Filmed in 1957 for a television program called Westinghouse Studio One, The Night America Trembled is a dramatization of the night that Orson Welles terrified America with his radio adaptation of War of The Worlds.
For legal reasons, Orson Welles is not portrayed nor is his name mentioned. Instead, the focus is mostly on the people listening to the broadcast and getting the wrong idea. That may sound like a comedy but The Night America Trembled takes itself fairly seriously. Even pompous old Edward R. Murrow shows up to narrate the film, in between taking drags off a cigarette.
Clocking in at a brisk 60 minutes, The Night America Trembled is an interesting recreation of that October 30th. Among the people panicking: a group of people in a bar who, before hearing the broadcast, were debating whether or not Hitler was as crazy as people said he was, a babysitter who goes absolutely crazy with fear, and a group of poker-playing college students. If, like me, you’re a frequent viewer of TCM, you may recognize some of the faces in the large cast: Ed Asner, James Coburn, John Astin, Warren Oates, and Warren Beatty all make early appearances.
It’s an interesting little historical document and you can watch it below!
In the 1980’s I was a huge fan of Michael J. Fox. Alex P. Keaton was my hero, and BACK TO THE FUTURE and TEEN WOLF are two of my favorite 80’s movies. In the early 2000’s I became a huge fan of Director Peter Jackson due to his LORD OF THE RINGS trilogy. Made in 1996, THE FRIGHTENERS is the only Peter Jackson film I had seen prior to the LORD OF THE RINGS trilogy. I saw THE FRIGHTENERS at the movie theater in 1996, and I loved it. It was different than I was expecting going in, but it has one hell of cast. I had not seen any of Jeffrey Combs’ work prior to this movie, and he totally cracked me up. Throw in a ghostly Chi McBride whose character even references Charles Bronson* at one point, and I’m hooked. Peter Jackson directing Michael J. Fox. Now that’s a match made in heaven!
*BONUS – Chi McBride as Cyrus :
“All right, man, this is it. We gotta be hard. No mercy. We’re going in like professionals, like Charles Bronson. We don’t stop till the screaming starts, you dig?”
What’s an Insomnia File? You know how some times you just can’t get any sleep and, at about three in the morning, you’ll find yourself watching whatever you can find on cable or streaming? This feature is all about those insomnia-inspired discoveries!
If you find yourself having trouble getting to sleep tonight, you can always pass the time by watching the 1968 film, Candy. It’s currently on Tubi.
Based on a satirical novel by Terry Southern and Mason Hoffenberg, Candy follows Candy Christian (Ewa Aulin), a naive teenager from middle America as she has a number of increasingly surreal adventures, the majority of which end with her getting sexually assaulted by one of the film’s special guest stars. It’s very much a film of the 60s, in that it’s anti-establishment without actually seeming to know who the establishment is. It opens with a lengthy sequence that appears to be taking place in outer space. It ends with an extended sequence of Candy walking amongst the film’s cast and a bunch of random hippies. Director Christian Marquand appears as himself, directing the film. Yep, this is one of those films where the director and the film crew show up and you’re supposed to be say, “Far out, I didn’t realize I was watching a movie, man.”
The whole thing is a bit of a misfire. The novel was meant to be smut that satirized smut. The film isn’t really clever enough to work on any sort of real satirical level. As was the case with a lot of studio-made “psychedelic” films in the 60s, everything is a bit too obvious and overdone. Casting the Swedish Ewa Aulin as a character who was meant to represent middle America was just one of the film’s missteps. Based on The Graduate, Mike Nichols probably could have made a clever film out of Candy. The French Christian Marquand, a protegee of Roger Vadim’s, can not because he refuses to get out of the film’s way. It’s all jump cuts, flashy cinematography, and attempts to poke fun at American culture by someone who obviously knew nothing about America beyond the jokes told in Paris.
