After meeting a talent agent while spending a night in jail, aspiring singer J.D. (Jesse Turner) and his best friend, The Salt Flat Kid (Dennis Fimple), decide to leave Texas for Nashville. J.D. wants to be a star and the Salt Flat Kid is a ventriloquist who doesn’t go anywhere without his dummy.
On the way to the Grand Old Opry, they pick up two women (Dianne Sherrill and Marcia Barkin), one of whom was engaged to marry the idiot nephew (Gailard Sartain) of Nashville’s Sheriff Leddy (Slim Pickens). The sheriff sets out after the two men, planning on sending them back to Texas.
Despite the title and the subplot about the sheriff searching for his nephew’s former future wife, Smokey and the Good Time Outlaws doesn’t have much in common with Smokey and the Bandit. J.D. has a Burt Reynolds-style mustache but he’s not a bandit. He is just someone who wants to be a star and most of the movie is about him and the Salt Flat Kid tying to make their way onto the stage of the Grand Old Opry. Helping them out is an eccentric woman named Marcie (who is played by Hope Summers, who older viewers will immediately recognize as having been Clara Edwards on The Andy Griffith Show). When J.D. can’t get an audition, it occurs to him to just rush out on stage and start performing.
This film was a dream project for Jesse Turner, who was a real-life country musician. He co-wrote and produced the film, as well as starred in it. Jesse Turner wasn’t much of an actor but he’s surrounded by a good supporting cast. Slim Pickens steals the show as a more menacing version of Buford T. Justice but he’s not in the film nearly enough. Dennis Fimple is likable but appears to be too old to be known as “the Kid.” You can tell this is a movie because no one is creeped out by the Kid’s ventriloquist dummy.
Smokey and the Good Time Outlaws was made for the Southern drive-in circuit and it is good-natured, even if the story is never that interesting. Country music fans of a certain age will appreciate it.
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 Death Sentence! It can be viewed on YouTube!
There’s been a murder!
A young woman has been strangled in her own home. The nosy neighbor (Hope Summers) testifies that the woman often argued with her woman and that she heard the woman yelling on the night of the murder. The husband, John Healy (Nick Nolte), is found in a neighborhood bar and, when he’s brought back to his house, his drunken reaction to seeing his dead wife doesn’t do much to keep him from looking totally guilty.
However, the viewer knows that John is innocent because the viewer has already seen that the woman was murdered by Don Davies (Laurence Luckinbill), the man with whom she was having an affair. She demanded that he leave his wife for her and Don, realizing that his cheating was about to revealed, responded by strangling her.
Don’s wife is Susan Davies (Cloris Leachman), who knows that she and Don have been going through a rough patch but who certainly had no idea that Don was cheating on her. Shortly after the murder, Susan is called up for jury duty. She’s placed on the jury and told that she will be an important part of a major trial. As a result, she and the other jurors will be sequestered in a hotel….
And who is the defendant in this trial? John, of course!
As opposed to the other members of the jury, who are ready to convict John even before the first bit of testimony is heard, Susan pays attention to what is said in the courtroom. She listens to Lubell (Alan Oppenheimer), the prosecutor. She listens to Tanner (William Schallert), the defense attorney. She comes to believe that John is innocent but will she be able to hold her own against the rest of the jury? And will she ever figure out that the murder was actually committed by her husband?
It’s an intriguing premise, even if it is a bit far-fetched. I mean, it really is an amazing coincidence that Susan just happened to end up on the jury for a case involving a murder that was actually committed by her husband. However, this is a made-for-television movie and, as soon as “Produced by Aaron Spelling” appears on the screen, most viewers should be savvy enough to know what they’re getting into. Instead, the main problem with the film is that it opens by showing us who the murderer is. Therefore, there’s really zero suspense as to who actually committed the crime. Instead, the viewer spends the entire movie waiting for Susan to catch up. Since the majority of the film takes place in court, it’s a very talky film but there’s no joy to be found in paying close attention to every word said and picking up on the details that will allow you to solve the crime for yourself. This is a case where the film spoils its biggest twist and, despite good performances from Leachman and Luckinbill, it’s a bit dull.
(Nick Nolte, for his part, spends most of the movie silently sitting in the courtroom. He’s not bad and his look of anguish is believable but it’s hardly a starring role, regardless of what the film’s video packaging might otherwise claim.)
In the end, what I’ll mostly remember about Death Sentence were the atrocious fashion choices made by the prosecutor. Seriously, would you trust a man wearing this suit?
Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Saturdays, I will be reviewing Welcome Back Kotter, which ran on ABC from 1975 to 1979. The entire show is currently streaming on Tubi!
This week, Mr. Kotter fights for his job and, even worse, has to have to dinner with two old acquaintances from his high school days.
