A Movie A Day #12: Stoked: The Rise and Fall of Gator (2002, directed by Helen Stickler)


gatorIn the 1980s, Mark “Gator” Rogowski was a superstar.  A professional skateboarder, Gator was one of the most popular vert skaters, competing and partying alongside Tony Hawk, Christian Hosoi, Steve Caballero, and Lance Mountain.  Yet today, unlike his contemporaries, Gator is almost totally forgotten.  In 1991, after having changed his name to Mark Anthony and declared himself to be a born again Christian, Gator raped and killed Jessica Bergstrom, a friend of his ex-girlfriend.  Convicted of first degree murder, Gator was sentenced to life imprisonment.  He is currently an inmate of the California State Prison System.

Through archival footage and interviews with both his fellow skaters and his ex-girlfriend, Stoked tells the story of Rogowski’s rise and fall.  Even if you know nothing about the history of skating, the interviews are interesting and frequently insightful about the fickle nature of fame.  Anyone who was not already a fan of Jason Jessee’s will be after seeing him interviewed in Stoked.  Because California state law prohibits inmates from giving video interviews, Rogowski is interviewed over the phone and his disembodied voice provides a ghostly accompaniment for much of the film.

Stoked not only tells the story of how Gator ended up in jail but also of how vert skating became big business in the 1980s.  At the height of his popularity, Gator was making $20,000 a month, just through board sales and the sponsorship of Vision Street Wear.  When street skating became popular in the 90s and a new generation of skaters rejected Vision’s commercial approach, Gator found himself washed up before he even turned 25.  By using Gator’s story as a way to examine an entire era, Stoked is to skateboarding what O.J.: Made in America is to football.

A Movie A Day #11: O.J.: Made in America (2016, directed by Ezra Edelman)


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O.J.: Made in America, the best film of 2016, opens with a parole hearing in Nevada.  The inmate is surprisingly friendly and affable.  He talks about how he has tried to make the best use of his time in prison.  He chuckles as he talks about his prison duties.  For a prisoner, he seems like a really nice guy.

Then the parole commissioner asks him about the first time he was ever arrested and the prisoner’s entire demeanor changes.

“We’re going to talk about that?” he asks.

ojThe prisoner, of course, is former football great and actor Orenthal James Simpson and the first time that he was arrested, he was charged with murdering both his ex-wife, Nicole Brown Simpson, and Ronald Goldman.  In 1995, after a long and controversial trial that both forced people to reconsider how they viewed race relations in America and also marked the beginning of what would become reality television, O.J. Simpson was acquitted.  13 years to the day of his acquittal, he was sentenced to 33 years in prison for armed robbery in Nevada.

O.J.: Made in America leaves little doubt that O.J. got away with murder, though it should be pointed out that O.J. Simpson did not respond to requests for an interview and that Johnnie Cochran, who headed the legal team that won Simpson’s acquittal, died in 2005.  But with a sprawling running time of 7 and a half hours and featuring interviews with hundreds of people who either knew or were affected by O.J., O.J.: Made in America is about much more than just the trial of the century.

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The first three hours of O.J.: Made in America deal with who O.J. was before he was charged with murder.  Things open in the 1960s, with the nation torn apart by racial unrest, and O.J. Simpson winning the Heisman Trophy and setting rushing records with both the USC Trojans and the Buffalo Bills.  While other black athletes, like Mohammad Ali, were putting their careers on the line and speaking out about civil rights, O.J. was deliberately apolitical.  When O.J. was pressured to speak out on civil rights, he would reply, “I’m not black.  I’m O.J.”

In turbulent times, O.J. emerged as a black celebrity that whites could safely embrace.  O.J. made history as the first black man to be used as a spokesman in an advertising campaign, running through airports for Hertz Rent-A-Car while onlookers shouted, “Go, O.J., go!”  A Hertz executive explains that, whenever they filmed a commercial, they were careful to make sure that it was only white people who were seen cheering O.J. on.  Retiring from football, O.J. moved to Brentwood, an all-white enclave in Los Angeles.  Surrounded by sycophants, O.J. pursued an acting career and remained silent while Los Angeles dealt with a series of racial incidents, culminating in the riots that followed after four LAPD officers was acquitted in the beating of Rodney King.

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During all of this, O.J. divorced his first wife and married Nicole Brown.  One of the commendable things about O.J.: Made in America is that it gives a face and a personality to Nicole, who is often the forgotten victim when people discuss the O.J. Simpson case.  At the same time, O.J.: Made in America also documents how O.J. never faced any serious consequences for abusing Nicole.  Even after he was charged with domestic battery, all O.J. had to do for his community service was set up a charity golf tournament.  He later did an interview with Roy Firestone where the two of them joked away the charges and Firestone worried that they may have led some people to think that the Juice was a bad guy.

