Retro Television Review: Homicide: Life on The Street 2.2 “See No Evil”


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 Homicide: Life On The Street, which aired from 1993 to 1999, on NBC!  It  can be viewed on Peacock.

This week, no one’s innocent.

Episode 2.2 “See No Evil”

(Dir by Christopher Menual, originally aired on January 13th, 1994)

Watch out!  Stanley Bolander’s whining about his divorce again!

Ned Beatty was one of the great character actors and he is certainly convincing in the role of Stanley Bolander, the veteran Baltimore homicide detective who has seen the worst that humanity has to offer and who spends most of his time annoyed with his partner, John Munch.  But, as good as Beatty is, I still groan whenever Bolander starts to talk about his ex-wife and his divorce.  His bitterness was a recurring theme during the first season.  It was annoying but it was understandable because the divorce was still recent.

But now, we’ve started the second season.  It’s time move on, Big Man!

This episode finds Bolander very reluctantly taking part in sensitivity training.  He avoids meeting with Dr. Carrie Weston (Jennifer Mendenhall) until Giardello threatens to suspend him without pay.  Bolander is stunned when Dr. Weston turns out to be sympathetic to his anger over his divorce.  Bolander ever tries to ask Dr. Weston out, just for Weston to inform him that she’s just gotten out of a bad relationship and that she believes “birds of a feather should flock together” and, speaking of birds, did you know that there are lesbian seagulls?  Bolander gets the hint.  Myself, I would probably lie about being a lesbian just to get out of having to spend any more time listening to him cry about his divorce.

Far more interesting than Bolander’s angst were the two cases at the center of this week’s episode.  Chuckie Prentice (Michael Chaban) shoots his dying father (played, in a powerful and intimidating performance, by Wilford Brimley) in the head.  Though Chuckie claims that his father committed suicide, Lewis has his doubts and takes Chuckie to the station for interrogation.  Detective Beau Felton just happens to be Chuckie’s best friend and, after Chuckie tells him that his father specifically asked to be put out of his misery, Felton tries to convince Lewis to say that the shooting actually was a suicide.  At first, Lewis refuses but eventually, he agrees to look the other way while Felton takes Chuckie to wash his hands and destroy any evidence of gunpowder residue on his skin.  Without any definite evidence proving the he fired the gun, Chuckie is free to go and his father’s death is ruled a suicide.

This was a powerful story and it was all the more effective because it refused to come down on one side or the other.  Both Felton and Lewis presented their positions well and the episode ended not on a note of triumph but on a note of weary resignation.  Chuckie is free to go on with his life and his father is no longer in pain but Lewis is going to be haunted by his decision to allow evidence to be destroyed.  Personally, I’m against assisted suicide and I felt it was selfish for Chuckie’s father to ask Chuckie to pull the trigger.  But, having spent the previous few months trying to come to terms with my own father’s passing, I could understand what Chuckie was feeling.  There really are no easy answers.

As for the other case, it involved the shooting of a drug dealer.  The dealer was shot in the back.  A patrolman claimed that he slipped and his gun accidentally fired during the pursuit of the dealer.  Pembleton had his doubts about whether the shooting was really an accident or a case of police brutality.  Even after Giardello warned him that pursuing the case would turn “brother against brother” in the police force, Pembleton insisted on asking every police officer on the scene to turn in their guns for testing.  “You son of a bitch, Pembleton,” Giardello muttered.

And again, this was a storyline that worked because it refused to present an easy solution.  The dead man was a criminal and he was shot while fleeing the cops.  Even though the cop that slipped was eventually cleared of having fired the shot that killed the dealer, it was obvious that the shot did come from a cop.  Pembleton, with his black-and-white view of his job, was determined to find the truth, regardless of the professional consequences.  Giardello, with years more experience than Pembleton, spoke from the heart when he told Pembleton that investigating the case would bring harm not just to the cop who shot the dealer but to every cop working the streets, regardless of whether they were involved or not.  Felton could convince Lewis to look the other way.  Pembleton was not willing to do the same thing.

It was a strong episode, even with all of Bolander’s nonsense.  Perfectly acted, morally ambiguous, and fiercely intelligent, this is an episode that I’ll be thinking about for a while.

Conclave Wins In North Carolina


The North Carolina Film Critics Association has announced its picks for the best of 2024!

