Scenes That I Love: The Car Chase From The French Connection


Today, the Shattered Lens observes what would have been the birthday of the great William Friedkin.  As a director, William Friedkin revolutionized both the horror genre and the crime genre.  The car chase from 1971’s The French Connection has been much imitated but rarely equaled.

A few years ago, I attended a showing of The French Connection at the Alamo Drafthouse.  As exciting as this chase is, it’s even more amazing when viewed on a big screen.

4 Shots From 4 Films: Special William Friedkin Edition


4 Shots From 4 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 honor director William Friedkin on what would have been his birthday.

4 Shots From 4 William Friedkin Films

The French Connection (1971, dir by William Friedkin, DP: Owen Roizman)

The Exorcist (1973, dir by William Friedkin, DP: Owen Roizman)

Sorcerer (1977, dir by William Friedkin, DP: Dick Bush and John M. Stephens)

To Live And Die In L.A. (1985, dir by William Friedkin, DP: M. Scott Smith)

 

Late Night Retro Television Review: Sledge Hammer! 1.3 “Witless”


Welcome to Late Night Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Fridays, I will be reviewing SLEDGE HAMMER!, a cop comedy which ran on ABC from 1986 to 1988. The entire series can be found on Prime!

This week, Sledge meets the Maninotes.

Episode 1.3 “Witless”

(Dir by Jackie Cooper, originally aired on October 3rd, 1986)

Upset that crime has fallen in the city due to the insanity of just one cop, Don Phillip Souza (Al Ruscio) announces that he will pay a million dollars to anyone who can bring him Sledge Hammer in a box. When his accountant (Basil Hoffman) points out that a million dollars is a lot of money, Souza explains that he’s running a weekly special.

Fortunately for Sledge, it turns out that the city’s assassins are even dumber than he is. On his way to work, he has several close calls that he fails to notice. A knife is tossed at him but is blocked by his newspaper (which is extra thick because of the addition of several new Zodiac signs). Two hitmen accidentally shoot each other when he leans forward. Sledge spills his poisoned coffee before he can drink it. It’s not until he arrives at work and ends up juggling a lit stick of dynamite in Captain Trunk’s office that he realizes someone is after him.

Captain Trunk orders Hammer to hide out in the country. Unfortunately, the cop driving him explains that he has 12 kids and needs the money both to pay for their school and for a vasectomy. A struggle ends with Hammer getting tossed out of the car. He lands in a field, where he is discovered by farmer Jacob (Lewis Arquette) and his daughter, Isadora (Ann Ryerson).

Jacob and Isadora may ride in a buggy and eschew modern technology, but they’re not Amish. They’re not Mennonites either. Instead, they are Maninotes. Isadora insists that Hammer stay in their farmhouse until he recovers. Jacob insists that he do chores. Sledge milks a cow. Sledge tosses hay. Sledge tries and fails to build a barn.

As you probably already guessed, “Witless” is a parody of the 1985 film Witness. It’s definitely an affectionate parody. It doesn’t make fun of the movie so much as it imagines what would have happened if Harrison Ford’s sensitive and intelligent detective had been replaced by a trigger-happy lunatic. Sledge may be attracted to Isadora, but in the end his true love remains his gun. And when the assassins (led by the Don’s accountant) arrive at the farm, Jacob and Isadora appear with machine guns. When Hammer points out that Maninotes are supposed to be against violence, Jacob shrugs. “It’s the ’80s,” he says.

Eventually, Sledge gets in a box and has himself delivered to the Don so that he can collect the money. When Officer Doreau tells Sledge that he can’t take the money because it’s evidence, Sledge laughs and says that he won’t be pressing charges. Instead, he takes the money and gives it to Jacob and Isadora. Jacob says that he’s going to repair the barn and then buy a Porsche.

This is a hilarious episode, from the sight gags at the start to Sledge’s efforts to help out around the farm. The humor is cheerfully absurd. (At one point, when the accountant is slowly creeping up on Sledge, one of the other assassins walks up and takes his place so the accountant can take a break.) David Rasche plays Sledge with just the right amount of clueless enthusiasm. I laughed throughout. Sledge Hammer may be witless, but he’s also very funny.

Retro Television Review: St. Elsewhere 4.8 “Watch The Skies”


Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Fridays, I will be reviewing St. Elsewhere, a medical show which ran on NBC from 1982 to 1988.  The show can be found on Daily Motion.

This week, the hospital becomes a very sad place.

Episode 4.8 “Watch the Skies”

(Dir by Bethany Rooney, originally aired on November 27, 1985)

Mr. Zapata (Frank Ramirez) comes to the ER complaining of stomach pains. He tells Dr. Fiscus that he doesn’t have time for an examination. He just needs something for the pain so he can go back to his job on the loading docks. Fiscus calls in Dr. Westphall, the most depressing man on the planet, for a consult. When Zapata faints, Westphall diagnoses him as suffering from malnutrition. Zapata is an immigrant from El Salvador, and all of his money goes to paying for food for his kids and younger siblings. When he’s given food at the hospital, he insists that his sister, Morena (Edith Diaz), be allowed to take it home for the family.

It’s a sad story. Of course, Westphall makes it all about himself and his struggle to get the Hospital Board to approve his social outreach programs. For the thousandth time this season, he tells Auschlander that he thought people would automatically agree to all of his ideas. Westphall is the only character I know who can meet a man who is starving and turn it into a pity party for himself.

Speaking of sad stories, Colonel Cochrane (David Ackroyd) is informed that, even if he does regain the ability to walk, he will probably never be allowed to ride in another space shuttle. NASA feels that Cochrane’s religious fervor would make people nervous. (Really?) Cochrane’s wife gets frustrated with him always talking about God and leaves him. Cochrane has yet another vision of himself floating in space. He falls out of his hospital bed and nearly breaks his neck. Dr. Morrison tells Cochrane that God would not want him to destroy himself.