Episode 1.9 “Mr. Kotter, Teacher”
(Directed by Bob LaHendro, originally aired on November 4, 1975)
Gabe tells Julie a joke about two men who were both named Bernstein. The punchline is, “You don’t want me, you want Bernstein the Spy on the second floor!”
At school, Gabe has got a problem! When Woodman step into the room to observe Kotter’s teaching style, he’s stunned to discover that Kotter and the Sweathogs are sitting in a circle on the floor and that they’re talking about their future ambitions. Freddie says he wants to own the world’s tallest building and call it the Boom Boom Building. Barbarino says that he wants to be an actor like Marlon Brando and then he and Epstein act out a scene from The Godfather. (Incidentally, John Travolta does a pretty good Brando.) Gabe is amused but Woodman is not. Woodman demands that Kotter teach from the textbook. Kotter points out that the textbook is out-of-date and there’s nothing in it to which the Sweathogs can relate. Woodman promptly suspends Gabe and orders him to attend a disciplinary hearing.
This episode suffers from a bit of early installment weirdness and it wouldn’t surprise me if it was originally meant to air earlier in the season. For instance, Woodman is a lot meaner than usual. Over the past eight episodes, Woodman has often gotten frustrated and annoyed with Kotter but there’s also been a grudging respect between the two. That Woodman would be shocked by Kotter’s teaching methods and would try to get Kotter fired as a result doesn’t really fit in with what we’ve previously seen of Woodman. In fact, when Woodman previously taught Gabe’s class, he revealed himself to be a good teacher who was willing to engage with the students on their level. Previously, Woodman has been grumpy and eccentric but he’s never really been malicious.
As well, in this episode, Kotter’s suddenly gets a best friend named Charlie Piper (Arnold Soboloff). Charlie is a science teacher who drinks alcohol from a beaker. He attends Gabe’s disciplinary hearing as a character witness and, at one point, mentions that he’s known Gabe ever since the school year began …. four week ago. Again, it’s hard to believe that the previous eight episodes all occurred over the span of just a month.
Fortunately, the Sweathogs sneak into the disciplinary hearing. Eptein and Washington pretend to be window cleaners. Horshack pretends to be a janitor. Vinnie shows up dressed as a cleaning woman. They all testify that Gabe is the best teacher that they’ve ever had. The arbiter of the case, Ms. Riley (Hope Summers), is moved by their testimony and Gabe keeps his job, though he is told to start using the text book. Gabe responds by putting the book on his head and teaching the Sweathogs about good posture.
Back at his apartment, Gabe tells Julie a joke about his grandmother and a cursed ring.
This episode wasn’t bad, it just felt out of place. I appreciated Gabe’s defense of his students, in which he argued that they weren’t dumb but that they just needed a teacher willing to speak to them about their lives as opposed to someone just requiring them to memorize facts and figures. But, as I said before, Woodman is a lot more effective as a half-crazed eccentric than as a flat-out villain. Again, we’ll just describe this episode as being the result of early installment weirdness.
Episode 1.10 “The Reunion”
(Dir by Bob LaHendro, originally aired on November 18th, 1975)
Gabe asks Julie if he ever told her about the time that his Aunt Lucille took driving lessons. “No,” Julie says, “but I think I’m going to hear about it.” Not noticing that Julie doesn’t sound particularly enthused about hearing about any of this, Gabe explains that his Aunt Lucille had no idea how to signal when she was making a turn. Julie gives him a pity laugh.
Despite all the jokes, Gabe is not in a good mood. Two of his high school acquaintances, Lyle (Michael Taylor) and Mary Frances (Bridget Hanley), have invited themselves over for dinner. Not only does Gabe resent the fact that Lyle and Mary Francis always seemed to be “perfect” in high school but Julie is also planning on cooking her tuna casserole! In fact, Gabe seems to be more upset about the tuna casserole than about having to spend a night entertaining Lyle and Marcy Francis.
Naturally, after Gabe complains about the reunion during his social studies class, the Sweathogs put on their best suits and show up on Gabe’s fire escape while he’s entertaining Lyle and Mary Francis. The Sweathogs even bring food because they somehow know how terrible Julie’s tuna casserole is. Gabe confesses that he may not be as rich or as perfect as Lyle and Mary Francis but he’s happy because he’s getting to teach a great group of kids. Lyle explains that he was always jealous of Gabe because Gabe got to have fun as a Sweathog while Lyle always had to be “perfect.” Gabe learns that it was silly for him to be insecure and Lyle learns that there is more to life than just being fabulously wealthy. Awwwwwww!
Later, Gabe tells Julie a joke about an Italian man singing opera while barbecuing. The meat gets set on fire.