BEST NARRATIVE FILM
Anora
The Brutalist
Challengers
Civil War
Conclave
Dune: Part Two
I Saw the TV Glow
Nickel Boys
Nosferatu
The Substance

BEST DOCUMENTARY FILM
Dahomey
No Other Land
Sugarcane
Super/Man: The Christopher Reeve Story
Will & Harper

BEST ANIMATED FILM
Flow
Inside Out 2
Memoir of a Snail
Transformers One
The Wild Robot

BEST FOREIGN LANGUAGE FILM
All We Imagine As Light
Emilia Pérez
Evil Does Not Exist
I’m Still Here
The Seed of the Sacred Fig

BEST DIRECTOR
Brady Corbet – The Brutalist
Coralie Fargeat – The Substance
Luca Guadagnino – Challengers
RaMell Ross – Nickel Boys
Denis Villeneuve – Dune: Part Two

BEST ACTOR
Adrien Brody – The Brutalist
Timothée Chalamet – A Complete Unknown
Daniel Craig – Queer
Colman Domingo – Sing Sing
Ralph Fiennes – Conclave

BEST ACTRESS
Cynthia Erivo – Wicked
Marianne Jean-Baptiste – Hard Truths
Mikey Madison – Anora
Demi Moore – The Substance
Zendaya – Challengers

BEST SUPPORTING ACTOR
Yura Borisov – Anora
Kieran Culkin – A Real Pain
Chris Hemsworth – Furiosa: A Mad Max Saga
Clarence Maclin – Sing Sing
Denzel Washington – Gladiator II

BEST SUPPORTING ACTRESS
Aunjanue Ellis-Taylor – Nickel Boys
Ariana Grande – Wicked
Felicity Jones – The Brutalist
Katy O’Brian – Love Lies Bleeding
Margaret Qualley – The Substance
Isabella Rossellini – Conclave

BEST VOCAL PERFORMANCE IN ANIMATION OR MIXED MEDIA
Kevin Durand – Kingdom of the Planet of the Apes
Lupita Nyong’o – The Wild Robot
Maya Hawke – Inside Out 2
Pedro Pascal – The Wild Robot
Sarah Snook – Memoir of a Snail

BEST ACTING ENSEMBLE
Conclave

Dune: Part Two
Saturday Night
Sing Sing
Wicked

BEST ORIGINAL SCREENPLAY
A Different Man
Anora
The Brutalist
Challengers
The Substance

BEST ADAPTED SCREENPLAY
Conclave

Dune: Part Two
Nickel Boys
Nosferatu
Sing Sing

BEST CINEMATOGRAPHY
Challengers
Dune: Part Two
Nickel Boys
Nosferatu
The Brutalist

BEST EDITING
Anora
Challengers
Conclave
Dune: Part Two
Nickel Boys

BEST COSTUME DESIGN
Conclave
Dune: Part Two
Furiosa: A Mad Max Saga
Nosferatu
Wicked

BEST HAIR AND MAKEUP
A Different Man
Dune: Part Two
Nosferatu
The Substance
Wicked

BEST PRODUCTION DESIGN
The Brutalist
Dune: Part Two
Furiosa: A Mad Max Saga
Nosferatu
Wicked

BEST SCORE
The Brutalist
Challengers
Conclave
Nosferatu
The Wild Robot

BEST ORIGINAL SONG
“Compress/Repress” – Challengers

“El Mal” – Emilia Pérez
“Harper and Will Go West” – Will & Harper
“Kiss the Sky” – The Wild Robot
“Like a Bird” – Sing Sing

BEST SOUND DESIGN
Challengers
Civil War
Dune: Part Two
Nosferatu
Wicked

BEST SPECIAL EFFECTS
Dune: Part Two

Furiosa: A Mad Max Saga
Kingdom of the Planet of the Apes
Nosferatu
The Substance

BEST STUNT COORDINATION
Dune: Part Two
The Fall Guy
Furiosa: A Mad Max Saga
Gladiator II
Monkey Man

DIRECTORIAL DEBUT
Vera Drew – The People’s Joker
Francis Galluppi – The Last Stop in Yuma County
Zoë Kravitz – Blink Twice
Josh Margolin – Thelma
Sean Wang – Dìdi (弟弟)
Malcolm Washington – The Piano Lesson

BREAKTHROUGH PERFORMANCE
Carlos Diehz – Conclave
Clarence Maclin – Sing Sing
Mikey Madison – Anora
Katy O’Brian – Love Lies Bleeding
Adam Pearson – A Different Man

