Shattered Politics: Harry’s War (dir by Kieth Merrill)


It’s Tax Day, which means that it’s a good day to remember that the IRS is not your friend.

That can sometimes be hard to forget, with all the talk of making people “pay their fair share” and all the drama that seems to accompany any suggestion that federal bureaucracy should be reduced.  Back in 2003, there was a big story about how the IRS was going to hire 3,000 new employees and it amazed me how the media tried to frame this as being a good thing to which no one could possibly object.  Whenever I turned on the news, I would see government official bragging about how they were going to bring in even more IRS agents to make “the billionaires” pay their fair share.  (They may say “billionaires” but one can be sure that those 3,000 IRS agents weren’t going to anyone near anyone who donated to the right people.)  In the recent election, I was always amused by analysts who were shocked to discover that many voters, especially those were struggling to pay their bills, weren’t enthusiastic about the idea of a supercharged IRS.

The fact of the matter is that people hate the IRS.  The IRS exists to make people’s live difficult.  The IRS exists to take our money away from us, money that we earned but which we are apparently not worthy of keeping.  The IRS is an agency that demands that you do you own taxes but then threatens to throw you in jail if you make a mistake.  When people hear 3,000 new IRS agents, they imagine 3,000 more people looking to take their money and toss them in prison for forgetting to carry the one.  I often think that if the IRS simply sent people a bill every year, people would actually get a lot less upset about having to pay taxes.  I get a property tax bill from the country and I have no problem paying it because it gives me an exact amount.  Instead, the IRS says, “We know how much you owe but we’re not going to tell you.  If you pay too much, you won’t get a refund and if you pay too little, we’ll destroy your life.”

On days like this, watching a film like 1981’s Harry’s War can be a cathartic experience.  The film stars Edward Herrmann (yes, the History channel guy) as Harry, a postman who was raised by Beverly Payne (Geraldine Page), an eccentric woman who collects military memorabilia and whose property is listed as being a church and is therefore tax exempt.  In her will, Beverly has named Harry as her heir.  Arrogant IRS district director Ernie Scelera (David Ogden Stiers) is convinced that Beverly is hiding a fortune from the IRS and he proceeds to harass both her and Harry in court until Beverly drops dead of a heart attack.  Harry inherits Beverly’s property and also her tax bill.  However, Harry has also inherited all of her military stuff and soon, he’s crashing Ernie’s press conference with a tank and then engaging in a lengthy stand-off with the government.  The film is a dramedy and you never really doubt that Harry will somehow triumph (even if his victory is ultimately a symbolic one) but the film still reminds us of how quickly the government will turn on its citizens when it’s being defied and the final few moments bring to mind some of the worst ATF and FBI excesses of the past 30 years.  That said, Harry is quick to point out that he’s not waging war on the government.  He’s waging war on the unelected bureaucrats who have forgotten that civil servants are supposed to work for the people and not against them.  “All that power in one place,” Harry says scornfully about the IRS and it’s hard to deny that he has a point.  It’s hardly a perfect film but, in this day and age, it’s a film that will leave you cheering.

 

 

HONDO – John Wayne takes on Apaches!


John Wayne is just one of those actors I love. He’s made so many great movies. My personal favorites are RIO BRAVO, TRUE GRIT, BIG JAKE, THE SONS OF KATIE ELDER, THE MAN WHO SHOT LIBERTY VALANCE, THE SEARCHERS, THE QUIET MAN, RED RIVER, THE SHEPHERD OF THE HILLS and STAGECOACH. But hell, there are so many great ones not listed above. He just knew how to play tough, honorable, flawed men in his uniquely John Wayne way. When I hit play on a John Wayne film, I know I’m in for a good time. 

