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, we wish a happy birthday to the one and only James Earl Jones!
4 Shots From 4 James Earl Jones Films
Dr. Strangelove: Or How I Learned To Stop Worrying And Love The Bomb (1964, dir by Stanley Kubrick, DP: Gilbert Taylor)
Conan The Barbarian (1982, dir by John Milius, DP: Duke Callaghan)
Gardens of Stone (1987, dir by Francis Ford Coppola, DP: Jordan Cronenweth)
Field of Dreams (1989, dir by Phil Alden Robinson, DP: John Lindley)
First released in 1975, Deadly Hero tells the story of Edward Lacy (Don Murray).
Lacy is an 18-year veteran of the New York Police Department and a proud family man. Lacy is clean-cut, handsome in a blandly pleasant way, and he has a wife and several children. He’s a member of the Knights of Columbus and there are times when he imagines himself pursuing a career in politics. One of the first things that we see Lacy do is introduce an anti-crime mayoral candidate named Reilly (George S. Irving) at a Knights of Columbus rally. Lacy goes out of his way to make sure that he and his family make a good impression but Reilly barely seems to notice him.
Lacy is also a racist who enjoys pulling and using his gun. He was once a detective but a long string of brutality complaints has led to him being demoted back down to being a patrolman. He and his partner (Treat Williams, making his film debut) spend their time patrolling the streets of New York City, getting dirty looks and verbal abuse from the people who they are supposed to be protecting. Much like Travis Bickle in the following year’s Taxi Driver, Lacy obsesses on the crime and the decay that he sees all around him.
Sally (Diahn Williams) lives a life that is a hundred times different from Lacy’s. She’s a cellist and a conductor. She spends her days teaching and her nights conducting at an avant-garde theater. Sally and Lacy have little in common but their lives become intertwined when Sally is attacked and briefly held hostage by a mentally disturbed mugger named Rabbit (James Earl Jones). Responding to a call put in by Sally’s neighbor (Lila Skala), Lacy discovers Rabbit holding a knife to Sally’s throat in the hallway of Sally’s apartment building. At first, Lacy handles the situation calmly and he manages to talk Rabbit into not only releasing Sally but also dropping his knife. However, instead of arresting the now unarmed and docile Rabbit, Lacy shoots and kills him.
Knowing that he’s about to be investigated and that he’s made enemies in the department due to his political activities, Lacy convinces the still-shocked Sally to lie and say that she witnessed Rabbit lunging for Lacy’s gun before Lacy fired. Lacy is proclaimed a hero and soon, Reilly is inviting him to appear at rallies with him. Lacy’s political dreams seem to be coming true but Sally starts to feel guilty about lying. Realizing that Sally is planning on revealing the truth about what happened, Lacy goes to extreme measures to try to keep her quiet.
Deadly Hero is an interesting film, one that is certainly flawed but which ultimately works as a portrait of the authoritarian mindset. Ivan Nagy directs without much visual flair and, especially at the start of the film, he struggles to maintain a consistent pace. For instance, the scene where Rabbit initially menaces Sally seems to go on forever, long beyond whatever was necessary to convince the audience that Rabbit was a dangerous guy. (With the amount of time that Nagy lingers over shots of Sally being menaced by Rabbit, I was not surprised to read that Nagy and Dianh Williams apparently did not get along during filming.) That said, the film’s low budget actually works to its advantage, with the grainy cinematography giving the film a gritty, documentary feel. The film was shot on location in New York City and it’s interesting to watch the actors interact with real New Yorkers. While Lacy is never a sympathetic character, seeing the actual streets of New York does go a long way to explaining why he’s so paranoid. This is one of the many 70s films in which the overriding message seemed to be that New York City was the worst place on the planet.
The film is dominated by Don Murray, who plays Lacy as being a blue-collar fascist who has learned how to hide his anger and his hatred behind a quick smile and an outwardly friendly manner. Feeling confident that everyone will back him up, he has no hesitation about executing an unarmed black man. Even when it becomes obvious that Sally is not going to continue to lie about what happened, Lacy is still arrogant enough to assume that he can charm her into changing her mind. When that doesn’t work, Lacy becomes increasingly unhinged and vindictive. The film’s final ambiguous image suggests that there really is no way to escape the Edward Lacys of the world.