That said, the main reason that anyone would watch this film would be for the collection of guest stars who all show up and try to take advantage of Candy. Richard Burton plays an alcoholic poet named MacPhisto and his appearance goes on for far too long. (Burton, not surprisingly, appears to actually be drunk for the majority of his scenes.) Ringo Star — yes, Ringo Starr — plays a Mexican gardener who assaults Candy after getting turned on by the sight of MacPhisto humping a mannequin. When Emmanuel’s sisters try to attack Candy, she and her parents escape on a military plane that is commanded by Walter Matthau. Landing in New York, Candy’s brain-damaged father (John Astin) is operated on by a brilliant doctor (James Coburn) who later seduces Candy after she faints at a cocktail party. Candy’s uncle (John Astin, again) also tries to seduce Candy, leading to Candy getting lost in New York, meeting a hunchback (Charles Aznavour), and then eventually ending up with a guru (Marlon Brando). Candy’s adventures climax with a particularly sick joke that requires a bit more skill to pull off than this film can afford.
If you’re wondering how all of these famous people ended up in this movie, you have Brando to thank (or blame). Christian Marquand was Brando’s best friend and Marlon even named his son after him. After Brando agreed to appear in the film, the rest of the actors followed. Brando, Burton, and Coburn received a share of the film’s profits and Coburn later said that his entire post-1968 lifestyle was pretty much paid for by Candy. That seems appropriate as, out of all the guest stars, Coburn i the only one who actually gives an interesting performance. Burton is too drunk, Matthau is too embarrassed, Starr is too amateurish, and Brando is too self-amused to really be interesting in the film. Coburn, however, seems to be having a blast, playing his doctor as being a medical cult leader.
Candy is very much a film of 1968. It has some value as a cultural relic. Ultimately, it’s main interest is as an example of how the studios tried (and failed) to latch onto the counterculture zeitgeist.
Filmed in 1957 for a television program called Westinghouse Studio One, The Night America Trembled is a dramatization of the night that Orson Welles terrified America with his radio adaptation of War of The Worlds.
For legal reasons, Orson Welles is not portrayed nor is his name mentioned. Instead, the focus is mostly on the people listening to the broadcast and getting the wrong idea. That may sound like a comedy but The Night America Trembled takes itself fairly seriously. Even pompous old Edward R. Murrow shows up to narrate the film, in between taking drags off a cigarette.
Clocking in at a brisk 60 minutes, The Night America Trembled is an interesting recreation of that October 30th. Among the people panicking: a group of people in a bar who, before hearing the broadcast, were debating whether or not Hitler was as crazy as people said he was, a babysitter who goes absolutely crazy with fear, and a group of poker-playing college students. If, like me, you’re a frequent viewer of TCM, you may recognize some of the faces in the large cast: Ed Asner, James Coburn, John Astin, Warren Oates, and Warren Beatty all make early appearances.
It’s an interesting little historical document and you can watch it below!
Filmed in 1957 for a television program called Westinghouse Studio One, The Night America Trembled is a dramatization of the night in 1938 when Orson Welles’s adaptation of H.G. Wells’s The War of the Worlds reportedly caused a panic amongst listeners.
For legal reasons, Orson Welles is not portrayed nor is his name mentioned. Instead, the focus is mostly on the people listening to the broadcast and getting the wrong idea. That may sound like a comedy but The Night America Trembled takes itself fairly seriously, complete with Edward R. Murrow narrating and taking drags off of a cigarette.
Clocking in at a brisk 60 minutes, The Night America Trembled is an interesting recreation of that October 30th. Among the people panicking are a large collection of future stars and character actors. Ed Asner, James Coburn, John Astin, Warren Oates, and Warren Beatty all make early appearances.
It’s an interesting historical document and you can watch it below!
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, the Sweathogs meet John Astin and Gabe goes to the doctor!
Episode 2.5 “The Museum”
(Dir by Bill Davis, originally aired on October 28th, 1976)
Mr. Woodman steps out of his office, just to find Gabe waiting for him.
“Mr. Woodman,” Gabe says, “did I ever tell you about the black sheep of my family?”
“I thought that was you,” Woodman replies.
