Retro Television Review: Fantasy Island 6.16 “Return To The Cotton Club/No Friends Like Old Friends”


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 1984.  Unfortunately, the show has been removed from most streaming sites.  Fortunately, I’ve got nearly every episode on my DVR.

This week, we’re traveling in time!

Episode 6.16 “Return to the Cotton Club/No Friends Like Old Friends”

(Dir by Don Weis, originally aired on February 26th, 1983)

Aspiring singer Charlie Whelan (Lou Rawls) wants to go back to a time where all that mattered was talent.  As he tells Roarke and Tattoo, it’s all about image and connections now.  Charlie wants to go back to the Cotton Club, the famous New York club where blacks were allowed to perform on stage while gangsters sat in the audience.  Roarke sends Charlie back in time and soon, Charlie is at the Cotton Club.  He meets Dutch Schultz (J.D. Cannon).  He befriends the club’s manager, Gus Kelly (Yaphet Kotto).  He falls for another singer, Linda (Berlinda Tolbert).

The first thing I noticed about this fantasy is that The Cotton Club looked really cheap.  It looked like an old VIP lounge in an airport.  It was kind of tacky.  The other thing I noticed is that the fantasy wasn’t historically accurate.  The Cotton Club was not owned by Dutch Schultz.  In fact, Schultz had little to do with The Cotton Club.  The gangster who owned the Cotton Club was Owney Madden, an Irish gangster who eventually left New York City for Hot Springs, Arkansas.  In the show’s defense, the man who Charlie knew as Dutch Schultz was eventually revealed to be another guest who was having a fantasy of his own.  I’ve always had mixed feelings about Roarke’s habit of combining fantasies.  I feel like a guest should only have to pay half-price if their fantasy is going to mixed up with somebody else’s.

As for this fantasy, it was okay.  Lou Rawls certainly gave a better performance here than he ever did on Baywatch Nights.  And Yaphet Kotto was a charming as ever, even if his role was, again, not historically accurate.  (The Cotton Club may have hired black performers but otherwise, it was heavily segregated.)  I like almost anything involving 1930s gangsters.  I can’t help it.  They had style.

As for the other fantasy, Doreen Murphy (Markie Post) wants to have a reunion with her friends from college.  Doreen asks Roarke to make her rich and beautiful so that she can shame all of the people who never believed in her.  Roarke gives her a magic necklace that changes her from being a brunette to being a blonde.  That’s all it takes!  One of Doreen’s friends is Liz (Cybill Shepherd).  Liz is married to the unfaithful Al (Lyle Waggoner), who takes an interest in Doreen.  Doreen learns a lesson about true beauty being more than just an appearance.  She also learns that people don’t dislike her as much as they dislike her bitter attitude.  Doreen gives the necklace to Liz so that Liz can get her cheating husband back.  Good, I guess.

This was an uneven trip to the Island.  Neither story was particularly compelling.  The Cotton Club fantasy at least had Yaphet Kotto.  Otherwise, this was a forgettable trip.  The writers really didn’t even seem to be trying to come up with anything unexpected or surprising.  At least the Island continues to look lovely.

Late Night Retro Television Review: Baywatch Nights 1.17 “Code of Silence”


Welcome to Late Night 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 Baywatch Nights, a detective show that ran in Syndication from 1995 to 1997.  The entire show is currently streaming on You tube!

This week, the stars align and David Hasselhoff finally meets …. THE YAKUZA!

Episode 1.17 “Code of Silence”

(Dir by Charles Bail, originally aired on March 16th, 1996)

While her mother has a desperate conversation on a nearby payphone, young Mariko (Nicole Iiada) wanders onto the beach and spots a sea gull who has gotten tangled up in a fishing net.  Fortunately, Mitch Buchannon drives up in his red Baywatch jeep and is able to set the sea gull free.  Unfortunately, no sooner has the sea gull flown away then a bunch of Yakuza pull up and promptly kidnap Mariko’s mom.

Is there a detective in the house?

Why, yes, there is!

Well, kinda….