With its portrayal of a violent cop who is convinced that he will be protected by the system, Deadly Hero feels extremely relevant today. Of course, Deadly Hero also suggests that the same system that Lacy is exploiting can be used to take him down, with Lacy eventually being investigated by both Internal Affairs and the District Attorney’s office. The film leaves it ambiguous as to whether or not the rest of the police are as dangerous as Lacy. Is Lacy a product of the system or is he just someone who has figured out how to exploit the system? To its detriment, that’s a question that the film doesn’t answer. Still, much like Harvey Hart’s similarly underappreciated Shoot, Deadly Hero is an always-interesting and occasionally insightful look at the authoritarian mindset.
Up until 1947, Major League Baseball was segregated. Though there was no written rule barring blacks from playing on major league teams, there was an agreement among the team owners that no blacks would be signed to a major or minor league contract. Instead, starting in the 1920s, black players could only play for the teams in the Negro League. It was in the Negro Leagues that future greats like Jackie Robinson and Willie Mays got their start. Josh Gibson, who spent his entire career playing in the Negro Leagues, is believed to have hit more home runs in a season than Babe Ruth ever did. For that reason, many baseball fans believe that any MLB records set before 1947 should come with an asterisk included. How can you determine who was the best when many of the best players in the game were never allowed to compete against each other?
The Bingo Longo Traveling All-Stars & Motor Kings is a comedy that pays tribute to those players. Billy Dee Williams plays Bingo Longo, a charismatic pitcher who plays in the Negro Leagues but who, frustrated with the money that he’s earning and the owner’s callous attitude towards the players, breaks away and forms his own independent, barnstorming baseball team, the All-Stars Among the players that he recruits are catcher and power hitter Leon Carter (James Earl Jones) and Charlie Snow (Richard Pryor), who is constantly changing his name and lying about his background in an attempt to get signed to the major leagues. Bingo also steals a player named Esquire Joe (Stan Shaw) away from one of the teams that the All-Stars defeat.
Going across the country and playing other teams, the Bingo Longo Traveling All-Stars make a name for themselves as both players and showmen. Though Leon just wants to concentrate on playing the game, Bingo understands that importance of putting on a show for the people in the stands. They start out playing other independent black teams but soon, they’re even playing against amateur white teams. The games against the white teams are tense, as the All-Stars ever know how the people in the stands are going to react when the All-Stars win. The All-Stars usually do win, though. They’re the best and they’re not going to let the people watching forget it.
The Bing Longo Traveling All-Stars is a good film, especially if you’re interested in the history of baseball. It’s an episodic comedy with the emphasis on the various situations that the members of the All-Stars find themselves in as they travel from town to town but there’s also a serious subtext. The All-Stars are proving to a League that refuses to let them play that they are the best. At the same time, no matter how many games they win, the All-Stars still have to deal with living a society that treats them like second-class citizens. Even though they win on the field, they still have a hard time finding a hotel to stay at. It’s a movie that will make you laugh but it also makes you think. Billy Dee Williams is perfect in the role of Bingo Longo and James Earl Jones is the type of player that anyone would want on their team. The Bingo Longo Traveling All-Star & Motor Kings is a good film for both baseball fans and people who have never even heard of the designated hitter rule.
Richard Burton stars Mr. Brown (Richard Burton), a deeply cynical and world-weary Englishman who owns what passes for a luxury hotel in Haiti. Â Though Mr. Brown hopes to be able to sell the hotel and get out of Haiti, he is also having an affair with Martha (Elizabeth Taylor), the German wife of Pineda (Peter Ustinov), the ambassador from Uruguay. Â Mr. Brown tries to avoid politics, which it turns out is not easy to do when you’re living under a murderous regime.
Complicating Mr. Brown’s life is Major Jones (Alec Guinness), a retired British army officer who has come to Haiti to do business but who is promptly imprisoned when it’s discovered that he was invited to come to the island by a minister who was subsequently declared to be an enemy of the state. Â The fascist Captain Concasseur (Raymond St. Jacques) arrests Major Jones and Mr. Brown takes it upon himself to try to get Jones released. Â Unfortunately, Major Jones doesn’t quite understand how serious his situation is and he’s convinced the Haitians that he’s not only a brilliant military leader but that he can also arrange for them to receive a cache of weapons, which he claims he has hidden in a Miami warehouse.
Meanwhile, Mr. and Mrs. Smith (Paul Ford and Lillian Gish) have also arrived on the island, hoping to set up a vegetarian center in Haiti. Â (Mr. Smith even once ran for President of the U.S. as the candidate of the Vegetarian Party.) Â In many ways, Mr. and Mrs. Smith serve as a stand-in for clueless American activists, obsessing over minor issues while ignoring the larger problems that are right in front of their faces.