Wow! Woodman has clearly already won this exchange but Gabe still proceeds to tell Mr. Woodman about his Uncle Lefty Kotter, who was a gambler. Mr. Woodman dramatically sighs and walks out of the office. See, Gabe, not everyone’s as patient as Julie.
After the opening credits, we find Gabe and Julie preparing the Sweathogs for a field trip to the Museum of Natural History. Barbarino is super excited because he’s never been to a real museum before. He explains that he did go to a wax museum once. “I saw Raquel Welch,” Barbarino explains, “Did you know that wax come right off in your hands?”
When Mr. Woodman comes out of his office to complain about the Sweathogs being taken off campus, Epstein explains that they’ve decide to take Woodman to the museum with them. Freddie announces that Woodman is going to be his field trip buddy. Personally, I think it would be fun to go on a field trip with Mr. Woodman because Mr. Woodman is clearly insane.
When the Sweathogs reach the museum, it actually looks a lot like one of those “horror dungeon museums” that always seem to pop up around Halloween.
Arnold is frightened of the museum and tosses a bunch of salt over his shoulder and into Epstein’s eyes. (Yes, Arnold is carrying a salt shaker with him.) Gabe asks the museum curator, Mr. Gore (John Astin), to assure Arnold that there is no reason to be scared. Mr. Gore explains that his name is pronounced “Gor-ay,” and then says that there are powers in the world about which one should not joke. “There are forces here,” Gore explains, “that do not appreciate one-liners!” Uh-oh, Gabe’s in trouble!
Barbarino and Freddie are also in trouble because they’ve entered an exclusive room that is home to an Egyptian mummy!
“This room is for VIPs only!” Mr. Gore declares.
“I am a VIP,” Barbarino protests. “I’m a Very Italian Person.”
Mr. Gore agrees to show the Sweathogs the Egyptian room on the condition that they touch nothing. “Or else you’ll risk the wrath of the pharohs!” Julie proceeds to say that the mummy doesn’t look a day over 2500 years old. Gabe jokes about the Mummy being named Pew. Mr. Gore, having grown annoyed, dares Gabe to open a cursed sarcophogus and risk the Mummy coming back to life. Gabe opens it, just to have Horshack step out of it.
“Hello,” Horshack says, “how are ya?”
Gore faints. Woodman announces that it’s time for the Sweathogs to return to the school. One problem, the door to the Egyptian room has slammed shut and cannot be opened. “Its the Curse of Pew!” a delirious Gore says.
Gabe explains that they’ll probably be trapped in the room until the next morning and then proceeds to give a mock eulogy for Pew The Mummy.
“We’re doomed!” Woodman shouts, “All doomed!”
Mr. Gore finally wakes up and says that he’s sure the curator will come to their rescue.
“Mr. Gor-ay,” Gabe says, “You’re the curator”
“How unfortunate,” Gore replies.
With everyone trapped in the Egyptian Room together, Horshack worries that he’ll never get a chance to meet Marie Osmond. When Gabe notices that there’s an air duct that someone could crawl through to get help, Horshack volunteers. Unfortunately, it turns out that the air duct just circles around the room so Horshack returns and continues to think about becoming an Osmond.
“I may be dying,” Woodman yells, “But I’m taking you Sweathogs with me! The mummy is going to get us if we don’t get out!”
Mr. Gore suggests that the Mummy might be satisfied with a human sacrifice. Woodman calls for Horshack to come over.
Fortunately, Epstein says that he’s seen enough home repair shows to know how to find “the stress part” of the door and open it. He taps on the door and …. it opens! The audience goes wild, even if it does seem like kind of an anticlimactic way to end the episode. But at least Epstein got to be the hero for once.
This episode was cartoonish, even by the standards of Welcome Back Kotter, but I think a lot of that has to do with the fact that this episode aired three days before Halloween. This was a holiday episode and I imagine it was a lot of fun when viewed on a dark and stormy night in 1976.
Episode 2.6 “Gabe Under Pressure”
(Dir by Jay Sandrich, originally aired on November 4th, 1976)
Julie brings Gabe his lunch.