This is yet another episode of Baywatch Nights in which Mitch gets involved in a case as a result of being a lifeguard as opposed to being a private investigator.  Indeed, if not for the presence of Angie Harmon, there would be little to distinguish this from an episode of Baywatch.  While watching the last few episodes of Baywatch Nights‘s first season, you really can tell that the producers were desperate to bring over the audience that was watching just plan Baywatch.  If the first half of the first season was all about David Hasselhoff wearing suits and providing hard-boiled narration, the second half is more about getting everyone onto the beach as quickly as possible.

As for this week’s case, it turns out that the kidnapped woman is a geisha who has a computer disk that the Yakuza wants.  While the members of the Yakuza are busy threatening her with all sorts of violence, Mitch is teaming up with her grandfather (played by Soon-Tek Oh) and trying to discover where she’s being held.  When Garner and Mitch find out about the Yakuza’s secret headquarters, they launch an assault.  You might think that this would be difficult, seeing as how the members of the Yakuza are all ruthless martial artists.  Well, it turns out that karate is no match for Mitch’s fists.  The ancient art of combat falls before the power of the Hoff.

Somewhat inevitably, the episode ends with Mitch being given two samurai swords by Soon-Tek Oh.  When Mitch says that he can’t accept such an expensive gift, Soon-Tek Oh says that no one gets the swords as a gift.  Instead, they must be earned by truly displaying the spirit of the samurai.  Mitch looks truly touched while Angie Harmon suppresses a laugh.

David Hasselhoff vs. The Yakuza!  Well, we all knew it was going to have to happen at some point.  That said, I don’t think the Hoff was dealing with first-grade Yakuza.  It seems like the Yakuza sent the B-team to California.  Well, that was their mistake.  It didn’t take much effort for the Hoff to track them down and defeat them and in fact, it felt almost too easy.  The Yakuza probably thought the Hoff would be too busy recording a new album to care.  Again, their mistake.

Never underestimate the Hoff!

Late Night Retro Television Review: Baywatch Nights 1.14 “Backup”


Welcome to Late Night 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 Baywatch Nights, a detective show that ran in Syndication from 1995 to 1997.  The entire show is currently streaming on Youtube!

This week, Eddie Kramer returns!

Episode 1.14 “Backup”

(Dir by Charles Bail, originally aired on February 24th, 1996)

Visiting his former home for re-certification, former Baywatch lifeguard Eddie Kramer (Billy Warlock) is patrolling the ocean when he comes across a boat that’s on fire and sinking.  Two people on a dinghy yell that someone is still on the boat.  Eddie boards the boat and doesn’t see anyone.  The two people on the dingy continue to insist that someone is on the boat, even as Eddie dives off of it.

Along with Baywatch regular Newman (Michael Newman, the real-life model for Mitch Buchanan), Eddie searches the now sunken boat.  And, to his shock, he finds a dead man on the boat.  Eddie does a classic “Nooooooooo!” but, being underwater, no one can hear him.

With everyone blaming him for the accident, Eddie continues to insist that no one was alive on the boat when he first checked.  Eddie’s old friend and mentor, Mitch Buchanan, decides to investigate the case himself and he soon figures out the truth.  The dead man did drown but he was already dead by the time the boat sank!  But who wanted to kill him?

It’s actually not much of a mystery as there are only two suspects and it is established early on that they’re working together.  In fact, they talk about how they committed the murder before Mitch even figures out that it was a murder so say goodbye to any suspense.  The truth of the matter is that the storyline was less about the mystery and more about trying to boost the ratings by reminding everyone that this was a Baywatch show.  It might have been more effective if the show had made use of a top-tier Baywatch co-star (David Charvet, Pamela Anderson) as opposed to bringing back Billy Warlock, who hadn’t been on the show for a few seasons before his guest turn here.  But then again, bringing on a “current” co-star would have begged the question of “Why do we need a new show to watch a story from the old show?”