From the start, The Comedians establishes Haiti as being a dangerous place, a country where the people live in fear of the brutal police and where the poor struggle to survive day-to-day while their rulers live a life of luxury. Â It’s a place where political dissidents regularly disappear, though the police aren’t above murdering people in public as well. Â It’s a country where the State rules supreme, controlling the citizens through both fear and a fierce cult of personality. Â Rebels like Dr. Magiot (James Earl Jones) only want the country to be free but they know that, as long superpowers like America are supporting the regime, there’s little that the rebels can realistically hope to accomplish.
A major theme running through The Comedians is that the real suffering of the Haitian people is often overshadowed by the strategic concerns of the United States. Â Unfortunately, pretty much the same thing happens within the film itself. Â While there’s several black actors in supporting roles, the story focuses on the white characters and, as a result, it sometimes feels like the film’s message is less about the people being oppressed and more about how unfortunate it is that people like Brown, Jones, and the Smiths are being inconvenienced by it all. Â Like many similarly well-intentioned political films from the late 60s, The Comedians get so bogged down in all of the personal dramas that it loses sight of what’s actually the important part of the story. Â The film is often seems more interested in Brown and Martha’s affair than in the conditions that would lead to people like Dr. Magiot risking their lives to bring about change.
For the most part, it’s a well-acted film. Â Richard Burton’s natural self-loathing is put to good use and Alec Guinness has a few poignant scenes as a pathological liar who doesn’t realize how much trouble he’s actually in until it’s too late. Â (Guinness also has a scene where he wears blackface and pretends to be Burton’s maid. Â He does this in order to escape from the secret police and the film doesn’t treat it as being a joke but it’s still rather cringey to watch.) Â Elizabeth Taylor is miscast as Martha and her German accent comes and goes but Paul Ford and Lillian Gish do a good job playing clueless Americans. Â Perhaps the film’s strongest performance comes from Zakes Mokae, who doesn’t say much as a member of the secret police but who exudes menace every time that he’s on screen. Â Still, as well acted at it may be, the film is slowly paced and always seem hesitant about taking any position beyond a general sense that dictatorships are bad.
That said, there’s nothing wrong with reminding people that dictatorships are bad. Â That’s especially an important message today. Â The past few years have left me convinced that a lot of people secretly yearn for a dictatorship and would be willing to trade their freedoms for a false sense of security. Â Though the film may struggle dramatically, it’s still works as a warning about what true authoritarianism actually is.
Daniel Lucas (Nick Nolte) is having a bad day. He’s just gotten out on parole after spending 5 years in prison for armed robbery. No sooner has Lucas left the prison than he’s met by Detective Dugan (James Earl) and his partner, Inspector Tenner (Alan Ruck). Dugan says that he knows that Lucas is going to return to his life of crime and that, when he does, Dugan will be there to arrest him.
Determined to go straight, Lucas heads to the nearest bank. Maybe he thinks that going to a bank and not robbing it will convince everyone that he’s no longer a criminal. Unfortunately, the bank does end up getting robbed, not by Lucas but by Ned Perry (Martin Short). Ned’s not much of a bank robber. In fact, he’s never committed a crime in his life. But he desperately needs the money so he can afford a special school for his young daughter, Meg (Sarah Doroff), who hasn’t spoken since her mother died. When the bank robbery doesn’t go as planned and Lucas ends up accidentally getting shot, Lucas and Ned end up going on the run together with Dugan and Tenner in pursuit.
When I was a kid, Three Fugitives was a movie that seemed like it was on television nearly every day. Of course, it was popular on HBO but it also used to regularly show up on the local stations, with all of Nick Nolte’s profanity awkwardly edited out. Looking back, I can see why Three Fugitives was so popular with television programmers who needed something fill a two-hour time slot. It’s got enough broad slapstick and just enough violence to keep the kids happy while also being so sentimental and inoffensive that parents wouldn’t complain about what their children were watching.
That Three Fugitives was such a ubiquitous presence on television is really the only memorable thing about it. On paper, the idea of pairing Nick Nolte with Martin Short sounds like it should generate a lot of laughs and they are funny in the initial bank hold-up but after that, neither seems to be acting in the same movie. Nolte is too serious for the comedic scenes and Short is too cartoonish for the serious scenes and their partnership is never credible. Nick Nolte was the king of the mismatched buddy comedy in the 80s but Three Fugitives is no 48 Hours.