LIFETIME ACHIEVEMENT: Cinematography
Roger Deakins

Christopher Doyle
Greig Fraser
Emmanuel Lubezki
Hoyte van Hoytema

KEN HANKE MEMORIAL TAR HEEL AWARD
Stephen McKinley Henderson – Civil War
Jeff Nichols (Director) – The Bikeriders
Margaret Qualley – The Substance
Hunter Schafer – Cuckoo
Drew Starkey – Queer

Here Are The 2024 Nominations Of The Set Decorators Society of America


On the 3rd, the Set Decorators Society of America announced its nominations for the best production designs of 2024.  The winners will be announced on February 5th.

Best Achievement in Décor/Design of a Contemporary Feature Film
Anora — Neon – Set decoration by Christopher Phelps with production design by Stephen Phelps
Civil War — A24 – Set decoration by Lizbeth Ayala with production design by Caty Maxey
Conclave — Focus Features – Set decoration by Cynthia Sleiter with production design by Suzie Davies
Emilia Pérez — Netflix – Set decoration by Cécile Deleu with production design by Emmanuelle Duplay
The Substance — Mubi – Set decoration by Cécilia Blom with production design by Stanislas Reydellet

Best Achievement in Décor/Design of a Period Feature Film
The Brutalist — A24 – Set decoration by Patricia Cuccia and Mercédesz Nagyváradi with production design by Judy Becker
A Complete Unknown — Searchlight Pictures – Set decoration by Regina Graves with production design by François Auduoy
Gladiator II — Paramount – Set decoration by Jille Azis and Elli Griff with production design by Arthur Max
Maria — Netflix – Set decoration by Sandro Piccarozzi and Nóra Talmaier with production design by Guy Hendrix Dyas
Nosferatu — Focus Features – Set decoration by Beatrice Brentnerova with production design by Craig Lathrop

Best Achievement in Décor/Design of a Fantasy or Science Fiction Film
Alien: Romulus — 20th Century Studios – Set decoration by Zsuzsanna Sipos with production design by Naaman Marshall
Beetlejuice Beetlejuice — Warner Bros. – Set decoration by David Morison and Lori Mazuer with production design by Mark Scruton
Dune: Part Two — Warner Bros. – Set decoration by Shane Vieau with production design by Patrice Vermette
Furiosa: A Mad Max Saga — Warner Bros. – Set decoration by Katie Sharrock with production design by Colin Gibson
Megalopolis — Lionsgate – Set decoration by Lisa Sessions Morgan with production design by Beth Mickle and Bradley Rubin

Best Achievement in Décor/Design of a Comedy or Musical Feature Film
Deadpool & Wolverine — Marvel/Walt Disney Studios – Set decoration by Naomi Moore and Imogen Lee with production design by Raymond Chan
Kinds of Kindness — Searchlight Pictures – Set decoration by Amy Silver with production design by Anthony Gasparro
Nightbitch — Searchlight Pictures – Set decoration by Ryan Watson with production design by Karen Murphy
Wolfs — Apple Studios – Set decoration by Melissa Levander with production design by Jade Healy
Wicked — Universal – Set decoration by Lee Sandales with production design by Nathan Crowley

Conclave Wins In Oklahoma


On the 3rd, the Oklahoma Film Critics Circle announced their picks for the best of 2024!

Top 10 Films
1. Conclave
2. Anora
3. The Brutalist
4. Challengers
5. Wicked
6. Sing Sing
7. Dune: Part Two
8. The Substance
9. I Saw the TV Glow
10. Memoir of a Snail

Best Actor
Winner: Ralph Fiennes, Conclave
Runner-Up: Adrien Brody, The Brutalist

Best Actress
Winner: Mikey Madison, Anora
Runner-Up: Demi Moore, The Substance

Best Supporting Actor
Winner: Clarence Maclin, Sing Sing
Runner-Up: Edward Norton, A Complete Unknown

Best Supporting Actress
Winner: Ariana Grande, Wicked
Runner-Up: Isabella Rossellini, Conclave

Best Original Screenplay
Winner: The Brutalist
Runner-Up: Anora

Best Adapted Screenplay
Winner: Conclave
Runner-Up: Sing Sing

Best Director
Winner: Edward Berger, Conclave
Runner-Up: Brady Corbet, The Brutalist