There’s a second storyline, in which a man (Barry Pearl) is concerned that his mistress (Valerie Wildman) has hired a hitman to kill him.  Garner, Ryan, and Lou all stakeout the mistress and discover that she doesn’t actually want to go through with the plot and that her original plan was to kill the man’s wife.  The man is so overjoyed to discover that his mistress wanted to kill his wife that he literally jumps for joy.  This was a weird storyline but at least it featured the characters doing real detective work for once.

This was a breezy and entertainingly dumb episode.  This is perhaps the first episode to feature every member of the main cast doing something and there was a nice feeling of comradery amongst the regulars.  That said, the episode ended with Mitch pointing out that they had solved all the cases and then asking, “What do we do now?”  Uhmm …. how about you go to your other job, Mitch?

Seriously, I don’t know how Mitch balances everything.

Late Night Retro Television Reviews: Baywatch Nights 1.10 “Kind of a Drag”


Welcome to Late Night 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 Baywatch Nights, an detective show that ran in Syndication from 1995 to 1997.  The entire show is currently streaming on Youtube!

Episode 1.10 “Kind of a Drag”

(Dir by Bernard L. Kowalski, originally aired on December 2nd, 1995)

Someone is putting on a dress and a rubber Richard Nixon mask and attacking drag performers!  After one performer is pulled out of the ocean (“It’s a wig!” a lifeguard shouts after pulling off the performer’s blonde hair), Mitch, Garner, and Ryan are hired to discover what’s going on.

They suspect that the attacker could be Duncan Valentine (Stuart Fratkin), the son of a former sitcom star who is trying to put together a movie about her life.  (His mother’s catchphrase was, “Wait until your father comes home!”)  Needless to say, someone is going to have to go undercover as a drag performer to catch the killer.  Which means that it’s time for Ryan to give Mitch a makeover!

Garner also goes undercover as Whoopi Goldberg but we don’t really get to see much of him in his red dress and wig.

While Mitch is performing a song, the assailant in the Richard Nixon mask shoots him!  No worries.  Mitch is wearing a bullet-proof vest.  What does worry me is that the assailant then heads to the dressing room but no one bothers to call the police or follow him down there.  Are they trying to catch this guy or not?  Instead, everyone gathers around Mitch to make sure that he’s okay.  Eventually, Ryan does say, “Call 911,” but I’m not sure why you would wait so long to do that when there’s a gun-toting maniac in the same building as you.

Anyway, it turns out that Duncan is innocent.  Instead, the assailant is revealed to be a drag performer who is upset that he wasn’t cast as Duncan’s mother in the biopic.

This episode was …. actually, considering that it’s from the 90s, it could have been worse.  Yes, a good deal of the show is taken up with scenes of David Hasselhoff struggling to walk in heels and revealing that no one has ever taught him the right way to sit down while wearing a short skirt.  (Ryan really should have given him some advice as far as that’s concerned.)  And yes, Mitch’s girlfriend did happen walk in on Mitch while he was wearing a dress.  (Fortunately, she’s thrilled to discover that Mitch is getting in touch with his feminine side.)  And yes, the villain did turn out to be a deranged drag performer who apparently believed that he actually was Duncan Valentine’s mother.  However, for the most part, the show did treat the other drag performers with respect and it didn’t attempt to play the attacks on them for laughs.  Mitch, Garner, and Ryan treat them like they would any other clients.  In 1995, that was probably the best anyone could expect.

Next week, the show undergoes the first of many format changes!

Late Night Retro Television Reviews: Baywatch Nights 1.9 “Blues Boys”


Welcome to Late Night 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 Baywatch Nights, an detective show that ran in Syndication from 1995 to 1997.  The entire show is currently streaming on Youtube!

This week, Mitch considers the blues!

Episode 1.9 “Blues Boy”

(Dir by Reza Badiyi, originally aired on November 25th, 1995)

Lyle Logan (Michael Preston) is a 13 year-old musical prodigy who plays a guitar on the Malibu Pier with his guardian, Ned Simon (Greg Wrangler).  Seven years earlier, Lyle witnessed the murder of his father by his Uncle Willie (Nathan Cavaleri).  Now, Uncle Willie has just been released from prison and he’s searching for Lyle because he believes that Lyle knows where his father stashed the money from a robbery.