“Did I ever tell you about my uncle who thought he was a horse?” Gabe asks. He proceeds to tell her about him. Julie smiles tolerantly.
As for the main storyline, the free clinic (where Julie volunteers) is offering free physicals at Buchanan High. Gabe expects the Sweathogs to take advantage of the offer but he himself refuses to go to the doctor to find out why he has a pain in his chest. It turns out that Gabe is scared of doctors! The Sweathogs are concerned enough to show up at Gabe’s apartment. Barbarino tries to take Gabe’s pulse. When Gabe asks if Barbarino knows what he’s doing, Barbarino replies, “I know it like the back of my hand.” Barbarino then gets distracted by the back of his hand.
Touched by the concern of his students, Gabe conquers his fear and sees the doctor. Gabe discovers he is okay and everyone watching learns a lesson about getting a regular check-up. It’s a pretty simple episode, one that is probably most interesting for having aired two days after the 1976 presidential election. Kotter went to the doctor and Carter went to the White House but Mr. Woodman stayed right where he was.
Later, with the physical having been completed, Gabe tells Mr. Woodman, “You have to hear about my Uncle Kermit Kotter!”
“No, I don’t, Kotter!” Woodman replies.
Gabe says that his Uncle Kermit always used to walk by a bakery and he would see a woman hitting her son with a loaf of bread. One day, Uncle Kermit walked by and the woman was hitting her son with a chocolate cake. Gabe says that his Uncle Kermit asked why the woman was hitting her son with a chocolate cake and….
“And the woman says because it’s his birthday,” Woodman replies, “I already heard it, Kotter.”
Seriously, John Sylvester White was a national treasure.
Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Wednesdays, I will be reviewing the original Love Boat, which aired on ABC from 1977 to 1986! The series can be streamed on Paramount Plus!
This week, the second season begins with a super-sized episode!
(Dir by Paul Stanley, originally aired on September 16th, 1978)
The second season of The Love Boat started with double-sized episode, promising twice the romance, twice the comedy, and twice the running time!
(Subsequently, this episode was split in two for syndication, hence the double numbering.)
Among the passengers on this cruise is none other than Isaac Washington (Ted Lange)! The Love Boat’s iconic bartender has decided to spend his vacation where he works and he’s bought a ticket to sail on the Pacific Princess. It might seem strange to want to spend your vacation at the office but in Isaac’s case, I can see the appeal. As we saw during the first season, no one works harder than Isaac. He somehow always manages to be behind every single bar on the ship and it often appears that he’s the only bartender on the boat! To top it off, he’s always on call. He’s earned a vacation and he’s earned the right to be served for once. From the minute Isaac boards the boat, he’s playfully asking the crew to do things for him and none of them mind because he’s their friend Isaac. One of the key reasons why The Love Boat worked was that the friendships between the members of the crew felt very real. As such, there’s never any doubt that Isaac would want to spend his vacation with Gopher, Doc, and Julie.
(Interestingly enough, the Captain doesn’t seem to realize that Isaac’s on the boat until Isaac takes his seat at the captain’s table.)
Of course, there are some problems with Isaac’s vacation. Isaac quickly notices that the substitute bartender, Wally (played by Norm Crosby), is a bit sullen and not very knowledgeable about his drinks. As well, Isaac has lied to a passenger named Mara (Lola Falana), telling her that he’s a wealthy race car driver. Bitter old Wally just can’t wait to tell Mara the truth.
Even worse, when Captain Stubing goes to visit a nearby island, Deputy Captain Cunningham (Dick Martin) is left in charge and he quickly proves himself to be thoroughly incompetent. (The show makes a point of assuring viewers that Cunningham actually works for a different cruise line and is just training on the Pacific Princess.) Cunningham ignores the news that a hurricane is on the way. When the hurricane hits, it’s falls on Isaac to take charge and make sure the passengers are safe. Of course, to do this, he has to admit that he’s not a race car driver. He’s just a bartender who, in a just world, would probably be a captain.
