oxygen tank has exploded, crippling the spacecraft and leaving the three men in danger.  If Houston can’t figure out how to bring them home, Apollo 13 could turn into an orbiting tomb.

Yes, this film tells the story of the same crisis that Ron Howard recreated in Apollo 13.  The difference between Houston, We’ve Got A Problem and Apollo 13 (beyond the fact that one was a big budget Hollywood production and the other a low-budget made-for-TV movie), is that Apollo 13 largely focused on the men trapped in space while Houston, We’ve Got A Problem is totally Earthbound.  In fact, Jim Lovell does not even appear in the ’74 film, though his voice is heard.  (The film features the actual communications between the crew and Mission Control.)  Instead, the entire film follows the men on the ground as, under the leadership of Gene Kranz (Ed Nelson), they try to figure out how to bring the crew of Apollo 13 home.  Houston, We’ve Got A Problem is a far more low-key film than Apollo 13, one that features narration from Eli Wallach to give it an effective documentary feel but one that also lacks the moments of wit and emotion that distinguished Apollo 13.  

NASA cooperated with the making of the film and it works best when it focuses on the men brainstorming on how to solve the biggest crisis that the American space program had ever faced to that date.  The film is less effective when it tries to portray the effects of the men’s work on their home lives.  Sandra Dee is wasted as the wife who can’t understand why her engineer husband (reliably bland Gary Collins) can’t spend more time at home.  Clu Gulager plays the guy who fears he’s missing out on time with his son.  Robert Culp plays the man with a heart condition who places his hand over his chest whenever anything stressful happens.  Steve Franken has to choose between his religious obligations and his obligation to NASA.  The melodrama of those fictional moments are awkwardly mixed with the based-in-fact moments of everyone calmly and rationally discussing the best way to save the crew.  Jim Lovell, as a matter of fact, complained that Houston, We’ve Got A Problem did a disservice to the flight controllers by presenting them all as being hopelessly inept in their lives outside of mission control.  (Lovell was reportedly much happier with Apollo 13.)

Because it features the actual conversations between the crew and Mission Control, Houston, We’ve Got A Problem is interesting as a historical document but it never escapes the shadow of Ron Howard’s better-known film.