Uncle Willie has his men abduct Ned, planning on using him for leverage to get to his nephew.  Lyle approaches Mitch and hires the detective agency to track Ned down.  However, Mitch, Ryan and Garner are more interested in learning the truth about Lyle’s background.  Though Lyle at first refuses to open up and even tries to run away when Mitch asks him about his background, Lyle eventually comes to trust the group.  Together, they save Lyle from Uncle Willie.  As for the stash of money, it’s in a first aid kit that breaks apart when it’s tossed into the ocean.  The money watches up on the beach, where everyone goes crazy trying to grab some for themselves.

This was a pretty simple episode.  In fact, it was a struggle to come up with 200 words to say about the plot.  There’s not a lot going on, beyond Lyle running up and down the pier and Uncle Willie-looking evil.  The only thing that kept this from being an episode of Baywatch was the presence of Angie Harmon and the lack of red bathing suits.  In many ways, this episode highlights one of the biggest problems for Baywatch Nights.  Far too often, the show just feels like a detective-themed episode of Baywatch (a show that actually did feature several detective-themed episodes both before and after the Baywatch Nights experiment).  This episode, for instance, barely features any scenes that take place at night.  Mitch does most of his investigating during the day, which is when he really should be working as a lifeguard.

The episode’s inability to escape the shadow of its parent show is exemplified by a scene that occurs about halfway through the episode.  We get an extended sequence in which Ryan, Garner, and Mitch listen to Lyle play his guitar and they all have flashbacks to their past.  Ryan’s memories deal with being the daughter of a navy officer.  Garner remembers tossing a football back and forth with his father.  And Mitch …. well, Mitch just has Baywatch flashbacks.  It’s one of those silly, overly earnest scenes that one expects to find any production starring David Hasselhoff.  (And the montage is, of course, scored by the Hoff singing a song.)  Still, it’s hard not to notice that, while Ryan and Garner both have a past, Mitch just has another television show.

The episode ends with Lyle meeting and playing with B.B. King.  Hopefully, B.B. adopted the kid.  Seriously, he had been through a lot.

Late Night Retro Television Reviews: Baywatch Nights 1.8 “Balancing Act”


Welcome to Late Night 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 Baywatch Nights, an detective show that ran in Syndication from 1995 to 1997.  The entire show is currently streaming on Youtube!

This week, we discover how it all began!

Episode 1.8 “Balancing Act”

(Dir by Gus Trikonis, originally aired on November 18th, 1995)

The eighth episode of Baywatch Nights opens with Ryan and Garner on a stakeout.  It’s the middle of the day and they’re waiting for someone carrying an envelope full of evidence.  Mitch is nowhere to be seen, which actually makes sense.  I mean, Mitch is still working as a lifeguard.  Over the past seven episodes, I’ve often wondered how Mitch can work full-time as both a detective and a lifeguard captain.  This episode finally acknowledges that Mitch actually does have another job.

Garner and Ryan start talking about the first that they met and how they came to be partners in a detective firm.  It’s flashback time!  The flashbacks are to the show’s previously unaired pilot.  What’s funny is that, even though Garner is the one who is telling the story, the flashbacks are all narrated by Mitch.  I know that Garner and Mitch were extremely close friends during the early seasons of Baywatch but I didn’t realize they could actually hear each other’s thoughts.

Flashback Mitch explains that both he and Garner were wondering if there was anything more to life than their jobs.  Garner wanted to be more than just a beach cop.  Mitch was wondering if maybe there was something more out there than just being a lifeguard.  One day, when Mitch on vacation from his lifeguarding job, Mitch decided to accompany Garner to investigate a mysterious boat that had been showing up around the marina.  It was during the investigation that Mitch and Garner first met Ryan.  Ryan had paid $25,000 for a private detective agency in California, just to discover that the agency was not the high class operation that the previous owner, Nicky Pine (Philip Bruns), claimed it was.  However, before Ryan could confront him, Nicky was apparently killed by a group of criminals who wanted a valuable bracelet that Nicky owned.  Except the bracelet, which he gave to Ryan, was actually a fake and Nicky wasn’t actually dead and….