Meanwhile, Stubing, Doc, Gopher, Julie, and a group of passengers (Avery Schreiber, Barbi Benton, Edie Adams, and Audra Lindley) are all being held captive on that nearby island. Their captor is an eccentric hermit named David Crothers (played by John Astin, who was often cast as eccentric hermits). David has a gun, one that later turns out to be full of not bullets but dirt. Unfortunately, the hurricane that threatens the Pacific Princess also maroons everyone else on the island and they have to wait for someone to rescue them. Injured by a falling tree, Gopher spends his time deliriously speaking to imaginary women in foreign accents. Doc, for once, actually gets to do some medical stuff and assures everyone that Gopher will be fine. Interestingly enough, no one seems to be that worried about being captured by a crazed hermit. Perhaps that’s because John Astin is just too naturally friendly to be viewed as a threat.
Finally, Jeannie Carter (Donna Mills) is on the boat because she’s been told that one of the passengers is her long-lost mother. Soap opera actor Mike Adler (David Birney) offers Jeannie the moral and emotional (and romantic) support to confront the woman but the woman (Laraine Day) turns out to be Mike’s mother as well! Agck!
The 2nd season premiers, with its mix of melodrama, broad comedy, romance, and hurricane-strength winds, is pretty much exactly what most viewers would want out of a show like The Love Boat. Isaac gets to save the day while John Astin hams it up and David Birney, Donna Milles, and Laraine Day wring every emotion that they can out of their soap opera-style storyline. It’s a fun and undemanding show, one that gets by on its breezy style and the likable chemistry between the cast.
This episode is also important because it was the second episode (after the first season’s supersized episode) in which the opening credits featured video images of the guest stars as well as their names. This would continue in every subsequent episode and eventually become of the show’s trademarks.
Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Tuesdays, I will be reviewing the original Fantasy Island, which ran on ABC from 1977 to 1986. The entire show is currently streaming on Tubi!
This week …. Tattoo gets a trumpet!
Episode 2.3 “The Beachcomber/The Last Whodunit”
(Dir by George McCowan, originally aired on September 30th, 1978)
Tattoo is learning how to play the trumpet and Mr. Roarke can barely hide his anger. That is this week’s Tattoo/Roarke storyline and it rasies a lot of questions about Roarke and Tattoo’s relationship. Is Roarke upset because Tattoo is a bad trumpet player or does he just dislike Tattoo in general? Does Tattoo really care about learning how to play the trumpet or is he just looking for an excuse to annoy Mr. Roarke? I think all of those possibilities may be true at the same time. If the previous two episodes hinted that Roarke and Tattoo no longer hated each other, this episode seems to confirm that they’re still the frenemies that they’ve always been. I sympathize with Roarke but it’s hard not to appreciate Tattoo’s determination to be an agent of chaos.
As for the fantasies, Charles Preston (John Astin) is a successful businessman who wants to throw it all ways so that he can spend the rest of his life as a beach bum. Roarke sets Preston up in a cabin on one of the shabbiest beaches on Fantasy Island. Seriously, the layout of Fantasy Island is just weird. A third of the island is a luxury resort. A third of the island is a magical jungle. And a third of the island is apparently just a collection of poverty-stricken fishing villages. Do the people who live on the island know that they could be having a fantasy if they only had the money? Let’s hope none of them ever pick up a copy of Marx or Piketty.
Anyway, Preston soon discovers that the life of a beach bum is not as easy as he thought it would be. For one thing, the chief of the island’s indigenous population demands that Preston marry his daughter. (The joke is that his daughter is overweight and …. well, it’s all pretty cringey by 2022 standards.) Meanwhile, a bounty hunter slaps some handcuffs on Preston and threatens to take him back to his family unless Preston pays him $70,000. “All of you beachcombers have a stash!” the bounty hunter hisses. Fortunately, Preston’s wife shows up and announces that she’s fine with him being a beach bum, as long as he’s a responsible beach bum who helps to pay the bills. And that’s the end of that. What an underwhelming fantasy.