The 1953 John Wayne movie HONDO starts with a man and his dog walking through a dusty, rocky landscape on their way towards a pond and a rough looking farmhouse. He’s greeted by a woman and her young son. The man, Hondo Lane (Oscar winner John Wayne), is a scout for the U.S. Cavalry who’s just escaped from Apaches but lost his horse in the process. The woman, Angie Lowe (Oscar winner Geraldine Page), allows Hondo to stay at her ranch to rest and get something to eat. She tells him that her husband is away in the hills chasing wildcats for the day, and he asks her if he can buy a horse to get back to his cavalry post. Hondo ends up having to stay a few days at the ranch in order to break a wild, rambunctious horse before it can be ridden. While there, Hondo learns that Angie doesn’t really know where her husband is, as he left months ago and has never returned. Hondo and Angie share some nice conversation and even a kiss. Before he leaves, he tells her that she’s not safe at her remote ranch. It seems that the U.S. government has broken their treaty with the Apaches and no one is safe in the area. Angie refuses to leave her farm as the Apaches have always treated her well, using her spring for water. Hondo heads back to his post and is barely out of sight when the Apaches show up. Will they scalp Angie and her son, Johnny? Will Angie’s husband ever show back up? Will Hondo come back to the ranch and kiss her again in the moonlight? Will Hondo teach Johnny how to swim by throwing him into the pond? Will Hondo have to save a regiment of pony soldiers and settlers from marauding Apaches? It’s my guess that you probably know the answers to these questions, and that’s part of the fun of watching John Wayne movies. 

It should come as no surprise that I enjoyed HONDO. John Wayne plays a variation of his normal tough, honorable, honest character, and I like that character. Geraldine Page was nominated for her first Oscar for her performance as Angie Lowe. It was the first of eight nominations she would receive in her career. She’s an interesting actress. She’s not conventional at all in this role yet she absolutely nails it. I haven’t watched much of her work so I need to check some more of her stuff out. Ward Bond shows up as fellow cavalry scout Buffalo Baker. It’s always fun to see Wayne and Bond work together. They go together like peas and carrots. Leo Gordon is effectively slimy as the deserter Ed Lowe, and James Arness shows up as cocky young man who’s humbled and then redeems himself through battle. It’s a fine cast that helps in the fun factor. 

It’s not a perfect film, especially by the social standards of 2024, but it’s a fun and entertaining western. I liked it. 

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.

Horror On TV: Ghost Story 1.11 “Touch of Madness” (dir by Robert Day)


On tonight’s episode of Ghost Story, Lynn Loring plays Janet.  Janet has inherited her mother’s house.  (Her mother died in a mental hospital.)  Janet is determined to fix up the house and her cousins (Rip Torn and Geraldine Page) are more than happy to help!  Or are they?

This is a pretty good episode, largely due to the fact that Rip Torn and Geraldine Page play the cousins.  Torn and Page were married at the time and they both appear to be having a blast playing their odd roles.  This episode reminds me a bit of Jess Franco’s A Virgin Among The Living Dead.  It originally aired on December 8th, 1972.

Enjoy!

Growing Pains: YOU’RE A BIG BOY NOW (Warner Brothers 1966)


gary loggins's avatarcracked rear viewer

ybb1

Francis Ford Coppola  was still a UCLA film student when he made YOU’RE A BIG BOY NOW, the 1966 coming of age comedy he used as his MFA thesis. The young Coppola was 27, and had gained experience working for Roger Corman ; indeed, Corman gave him his first break when he hired Coppola to write and direct the horror quickie DEMENTIA 13. But YOU’RE A BIG BOY NOW was his first major studio release, and put him on the map as a talent to keep an eye on.

ybb2

Bernard Chanticleer is a 19 year old nerd with a way-overprotective mother and disinterested, authoritarian father. He works for Dad at a New York City library, and is constantly goofing up on the job. Dad thinks it’s time for Bernard to spread his wings and move on his own, much to Mom’s displeasure. She finds him a room at a house owned by Miss Thing, who’s tenants include conservative…

View original post 450 more words

Victim of Love: Clint Eastwood in THE BEGUILED (Universal 1971)


gary loggins's avatarcracked rear viewer

beguiled1

THE BEGUILED was the third of five collaborations between star Clint Eastwood and director Don Siegel. It’s definitely the most offbeat, a Gothic Western set during the Civil War. Clint plays John McBurney, a wounded, half-dead Yankee found in the woods by one of the girls from Miss Martha’s Seminary for Young Ladies. What unfolds from there is unlike anything the duo ever did before or after, a tale of sexual desire and vengeance that’s one of the most unusual entries in the Western canon.

beguiled2

Clint Eastwood has one of his most unsympathetic roles as McBurney. Although we feel bad about the condition he’s in, we soon realize what an amoral, manipulative scoundrel he is. Flashbacks reveal his lies about his role in the Union Army. Even as he suffers some major “misery” (hint, hint) at the hands of Miss Martha, Clint’s McBurney isn’t a likeable figure. This offbeat casting probably contributed to the…

View original post 394 more words