Best Documentary
Winner: Sugarcane
Runner-Up: Will & Harper

Best Animated Feature
Winner: The Wild Robot
Runner-Up: Flow

Best Foreign Language Film
Winner: Emilia Pérez
Runner-Up: The Seed of the Sacred Fig

Best Cinematography
Winner: Nosferatu
Runner-Up: The Brutalist

Best Score
Winner: Challengers
Runner-Up: Conclave

Best Ensemble
Winner: Conclave
Runner-Up: Sing Sing

Best First Feature
Winner: Fancy Dance, dir. Erica Tremblay
Runner-Up: The First Omen, dir. Arkasha Stevenson

Best Body of Work
Winner: Nicholas Hoult (Nosferatu, The Order, Juror #2, Garfield)
Runner-Up: Luca Guadagnino (Challengers, Queer)

Best Stunt Coordination
Winner: The Fall Guy
Runner-Up: Furiosa: A Mad Max Saga

Best Indigenous Film
Winner: Sugarcane
Runner-Up: Fancy Dance

Best Performance By an Animal Actor
Winner: Peggy (a.k.a. Dogpool), Deadpool & Wolverine
Runner-Up: Jean Claude (dog), The Fall Guy

The Substance Wins In Kansas City!


Yesterday, The Kansas City Film Critics Circle announced their picks for the best of 2024!

BEST FILM
Anora
Civil War
Conclave
Dune: Part Two
I Saw The TV Glow
Nickel Boys
A Real Pain
Sing Sing
The Substance
Wicked

ROBERT ALTMAN AWARD FOR BEST DIRECTOR
Sean Baker – Anora
Jon M. Chu – Wicked
Coralie Fargeat – The Substance
RaMell Ross – Nickel Boys
Denis Villeneuve – Dune: Part Two

BEST ACTOR
Timothée Chalamet – A Complete Unknown
Timothée Chalamet – Dune: Part Two
David Dastmalchian – Late Night with the Devil
Colman Domingo – Sing Sing
Ralph Fiennes – Conclave

BEST ACTRESS (TIE)
Cynthia Erivo – Wicked
Karla Sofía Gascón – Emilia Pérez
Mikey Madison – Anora
Demi Moore – The Substance
June Squibb – Thelma

BEST SUPPORTING ACTOR
Yura Borisov – Anora
Kieran Culkin – A Real Pain
Chris Hemsworth – Furiosa: A Mad Max Saga
Clarence Maclin – Sing Sing
Adam Pearson – A Different Man
Jeremy Strong – The Apprentice
Denzel Washington – Gladiator II

BEST SUPPORTING ACTRESS
Joan Chen – Didi
Danielle Deadwyler – The Piano Lesson
Ariana Grande – Wicked
Margaret Qualley – The Substance
Zoe Saldana – Emilia Pérez

BEST ORIGINAL SCREENPLAY
Anora
The Brutalist
Civil War
A Real Pain
The Substance

BEST ADAPTED SCREENPLAY
Conclave
Dune: Part Two
Nickel Boys
Sing Sing
The Wild Robot

BEST CINEMATOGRAPHY
The Brutalist
Civil War
Dune: Part Two
Gladiator II
Nickel Boys
Nosferatu
Wicked

BEST ORIGINAL SCORE
Challengers
Conclave
Dune: Part Two
The Substance
The Wild Robot

BEST ANIMATED FEATURE
Flow
Inside Out 2
Memoir of a Snail
Wallace & Gromit: Vengeance Most Fowl
The Wild Robot

BEST FOREIGN LANGUAGE FILM
All We Imagine as Light
Emilia Pérez
Flow
I’m Still Here
Kneecap
Twilight of the Warriors: Walled In

BEST DOCUMENTARY
Dahomey
Look Into My Eyes
Seeking Mavis Beacon
Sugarcane
Super/Man: The Christopher Reeve Story
Will & Harper

VINCE KOEHLER AWARD FOR BEST SCIENCE FICTION/FANTASY/HORROR
Dune: Part Two
I Saw The TV Glow
Late Night with the Devil
Nosferatu
The Substance

TOM POE AWARD FOR BEST LGBTQ FILM
I Saw The TV Glow
Emilia Pérez
Love Lies Bleeding
My Old Ass
Will & Harper
Queer

BUSTER KEATON AWARD FOR BEST STUNT ENSEMBLE FILM
Deadpool & Wolverine
Dune: Part Two
The Fall Guy
Furiosa: A Mad Max Saga
Monkey Man

The Greater Western New York Film Critics Association Honors Challengers


Yesterday, the Greater Western New York Film Critics Association announced its picks for the best of 2024.