Ugh, this is complicated.  Seriously. I hate to admit that I couldn’t follow the plot of an episode of Baywatch Nights but this plot had so many nonsensical twists and turns that I pretty much gave up on trying to make sense of it all.  The important thing is that Garner got fed up with the police and quit, Mitch realized that he wanted to be a private eye, and Ryan got to be totally awesome as usual.  At one point, Ryan explained to Mitch that she was tough because she was from Dallas.  Woo hoo!  You tell him, Ryan!

Because this was a pilot, there were a few examples of early installment weirdness.  Troy Evans showed up as a police detective and one got the feeling that he was originally envisioned as being a recurring character.  Lisa Stahl’s Destiny was nowhere to be seen but there was a character named Andy (Linda Hoffman) was acted quite similarly to Destiny.  Even Nicky and his girlfriend, Rose (Jeanette O’Connor), seemed to be set up to become semi-regular characters.  Obviously, there was some retooling done after this pilot was produced.

Anyway, this episode’s plot is impossible to follow but the California scenery is lovely, which I think is the most that anyone could realistically demand from any show from the Baywatch universe.  Having now watched the pilot, I’m glad that the show went forward with just Mitch, Garner, and Ryan as regulars.  They’re a good team.

Late Night Retro Television Reviews: Baywatch Nights 1.7 “Pressure Cooker”


Welcome to Late Night 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 Baywatch Nights, an detective show that ran in Syndication from 1995 to 1997.  The entire show is currently streaming on Youtube!

This week, Mitch, Ryan, and Lou are held hostage!

Episode 1.7 “Pressure Cooker”

(Dir by Gus Trikonis, originally aired on November 11, 1995)

Episode seven of Baywatch Nights opens with Mitch and Garner, once again, whining about their job.  They have been hired to work undercover in a fried chicken restaurant that has been robbed five times.  Garner wears a chicken costume and greets the customers.  Mitch works in the kitchen.  This is not the type of work that Mitch and Garner had in mind when they decided to become part-time private investigators.

In his opening voice over, Mitch says that sometimes, you have to do what you have to do to pay your bills.  Here’s the thing, though.  Mitch is a lifeguard.  He’s not just a lifeguard but he’s one of the top lifeguards in California.  So, no, he doesn’t need to work as a private eye to pay his bills.  I don’t care how much Mitch complains about the job.  I think he just secretly enjoys working as a cook in a fast food restaurant.  And good for him, if that’s the case!  Myself, I like fried chicken and I respect anyone who cooks it for a living.

Eventually, the scummy Sosa brothers show up at the restaurant and try to rob the place.  Garner and Mitch are able to stop the robbery but they only manage to capture one brother, Manny Sosa (Cliff Dorfman).  Duke (Joseph Spencer) and Nick Sosa (Rich Werner) escape.

Later, Duke and Nick show up at Nights, which is the nightclub that doubles as the office of the detective agency.  Because it’s the afternoon, Nights is not open to general public but that doesn’t stop Duke and Nick from taking Mitch, Ryan, and Lou Raymond (Lou Rawls) hostage.  (Lou is the owner of Nights.  Despite the fact that Lou Rawls was prominently featured in the opening credits of each episode, this is only his second appearance on the show.)  Duke demands that Manny be released from prison or he’s going to start shooting hostages!

While they wait out the situation, Lou plays the piano and sings a song while Duke dances with Ryan.  Meanwhile, Garner waits outside the club with the police and the press.  Eventually, reporter Stormy Walters (Sandra Dee Robinson) is invited to enter the club with her crew so that she can interview Duke and get some footage of him dancing with Ryan.  Garner puts on a fake beard and pretends to be Stormy’s sound guy.