Luckily, the episode’s other fantasy is a bit more entertaining. Mabel Jarvis (Celeste Holm) loves mystery stories and she wants to spend a weekend as her favorite fictional detective. Of course, Mabel soon finds herself investigating the real-life murder of Mabel’s favorite writer. Mr. Roarke explains that the writer was a friend of his and that he hoped Mabel could solve the case. That seems like a lot of responsibility to put on someone who is just looking for a vacation but, fortunately, Mabel proves to be up to the job. Anyway, this was a fun little fantasy and, as an avid reader of mysteries, it was one to which I could relate. Celeste Holm seemed to be having a lot of fun as Mabel and, even more importantly, her cat played a key role in solving the mystery.
This was not a bad episode. The beach stuff was forgettable but the episode was saved Celeste Holm and Tattoo’s trumpet.
On tonight’s episode of Circle of Fear, John Astin plays a former actor who now makes a meager living as a security guard at the studio where he once worked. Unfortunately, the studio is shutting down. John Astin will be out of a job but, as he discovers one night, he’s not the only one who fears being forgotten. This is the type of story that could only have been told in the days before physical media, streaming sites, and cable.
Patty Duke, who was married to Astin at the time, plays his character’s wife. Playing their baby is John and Patty’s newborn, future actor MacKenzie Astin. William Castle, who served as executive producer of Circle of Fear, appears as the head of the studio.
This episode originally aired on February 16th, 1973.
Music promoter M. Harry Smilac (Dirk Benedict) used to be a big deal in Los Angeles but lately, his ability to create stars appears to have left him. He still has his Porsche and his car phone but he is also several thousand dollars in debt and he only has one client, a garage hair band called Kick. No one wants to book Kick because no one wants to work with a known screw-up like Harry.
Desperate for money, Harry agrees to serve as the entertainment chairman for a stuffy candidate for governor. It’s while looking for potential acts to headline a fundraiser that Harry meets Quick Rick Roberts (Roddy Piper). When Harry sees Rick getting ripped off by a promoter, Harry assumes that Rick is a musical act and quickly offers to be Rick’s agent. It’s only after Rick has agreed that Harry discovers that Rick doesn’t play an instrument and can’t sing a note. Instead, Rick is a professional wrestler and, by singing him, Harry has now made an enemy of Rick’s former manager, Captain Lou Munaro (played by, you guessed it, Captain Lou Albano).
Now, Harry has to find a way to pay his creditors, make stars out of both Kick and Rick, and win the hand of Candace VanVargen (Tanya Roberts), the daughter of a wealthy political benefactor. What if there was some way to combine rock and roll with wrestling?
Dirk Benedict, Tanya Roberts, Roddy Pipper, and Captain Lou Albana, all appearing in a movie directed by Hal Needham? Body Slam is one of the most 80s films ever made. It’s not really a bad film. In typical Needham fashion, it’s a loose mix of broad comedy and scenes designed to appeal to teenage boys and their fathers. There’s a lot wrestling. There’s a lot of spandex. The movie opens with Harry ogling a woman in a bikini. Body Slam knew who its audience would be. Dirk Benedict gives a surprisingly nimble comedic performance and even Tanya Roberts has some deliberately funny moments. Roddy Piper is likable as the steady and fair-minded Rick. There’s nothing subtle about Captain Lou Albano’s performance but what else would you expect from a man wearing that many rubber bands? As was typical of Needham’s films, some of the director’s friends show up in cameos. John Astin plays a car salesman. Charles Nelson Reilly plays a talk show host. Billy Barty gets into an argument with Captain Lou. Burt Reynolds is nowhere to be seen.
Unfortunately, not many people got to see Body Slam when it was originally released. Body Slam was going to be Hal Needham’s big comeback film after the disappointing Megaforce but the film’s producers didn’t care much for the changes that Needham made to their script and they sued to keep the film from being released. As a result, the film never got a theatrical release and it was instead sent straight to VHS, with very little fanfare. It has since developed a cult following amongst old school wrestling fans.
Body Slam is a typically amiable Hal Needham film. It’s nothing special but it’s enjoyable if you’re in the mood for it.
Through the Shattered Lens 