LAPD vice detectives DiVinci (Jim Belushi) and Rodriguez (Tupac Shakur) have a pretty good racket going. They sell cocaine to drug dealers and then, once they get their money, they murder the dealers and take their drugs back so that the cocaine can be resold. The murders are written up as being “gang-related” and because no one cares about dead drug dealers, Divinci and Rodriguez don’t have to worry about anyone actually investigating their crimes.
This all changes when they kill the wrong dealer. It turns out Lionel Hudd (Kool Mo Dee) was actually an undercover DEA agent and now that he’s been murdered, his partner (played by Gary Cole) is investigating the murder. Needing a patsy to take the fall, they arrest a homeless man who is known as Joe Doe (Dennis Quaid). Joe can’t even remember what his real name is and, because he’s intoxicated when he’s arrested and interrogated, it’s easy for DiVinci and Rodriguez to talk him into believing that he killed Hudd.
At first, it seems like a perfect plan because the only people that the citizens of Los Angeles care about less than gang members and drug dealers are the homeless. But then it turns out that Joe Doe is actually a wealthy surgeon and his family hires a prominent attorney (played by James Earl Jones, so you know he’s good) to defend him. Meanwhile, the stripper (Lela Rochon) who DiVinci and Rodriguez coerced into identifying Doe as the murderer is having second thoughts. And so is Rodriguez.
The plot of Gang Related may be convoluted and sometimes difficult to follow but that works to the film’s advantage as Divinci and Rodriguez find themselves plunging further and further down the rabbit hole of their own lies. The audience may be confused but so are they so everyone’s the same page. It seems like no matter what scheme DiVinci comes up with to try to cover for his own crimes, there’s always an unforeseen complication and most of the film’s narrative momentum comes from watching two corrupt cops go from being cocky to being desperate to save their own lives as their maze of deception becomes increasingly difficult to navigate. Neither DiVinci nor Rodriguez is a likable character (though Rodriguez is, at least, troubled by what he’s become) so there’s a lot of pleasure to be had by watching these two finally face justice.
Gang Related was Tupac Shakur’s final film and it was released over a year after his death. It’s a B-movie but it’s a well-made B-movie and Shakur gives a good and complex performance. So does Jim Belushi, whose mounting desperation is really something to see. Gang Related may be a B-movie but it’s portrayal of two criminal cops being empowered by a corrupt system is still relevant today.
Having previously discovered and escaped King Solomon’s mines, Allan Quatermain (Richard Chamberlain) and Jesse Huston (Sharon Stone) are now living in a domestic bliss in Africa. They’re planning on eventually returning to America so that they can get married but it turns out that Allan has one more quest that he has to complete before he can truly settle down.
When Allan receives information that his long last brother is not only still alive but has also discovered a fabled Lost City of Gold, Allan sets out to discover the city for himself. Traveling with Jesse and an old friend named Umslopogaas (James Earl Jones!), Allan makes his way across the Sahara, survives a battle with a group of native, and manages to find both the city and his brother!
However, all is not well in the City of Gold. Queen Nyelptha (Aileen Marson) is on the verge of going to war with Queen Sorais (Cassandra Peterson, a.k.a Elvira, Mistress of the Dark!!). Manipulating both of the queens is the evil high priest, Agon (Henry Silva!!!!). To save the City of Gold and his future marriage, Allan will first have to figure out a way to defeat Agon.
Allan Quatermain and the Lost City Of Gold was filmed back-to-back with King Solomon’s Mines. The two films were released within a year of each other and, while King Solomon’s Mines was a minor box office success, Allan Quatermain and the Lost City of Gold was not. I wasn’t expecting much when I watched the film but, believe it or not, Allan Quatermain and the Lost City of Gold is not that bad. It’s a definite improvement on King Solomon’s Mines. Richard Chamberlain is more believable as Quatermain in the sequel and he and Sharon Stone share the minimum amount of chemistry to be somewhat believable as a couple in love. If that sounds like I’m damning with faint praise, it’s still an improvement over King Solomon’s Mines, where the two of them often seemed as if they couldn’t stand to be anywhere near each other. Best of all, Allan Quatermain and the Lost City of Gold has Henry Silva in a ridiculous costume and that automatically makes the film worth watching.
Henry Silva, everyone.
Like King Solomon’s Mines, Allan Quatermain and The Lost City of Gold adds a large dose of intentional humor to its adventure story. Fortunately, the comedy here is better executed than in the previous film. There’s less mugging on Chamberlain’s part and some of the dialogue is genuinely amusing.