This episode wasn’t bad. It was interesting to see Gabe revealing that he’s not always happy about being an underpaid teacher who is probably never going to be able to afford a big apartment and it was also kind of touching to see how much both Gabe and his students cared about each other. Still, you do have to wonder why Julie keeps making the tuna casserole since literally no one in New York City is willing to eat it.
— Rosemary Woodhouse (Mia Farrow) in Rosemary’s Baby (1968)
Yes, Rosemary, it is.
The classic 1968 horror movie Rosemary’s Baby is probably best remembered for a lengthy and wonderfully surreal “dream” sequence in which naive newlywed Rosemary Woodhouse (Mia Farrow) is raped by the Devil while a bunch of naked old people stand around her and chant. At one point, she sees her husband, Guy (John Cassavetes), saying that she’s awake and that she knows what’s going on. Their neighbor, Minnie Castevet (Ruth Gordon), tells him that Rosemary can’t hear anything and that it’s like she’s dead and then snaps at him, “Now, sing!” It’s a great sequence, one of the greatest of Roman Polanski’s career, a perfect blending of horror and dark comedy.
For me, the most interesting part of that dream sequence comes at the start. Rosemary envisions herself naked on a boat and, as she tries to cover herself, who is sitting next to her? None other than John F. Kennedy! Suddenly, Rosemary is wearing a bikini and she’s relaxing out on the deck with a glamorous group of people who I assume were meant to be Kennedy relatives. As the boat leaves the dock, Rosemary sees that her friend and protector, Hutch (Maurice Evans), is standing on the dock.
“Isn’t Hutch coming with us?” Rosemary asks.
“Catholics only,” John F. Kennedy hisses in that famous accent, “I’m afraid we are bound by these prejudices.”
“I understand,” a dazed Rosemary replies.
And it’s a wonderful little moment, though I have to wonder if I’d react as strong if my own background wasn’t Irish Catholic. But still, there’s something so wonderfully subversive about a bunch of elderly Satanists pretending to be the Kennedys.
And really, Rosemary’s Baby is a wonderfully subversive film. I imagine it was even more subversive when it was first released back in 1968. It’s been ripped off and imitated so many times that it has undoubtedly lost some of its impact. (That’s one reason why I wish I had a time machine, so I could go back in the past and see it was truly like to see a classic film for the first time.) But still, 47 years after it was initially released, Rosemary’s Baby is still a surprisingly effective horror film.
The film opens with newlyweds Rosemary and Guy moving into the Bramford, an exclusive New York apartment building. Guy is an actor who, despite having appeared in two off-Broadway shows (one of which was entitled Nobody Likes An Albatross and really, that is so true) and a few motorcycle commercials, is still waiting for his big break. There are hints that, before she married Guy, Rosemary had a very active and interesting life (when we briefly meet her old friends, they all seem to be a lot more exciting than boring old Guy) but, when we meet her, Rosemary appears to have happily settled into a life of domesticity.
Life at the Bramford is strange. For one thing, Guy and Rosemary appear to be the only young people living in the entire building. (There is a young woman named Terry but she ends up jumping out of a window.) The Woodhouses befriend elderly Minnie Castevet and her husband, Roman (Sidney Blackmer.) Roman claims to have traveled all over the world and embarrasses the Catholic Rosemary by criticizing the Pope. Minnie, meanwhile, is the noisiest person in the world. Guy makes fun of both of them and, yet, he still decides to spend his free time with Roman.
One day, Guy gets a role that he had previously lost. Why? Because another actor is struck by a sudden case of blindness. Shortly afterward, Rosemary has her “dream.” She wakes up and discovers that her body is covered with red scratches. Guy claims that he had sex with her while she was asleep and promises to cut his fingernails.
Soon, Rosemary is pregnant but the Castevets insist that she use their doctor, the firm and sinister Dr. Saperstein (Ralph Bellamy, who just 8 year earlier had played FDR in Sunrise at Campobello). Rosemary knows that something is wrong with the baby but she can’t get anyone to listen to her. It all leads to one of the best and most iconic endings in the history of horror cinema.
Rosemary’s Baby is a classic of fear and paranoia and it holds up surprisingly well. See it this October, whether you’re Catholic or not.
(However, do not see the needless 2014 remake. Seriously, what the Hell was up with that?)
(By the way, is anyone else amazed that I made it through this entire review without making a single joke about either Ronan Farrow or Mia’s lame Sharknado live tweet? I am shocked.)
After meeting a talent agent while spending a night in jail, aspiring singer J.D. (Jesse Turner) and his best friend, The Salt Flat Kid (Dennis Fimple), decide to leave Texas for Nashville. J.D. wants to be a star and the Salt Flat Kid is a ventriloquist who doesn’t go anywhere without his dummy.
Through the Shattered Lens 