BEST PICTURE
Anora
The Brutalist
Challengers
Dune: Part Two
Furiosa: A Mad Max Saga
I Saw the TV Glow
Nickel Boys
No Other Land
Nosferatu
A Real Pain

BEST FOREIGN FILM
All We Imagine as Light (India)
Evil Does Not Exist (Japan)
Kneecap (Ireland)
No Other Land (Israel)
Red Rooms (Canada)

BEST ANIMATED FILM
Flow
Inside Out 2
Memoir of a Snail
Wallace & Gromit: Vengeance Most Fowl
The Wild Robot

BEST DOCUMENTARY
Daughters
No Other Land
The Remarkable Life of Ibelin
Soundtrack to a Coup d’Etat
Super/Man: The Christopher Reeve Story

BEST DIRECTOR
Sean Baker – Anora
Brady Corbet – The Brutalist
Coralie Fargeat – The Substance
Luca Guadagnino – Challengers
RaMell Ross – Nickel Boys

LEAD ACTOR
Adrien Brody – The Brutalist
Timothée Chalamet – A Complete Unknown
Colman Domingo – Sing Sing
Hugh Grant – Heretic
Keith Kupferer – Ghostlight

LEAD ACTRESS
Pamela Anderson – The Last Showgirl
Marianne Jean-Baptiste – Hard Truths
Mikey Madison – Anora
Demi Moore – The Substance
Fernanda Torres – I’m Still Here

SUPPORTING ACTOR
Yura Borisov – Anora
Kieran Culkin – A Real Pain
Clarence Maclin – Sing Sing
Edward Norton – A Complete Unknown
Guy Pearce – The Brutalist

SUPPORTING ACTRESS
Monica Barbaro – A Complete Unknown
Joan Chen – Dìdi
Ariana Grande-Butera – Wicked
Natasha Lyonne – His Three Daughters
Margaret Qualley – The Substance

ORIGINAL SCREENPLAY
Anora – Sean Baker
The Brutalist – Brady Corbet & Mona Fastvold
Challengers – Justin Kuritzkes
A Different Man – Aaron Schimberg
A Real Pain – Jesse Eisenberg

ADAPTED SCREENPLAY
Conclave – Peter Straughan
Hit Man – Richard Linklater & Glen Powell
Nickel Boys – RaMell Ross & Joslyn Barnes
Oh, Canada – Paul Schrader
Sing Sing – Clint Bentley & Greg Kwedar / story by
Kwedar, Bentley, Clarence Maclin & John Whitfield

BEST CINEMATOGRAPHY
The Brutalist – Lol Crawley
Challengers – Sayombhu Mukdeeprom
Dune: Part Two – Greig Fraser
Nickel Boys – Jomo Fray
Nosferatu – Jarin Blaschke

BEST EDITING
The Brutalist – David Jancso
Challengers – Marco Costa
Dune: Part Two – Joe Walker
Nickel Boys – Nicholas Monsour
Saturday Night – Nathan Orloff & Shane Reid

BEST ORIGINAL SCORE
The Brutalist – Daniel Blumberg
Challengers – Trent Reznor & Atticus Ross
Conclave – Volker Bertelman
Nosferatu – Robin Carolan
The Wild Robot – Kris Bowers

BREAKTHROUGH PERFORMANCE
Yura Borisov – Anora
Lily Collias – Good One
Clarence Maclin – Sing Sing
Mikey Madison – Anora
Izaac Wang – Dìdi

BREAKTHROUGH DIRECTOR
India Donaldson – Good One
Vera Drew – The People’s Joker
Josh Margolin – Thelma
RaMell Ross – Nickel Boys
Aaron Schimberg – A Different Man

The National Society of Film Critics Honors Nickel Boys


Yesterday, the National Society of Film Critics announced their picks for the best of 2024.  It was a good day for Nickel Boys.