As soon as Mitch sees Garner, he nudges Ryan and says, “It’s Garner!”  Even though Mitch whispers, it still seems like a reckless thing to point out when there’s two gun-toting maniacs in the club.  Fortunately, the Sosa brothers are pretty stupid so Mitch, Garner, and Ryan are able to give them a beat down.  Unfortunately, before the situation is resolved, both Lou and Garner are shot but, apparently, not seriously.

This episode …. eh.  As I’ve said elsewhere on this site, I am just not a fan of shows about hostage situations.  As soon as the Sosa brothers show up at the club, the narrative momentum comes to a grinding halt and all that’s left is 30 minutes of sweaty losers pointing guns at people and shouting.  It gets a little boring.  As well, the Sosas were so stupid that, even when they were shooting people, it was difficult to take them seriously as dangerous criminals.  They were just idiots.

Next week, we get the origin story as we learn how Mitch and Garner came to work with Ryan in the first place!

Late Night Retro Television Reviews: Baywatch Nights 1.3 “Silent Witness”


Welcome to Late Night 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 Baywatch Nights, an detective show that ran in Syndication from 1995 to 1997.  The entire show is currently streaming on Youtube!

This week, Mitch proves that he still has much to learn about being a private investigator.

Episode 1.3 “Silent Witness”

(Dir by Richard Friedman, originally aired on October 14th, 1995)

Have you ever wondered why Mitch’s career as a private investigator didn’t last longer than just two years?

The simple answer, of course, is that Baywatch Nights did not exactly get the best ratings and the show was canceled after two seasons.  Despite the fact that Baywatch Nights is an undeniably fun show, it was undoubtedly harmed by the fact that it didn’t feature lifeguards running in slow motion.  It was a Baywatch spin-off that had little of what attracted viewers to the original show.  Personally, I would think that the presence of David Hasselhoff would be enough but apparently, audiences in the 90s disagreed.

However, in-universe, I think Mitch’s failure to stick with the detective thing is that it doesn’t appear that he was very good at it.

Consider this episode.  Hayley Cartwright (Paige Moss) is a teenage runaway who, while walking along the beach, spots a man in the ocean being pulled under the water and drowned by someone wearing a diving outfit.  The murderer emerges from the ocean and tries to grab Haley.  Haley gets away but not before the killer shouts at her to keep quiet or she’ll be next.

Mitch, who is jogging across the beach, spots a stunned and bruised Haley collapsing on the beach.  Mitch checks out her injuries and assures her that she’s okay but Haley, who is understandably scared of everyone, runs away from him.

Later, Mitch is approached by a woman (Debby Boone) who says that her name is Lorraine and that she is Haley’s daughter.  Lorraine says that she just wants her daughter to come home and she asks Mitch to help find her.  Mitch agrees and sets out to find Haley while giving Lorraine regular updates.

Here’s what Mitch does not do.  He doesn’t bother to ask for any identification from Lorraine.  He doesn’t check out Lorraine’s story before agreeing to help her.  He doesn’t stop to consider that Haley might have a reason for acting like she’s scared for her life.  And really, it would have been good if Mitch had considered all of that because guess what?  LORRAINE IS NOT HALEY’S MOTHER!  Instead, she’s working with the killers!

Fortunately, Haley’s real mother (Janet Eilber) shows up and tells Ryan and Garner that she’s looking for her daughter.  Ryan and Garner actually ask the woman for identification and the woman reveals that she not only has her driver’s license but she also brought Haley’s birth certificate!  It’s a good thing that Haley’s real mom showed up because Mitch has found Haley hiding on a fishing boat and now, he’s having to defend her from the killers!  Now, fortunately, Mitch may not be a good detective but he’s still David Hasselhoff so he is able to beat up the killers and save Haley’s life.

It’s a fairly standard episode, in that it’s not particularly memorable but the California scenery is nice to look at and it’s a show you can relax with.  That said, the episode does have a brilliant opening, in which Mitch and Garner save Destiny from some bank robbers that are menacing her in an amusement park.  This leads to a fight on a Ferris wheel and a miracle-go-round.  Destiny is nearly run over by a miniature train!  It’s a fun and over-the-top sequence, one that has next to nothing to do with the rest of the episode but it does indicate that the people involved in the show knew better than to take any of this too seriously.