Poor Dr. Morrison. He spends this entire episode getting physically ill because he’s so worried about taking his third remedial exam. It’s actually kind of amazing that Morrison is being allowed to treat high-profile patients (like the astronaut) when he really shouldn’t even be allowed to practice medicine in the first place. (Last season, in case you forgot, Morrison confessed to getting his medical degree from a fly-by-night medical school in South America.)

When Dr. Turner’s ex-husband (Charles Weldon) comes to the hospital and asks her to consider returning to her hometown in Mississippi and serving as the town’s doctor, Chandler gets jealous. Turner informs Chandler that he’ll never be a good doctor unless he learns how to care about other people. Then she dumps him.

At the insistence of Bobby Caldwell, Ehrlich is kicked out of his plastic surgery rotation and assigned to gynecology. Meanwhile, Bobby continues to be a sleaze who hits on every woman in the hospital while obsessing over his new facial scar.

Nurse Rosenthal gets into an argument with abrasive Nurse Lucy Papandrao (Jennifer Savidge). Rosenthal accuses Lucy of being “autocratic.” Lucy accuses Rosenthal of being a suck-up who brings all of her personal problems into the hospital and whose “bratty kids are calling up here all the time.” Rosenthal slaps Lucy. Somehow, Rosenthal does not lose her job, which kind of supports Lucy’s claim that Rosenthal gets special treatment.

Seriously, is no one happy at St. Eligius?

Well, there is one happy couple, and their identity might surprise you. When Dr. Craig comes into work, he finds Gene Galecki (Ramon Bieri) waiting for him with Dr. Craig’s infant granddaughter, Barbara. Gene explains that Yvonne seems to be reacting well but that she still has a long way to go in her recovery. Gene says that he and his wife are going to have to devote all of their time to taking care of Yvonne. He asks Dr. Craig to look after Barbara. Dr. Craig agrees. When he calls Ellen and gives her the news, she’s overjoyed. For that matter, so is Dr. Craig.

So Mark and Ellen Craig end this episode happy. Who would have guessed? Personally, I’m happy for them. Watching this show, it’s easy to get used to the idea of Dr. Craig as always being sarcastic and prickly. This episode reminds us that Dr. Craig is just as compelling when he’s in a good mood.

In the end, there’s a lot of sadness in this episode. Fortunately, there’s some happiness too. That’s a lesson for us all.

 

Live Tweet Alert: Join #FridayNightFlix for The French Connection!


As some of our regular readers undoubtedly know, I am involved in a few weekly watch parties.  On Twitter, I host #FridayNightFlix every Friday and I co-host #ScarySocial on Saturday.  On Mastodon, 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, I will be hosting #FridayNightFlix!  The movie?  1971’s The French Connection!

If you want to join us this Friday, just hop onto twitter, find The French Connection on Prime, start the movie at 10 pm et, and use the #FridayNightFlix hashtag!  I’ll be there happily tweeting.  It’s a friendly group and welcoming of newcomers so don’t be shy.

See you there!

 

 

Scenes I Love: Chick Vennera Dances In Thank God It’s Friday


Last night, I watched Thank God It’s Friday with the Tubi Thursday gang.  (I also watched the eclipse!)

Thank God It’s Friday is admittedly not a great film but it does have a few fun moments.  One of my favorites is Chick Vennera’s exuberant dance scene.  Here he is, using a bunch of cars as his dance floor.

 

4 Shots From 4 Films: Special David Fincher 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 64th birthday to David Fincher!  It’s time for….

4 Shots from 4 David Fincher Films

Seven (1995, dir by David Fincher. DP: Darius Khondji)

Fight Club (1999, dir by David Fincher, DP: Jeff Croneweth)

Zodiac (2007, dir by David Fincher, DP: Harris Savides)

Mank (2020, dir by David Fincher, DP: Erik Messerschmidt)

Late Night Retro Television Review: Hunter 1.18 “Fire Man”


Welcome to Late Night Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past!  On Thursdays, I will be reviewing Hunter, which aired on NBC from 1984 to 1991.  The entire show is currently streaming on Tubi and several other services!

This week, things are getting hot!

Episode 1.18: “Fire Man”

(Dir Tony Mordente, originally aired May 11th, 1985)

Somebody in Los Angeles has got a military-grade flamethrower and is using it to set fires all over the city.

When a homeless man perishes in a burning warehouse, Hunter and McCall get involved. Their first suspect is a nervous man named Jack Lachman (William Russ, giving a better performance than the material probably deserved), who always seems to show up in the crowds that gather to watch the flames. Jack swears he’s innocent and that the arsonist is instead a former Special Forces operative with whom he served in Vietnam.  Jack also claims that the arsons are connected to a war crime that Jack and his fellow soldiers covered up.

Also getting involved is Matt Gold (Mark Schneider), a reporter determined to get the story and unconcerned about whether he messes up the investigation in the process. At first, McCall thinks Matt is harmless. Hunter does not. Not surprisingly, Hunter turns out to be right: the media gets in the way of solving and preventing crimes.

This episode was all about visual style. The plot wasn’t terribly complicated, but the shots of the arsonist setting his fires were disturbing, as were the images of the flames quickly consuming anything they touched. The scene in which the arsonist takes out a witness was disturbingly violent, even by Hunter’s standards. At the same time, the song that seemed to play whenever the arsonist appeared quickly got old.

As violent as the episode got, there was something reassuring about Hunter and McCall once again stopping the bad guy and saving the city—and doing it while trading quips. It’s a scary world out there, this episode seemed to be saying, but luckily we’ve got Hunter and McCall to take out the trash.