Best Picture
Winner: NICKEL BOYS (47 points)
Runners-up: ANORA & ALL WE IMAGINE AS LIGHT (34 points)

Best Director
Winner: Payal Kapadia, ALL WE IMAGINE AS LIGHT (49 points)
Runners-up: RaMell Ross, NICKEL BOYS (42 points) Sean Baker, ANORA (33 points)

Best Actress
Winner: Marianne Jean-Baptiste, HARD TRUTHS (79 points)
Runners-up: Mikey Madison, ANORA (35 points) Ilinca Manolache, DO NOT EXPECT TOO MUCH FROM THE END OF THE WORLD (32 points)

Best Actor
Winner: Colman Domingo, SING SING (60 points)
Runners-up: Adrien Brody, THE BRUTALIST (51 points), and Ralph Fiennes, CONCLAVE (45 points)

Best Supporting Actress
Winner: Michele Austin, HARD TRUTHS (55 points)
Runners-up: Aunjanue Ellis-Taylor, NICKEL BOYS, and Natasha Lyonne, HIS THREE DAUGHTERS (39 points)

Best Supporting Actor
​Winner: Kieran Culkin, A REAL PAIN (52 points)
Runners-up: Guy Pearce, THE BRUTALIST (50 points), Edward Norton, A COMPLETE UNKNOWN, and Adam Pearson, A DIFFERENT MAN (41 points, tie)

Best Screenplay
Winner: Jesse Eisenberg, A REAL PAIN (47 points)
Runners-up: Radu Jude, DO NOT EXPECT TOO MUCH FROM THE END OF THE WORLD (46 points), and Sean Baker, ANORA (45 points)

Best Cinematography
Winner: Jomo Fray, NICKEL BOYS (80 points)
Runners-up: Lol Crawley, THE BRUTALIST (38 points), and Jarin Blaschke, NOSFERATU (21 points)

Best Nonfiction Film
Winner: NO OTHER LAND (70 points)
Runners-up: DAHOMEY (50 points) SOUNDTRACK TO A COUP D’ETAT (24 points)

Best Film Not In The English Language
Winner: ALL WE IMAGINE AS LIGHT (44 points)
Runners-up: DO NOT EXPECT TOO MUCH FROM THE END OF THE WORLD (41 points) THE SEED OF THE SACRED FIG (28 points)

Best Experimental Film: THE BALLAD OF SUZANNE CÉSAIRE

Film Heritage Award: Scott Eyman, for his outstanding books on film artists and epochal shifts in moviemaking, most recently with “Charlie Chaplin vs. America: When Art, Sex, and Politics Collided,” a revelatory study of the nexus of American politics and American pop culture.

Film Heritage Award: IndieCollect, which, since its founding in 2010 by Sandra Schulberg, has met the challenge of preserving independent films with a rare sense of artistic responsibility.

Film Heritage Award: To Save and Project: The MoMa International Festival of Film preservation, for more than two decades of superb restorations and diverse programming from all over the world, in collaboration with archives, foundations, studios, and other organizations.

Special Citation for a Film Awaiting U.S. Distribution: NO OTHER LAND

Novel Review: Mazes and Monsters by Rona Jaffe


The 1981 novel, Mazes and Monsters, tells the story of four wealthy college students who deal with the ennui of being rich and privileged by obsessively playing a role-playing game called Mazes and Monsters.

That’s right!  The game is Mazes and Monsters and most definitely not Dungeons and Dragons, even though both games are basically about people wandering around in dungeons and fighting monsters and searching for treasure.  (For the record, I’ve never played Dungeons and Dragons or any other role playing game and I’ve never really had any desire too.  That said, I did enjoy those episodes of Freaks and Geeks and Community.)  One of the four players is Robbie Wheeling, who has never recovered from the death of his brother.  When the players decide to move their game into the tunnels underneath their college, Robbie has a total break from reality and thinking that he actually is his M&M character, he flees to New York and lives on the streets.  Desperate for money and food, he turns to prostitution but ends up stabbing the first man who picks him up.  Agck!  He never should have played that game!

Mazes and Monsters is usually described as being one of the key works of the 80s Satanic Panic and there’s certainly an element of that to be found in the plot.  But the game is actually a fairly small part of the book.  The majority of the book just deals with teenagers struggling with the transition of adulthood and figuring out where they belong in the world.  The book isn’t quite as hysterical as its been described.  If anything, the book almost makes the case that the game is helpful to the players in that it gives them an escape from all the ennui.  Robbie was mentally unstable long before he played the game and it’s hard not to feel that something would have eventually set him off.