Finally, Ryan gets a minor plot, in which she buys a home in Malibu, just to discover that she’s basically purchased land in a trailer park.  It was silly but it showed off Angie Harmon and David Hasselhoff’s likable and playful chemistry.  Watching the two of them together, it’s hard not to regret that Mitch wasn’t a better detective.

Film Review: Angel, Angel, Down We Go (dir by Robert Thom)


Oh dear Lord.

Listen, I’ve seen some bad movies before.  I’ve seen some annoying films before.  I’ve seen some pretentious movies before.  I don’t know if I’ve ever seen a movie as dedicated to being all three of them as 1969’s Angel, Angel, Down We Go appears to be.

Yes, this movie came out in 1969 and it’s one of those late 60s, counter culture films that’s so intent on impressing you by being daring that it doesn’t bother to actually come up with an interesting story or anything like that.  It’s a film that talks a lot but has nothing to say.  It’s a film that’s obviously meant to be very counter cultural and left-wing but it has a streak of such cruel misogyny running through it that it’s nearly impossible to watch certain scenes.

Singer Holly Near stars as Tara Steele, the teenage daughter of two wealthy parents.  Tara’s mother (Jennifer Jones) is a former actress who brags about having starred in over a hundred stag film without ever “faking an orgasm.”  Tara’s father (Charles Aidman) is a former military man who knew Douglas MacArthur and who is gay but closeted.  (The film handles the issue of his sexuality with all of the sensitivity that you would expect from an episode of the 700 Club.)  Tara is insecure because she’s overweight and her family doesn’t show her any love.  The film, it should be said, doesn’t really show her any love either.  Whether its the close-ups of her messily eating with food smeared across her face or the scenes in which other characters casually insult her, the film seems to have little sympathy for her.

Tara meets a rock singer named …. seriously, this is his fucking name …. Bogart Peter Stuyvesant (Jordan Christopher).  With his tight leather pants and his shirtless performances, Bogie (yes, he’s called Bogie) is supposed to be a Jim Morrison-style sex symbol.  Unfortunately, Jordan Christopher doesn’t have enough screen presence to pull off the role.  Bogie pretends to be in love with Tara (“Your breath stinks!” he shouts, “I dig it!”) but it’s just so he can seduce her mother and her father and make off with all of their money.  It’s supposed to have something to do with the hypocrisy of the American establishment or something but …. oh, who cares?

So, this movie is annoying for any number of reasons.  Robert Thom directs as if he was getting paid extra for every time he used a zoom lens or tossed in a jump cut.  Yet, despite all of the camera trickery, the story drags like you wouldn’t believe.  The walls of Jordan’s pad are decorated with a collage of American icons like Humphrey Bogart and Dwight Eisenhower and Thom often pointlessly zooms into the collage whenever he thinks it will help him make his point but since the film doesn’t really seem to have a point, the collage itself gets as boring as Bogie playing a harp.  Yes, Bogie does play a harp.  It goes over forever.

As I watched the film, I found myself growing more and more pissed off.  Every pretentious line of dialogue and arty camera angle just made me angrier and angrier.  Didn’t Jennifer Jones and Holly Near deserve better than this?  Who the Hell decided to cast bland, doughy Jordan Christopher as a sex symbol?  WHY WAS RODDY MCDOWALL IN THIS MOVIE!?  WHY CAST RODDY MCDOWALL AND THEN NOT HAVE HIM DO ANYTHING!?  Why did every scene have to drag on?  Why couldn’t the film just get to the freaking point!?  WHY WERE THEY SKY DIVING!?  WHY DID WE HAVE TO SIT THROUGH FIVE SONGS FROM JORDAN CHRISTOPHER!?  WHY?  WHY?  WHY!?

Anyway, I don’t really recommend this one.