Of course, Allan Quatermain and The Lost City of Gold is not without its flaws. This is a low-budget Cannon film that often tries too hard to duplicate the success of the Indiana Jones films without ever showing much understanding of what made those films successful in the first place. Allan Quatermain and the Lost City of Gold can’t hold a candle to the classic adventure films of the past. But, for a low-budget Cannon film starring Richard Chamberlain as a rugged, jungle explorer, it’s actually a lot of fun.
It seems rather appropriate that, while we spend this year celebrating TSL’s 10th birthday, we’ve taken the time to recognize the birthdays of so many of our favorite directors and actors. Â Earlier today, Jeff already paid tribute to Andy Kaufman and Donald Cammell.
Well, today is also James Earl Jones’s birthday and there’s no way we’re going to let that go unacknowledged. Â James Earl Jones is 89 years old today and he’s still working. Â Everyone, of course, knows Jones’s voice and the story of how, when he was a child, he suffered from a stutter so severe that he refused to speak. Â (Jones has described the years before he entered high school as being his “mute years.”) What’s often overlooked is just how good of an actor James Earl Jones is. Â Jones has played everyone from villains to mentors to heroes. Â He’s appeared in every possible genre and his presence has never not been welcome.
James Earl Jones made his film debut with a small role in Stanley Kubrick’s 1964 satire, Dr. Strangelove: Or How I Learned To Stop Worrying and Love the Bomb. Â Jones played Lt. Luther Zogg, one of the men aboard the B-52 bombardier that eventually causes the end of the world.
Jones has often said that he didn’t really care for either the role or the film. Â Lt. Zogg is a small role and it is true that, if not for the fact that he’s played by James Earl Jones, you probably wouldn’t remember much about him. Â For the most part, Jones spends the majority of the movie listening as Maj. Kong (Slim Pickens) talks about following orders and doing their patriotic duty.
And yet, I think Jones is a bit too dismissive of the role. Â It’s a small role but the undeniable authority of Jones’s voice provides a nice contrast to the country drawl of Maj. Kong. Â Without Lt. Zogg calmly following orders, it would be too easy for the audience to dismiss Maj. Kong as an outlier as opposed to a representative of what the film viewed as being the military’s blase attitude towards the possibility of nuclear war.
Add to that, Jones’s delivery of “Hey, what about Maj. Kong?” is absolutely perfect.
So, with that in mind, here’s James Earl Jones in two scenes from Dr. Strangelove!
Betty and Barney Hill (played by Estelle Parsons and James Earl Jones) are a happily married couple living in New Hampshire in the mid-60s. They are both haunted by something that happened two years previously, while they were on vacation. They both remember something appearing in the sky over their car but they can’t remember anything that happened afterwards. They are both haunted by nightmares and a strong feeling that something terrible most have happened to them. Finally, they meet with Dr. Benjamin Simon (Barnard Hughes), who places them both under hypnosis. Only then does a clear picture start to emerge of what Betty and Barney believe happened as they both describe being abducted and experimented upon by aliens.
The UFO Incident is a very sober and serious account of the Hills’s abduction. It never takes a clear side as to whether Betty and Barney are remembering something that actually happened or if they’re just remembering elaborate dreams. That works to the film’s advantage, though it might disappoint those looking for a more dramatic take on the subject. This is a made-for-TV movie so don’t expect much from the special effects and the alien costumes look disappointingly cheap. The important thing, though, is that the film treat the Hills and their story with respect and James Earl Jones gives one of his best and most relatable performances as Barney. The film is as much about how even a good marriage can be threatened by stressful times as it is about the UFOs.
The UFO Incident is based on the non-fiction book, The Interrupted Journey by John G. Fuller, which purported to tell the story of the Hills and their abduction. The Hills were two of the first people to come forward with a story about being abducted by aliens. Much of the common elements that can be found in stories about alien abductions, like the little grey men, the medical experimentation, and the amnesia afterwards, began with the Hills’s account of what they believed happened to them in 1961. The Hills, who were active and highly respected in their community, were considered to be unusually credible witnesses, though Dr. Simon ultimately decided that Barney’s recollections of being on the UFO were probably influenced by Betty’s descriptions of her nightmares. Barney, himself, died in 1969, three years after the book was published. Betty remained active in the UFO community until her death in 2004.
Through the Shattered Lens 