This is a rare case where the movie version is better than the book, if just because the movie features Tom Hanks as Robbie.  Robbie mistaking a man for a demon and stabbing him?  That’s really sad.  Tom Hanks doing it?  That’s cinematic magic!

Song of the Day: The Godfather by Nino Rota


Today, the Shattered Lens wishes a happy birthday to both Robert Duvall and Diane Keaton!

Along with being two of America’s best actors, Duvall and Keaton also co-starred in the first two Godfather films.  They didn’t share many scenes in the second film (though there was at least one Duvall/Keaton scene that was filmed but not included in the final film) but, in the first film, they have a memorable moment in which Keaton (as Kay) asks Duvall’s Tom Hagen to send a letter to Michael in Sicily.  Hagen politely refuses.  When Kay notices a car that has obviously been bombed, Tom replies with bland good cheer, “Oh, that was an accident.  Luckily, no one was hurt!”

In honor of these two amazing performers and my favorite movie of all time, today’s song of the day is Nino Rota’s theme from The Godfather.

Made-For-Television Movie Review: Skokie (dir by Herbert Wise)


Skokie, a 1981 made-for-television movies, opens in a shabby Chicago office.

A group of men, all wearing brownshirts and swastika armbands, listen to their leader, Frank Collin (George Dzundza).  Collin says that they will be holding their next rally in the town of Skokie.  Collin explains that Skokie has a large Jewish population, many of whom came to the United States after World War II.  Collin wants to march through their town on Hitler’s birthday.

If not for the swastika and the brownshirt, the overweight Collin could easily pass for a middle-aged insurance salesman, someone with a nice house in the suburbs and an office job in the city.  However, Frank Collin is the head of the American National Socialist Party. a small but very loud group of Nazis who specialize in marching through towns with large Jewish populations and getting fee media attention as a result of people confronting them.  Making Frank Collin all the more disturbing is that he isn’t just a character in a made-for-television movie.  Frank Collin is a real person and Skokie is based on a true story.

The Mayor (Ed Flanders) and the police chief (Brian Dennehy) of Skokie are, needless to say, not happy about the idea of modern-day Nazis marching through their city.  Though they inform Collin that he will have to pay for insurance before he and his people will be allowed to hold their rally, they know that the courts have been striking down the insurance requirement as being a violation of the First Amendment.  While the mayor and the police chief worry about the political fallout of the rally, the Jewish citizens of Skokie debate amongst themselves how to deal with the Nazis.  Bert Silverman (Eli Wallach) and Abbot Rosen (Carl Reiner) argue that the best way to deal with Collin and his Nazis is to refuse to acknowledge them, to “quarantine” them.  As Rosen explains it, Collin is only marching to get the free publicity that comes with being confronted.  If he’s not confronted, he won’t make the evening news and his rally will have been for nothing.  However, many citizens of Skokie — including Holocaust survivor Max Feldman (Danny Kaye) — are tired to turning their back on and ignoring the Nazis.  They demand that the Nazis be kept out and that, if they do enter the city, they be confronted.

With the support of the ACLU, Collin sues for his right to march through Skokie.  The ACLU is represented by Herb Lewishon (John Rubinstein), a Jewish attorney who hates Collin and everything that he stands for but who also feels that the First Amendment must be respected no matter what.  When Lewishon is asked how he, as a Jew, can accept a Nazi as a client, Lewishon relies that his client is the U.S. Constitution.

Skokie is a thought-provoking film, all the more so today when there’s so much debate about who should and should not be allowed a platform online.  (Indeed, Collin and his Nazis would have loved social media.)  Lewishon argues that taking away any group’s First Amendment rights, regardless of how terrible that group may be, will lead to slippery slope and soon everyone’s First Amendment rights will be at risk.  Max Feldman, and others argue that the issue isn’t free speech.  Instead, the issue is standing up to and defeating evil.  The film gives both sides their say while, at the same time, making it clear that Frank Collin and his Nazis are a bunch of fascist losers.  It’s a well-acted and intelligently written movie, one that rejects easy answers.  Needless to say, at a time when so many people feel free to be openly anti-Semitic, it’s a film that’s still very relevant.

As for the real Frank Collin, he would eventually be charged with and convicted of child molestation.  After three years in prison, he changed his name to Frank Joseph and became a writer a New Age literature.  He’s looking for Atlantis but I doubt they’d want him either.