The next three hours deal with not only the murders of Nicole and Ronald Goldman but also with the national ramifications of the so-called “trial of the century.”  The first three hours were dominated by interviews with childhood friends, business associates, and neighbors.  It’s during the 2nd three hours that the familiar faces start to pop up.  Gil Garcetti, Bill Hodgman, and Marcia Clark talk about prosecuting O.J.  (Unfortunately, Chris Darden declined to be interviewed.)  From the defense team, F. Lee Bailey, Barry Scheck, and Carl E. Douglas share their memories of how this murder trial became a national Rorschach test on how Americans viewed race, celebrity, and justice.  The irony is not lost on anyone that O.J., who never made any public commitment to civil rights and who surrounded himself with rich, white people, was largely acquitted because of race.

Until I saw O.J.: Made in America, I could never understand how O.J, manages to win acquittal.  His guilt has always seemed so obvious to me.  But, as O.J.: Made in America made clear, reasonable doubt can mean different things to different people.  A black jury in downtown Los Angeles had reason to both distrust and dislike the LAPD.  When Mark Furhman is heard using racial slurs, Carl Douglas says that it confirmed everything that he had always suspected by the LAPD.  Beyond that Cochran and his team put on a better show than the prosecution, who often seemed unsure how to respond and who repeatedly shot themselves in the foot with unforced errors, like asking O.J. to try on the bloody glove.  (Mike Gilbert, O.J.’s agent, reveals that O.J. had stopped taking his arthritis medication during the trial, causing his fingers to swell up.)  Even though the late Cochran could not be interviewed, he still easily dominates the documentary.

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O.J.: Made in America features interviews with two of the jurors, Carrie Bess and Yolanda Crawford.  When Crawford is asked if the acquittal was payback for the Rodney King verdict, she weakly protests that it was not.  When ask the same question, Carrie Bess unapologetically nods in the affirmative.

With the trial over, the best part of the documentary is yet to come.  The final 90 minutes deals with the decade between O.J.’s acquittal and his Nevada conviction.  Freshly acquitted from murdering his wife, O.J. Simpson swore that he was going to track down the real killers, returned to his Brentwood mansion, and discovered that none of his old friends wanted to hang out with him anymore.  The once popular O.J. Simpson was now a pariah.  Simpson was taken to civil court by the Goldmans and the Browns and a new jury found him liable for the deaths of both Nicole and Ron.  Ordered to pay $33,000,0000, a bankrupt and friendless O.J. spent ten years in the wilderness.

If things could not get any more surreal, O.J. was hired to star in a Punk’d-style TV show that would have been called Juiced.  The Juiced footage would have been the strangest part of O.J.: Made in America if not for what happened in Las Vegas.  Convinced that a memorabilia collector had stolen his stuff, O.J. and his entourage confronted the man in his hotel room.  In a comedy of errors, O.J. grabbed everything that he felt had been stolen from him and ended up taking a lot of other things as well, with the entire encounter being audio recorded.  Because a member of Simpson’s entourage had a gun on him, O.J. was charged with armed robbery.

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Tom Riccio, a member O.J.’s Las Vegas entourage, talks about how, in the minutes before leaving to confront the memorabilia collector, O.J. was watching the Tyra Banks Show in his hotel room.  Tyra’s guest?  O.J.’s goddaughter, Kim Kardashian.  Kim announced that she and her family were going to be starring in a new show for E!  O.J. laughed and said, “That show will never last.”  Ironically, just as no one would have known (or cared) who Kim Kardashian was if not for her father’s role on O.J.’s defense team, O.J.’s murder trial also set the stage for the emergence of the reality television genre that would make stars of everyone from the Kardashian daughters to Donald Trump.

One final note about what happened in Las Vegas: O.J.’s Nevada trial was covered, for Entertainment Tonight, by Marcia Clark.

Convicted of armed robbery, O.J. was sentenced to prison.  As Carl Douglas puts it, it was not a coincidence that the judge waited until a year to the day after Simpson’s previous acquittal to sentence him.  And it was not a coincidence that Simpson, found liable for $33,000,000 in the civil lawsuit, was sentenced to 33 years.  Douglas calls it the “fifth quarter,” the fight that happens after the fourth quarter to determine who really won the game.  O.J.’s childhood friend, Joe Bell, calls it “white justice in America.”

Most people saw O.J.: Made in America when it was broadcast over five nights by ESPN.  But the best way to see this documentary is the way it was originally viewed at Sundance: as a seven and a half hour movie, watched with little break or interruption.  Full of candid and thought-provoking interviews and previously unseen footage, O.J.: Made in America is a powerful look at race, fame, and crime.

For tomorrow’s movie a day, it’s another documentary about a sports hero who ended up in prison, Stoked: The Rise and Fall of Gator.

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A Movie A Day #10: The Longest Yard (1974, directed by Robert Aldrich)


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Once, Paul “Wrecking” Crewe (Burt Reynolds) was a superstar NFL quarterback.  That was until he was caught up in a point-shaving scandal and kicked out of the league.  When a drunk Crewe steals his girlfriend’s car, gets into a high-speed police chase, and throws a punch at a cop, he ends up sentenced to 18 months at Citrus State Prison.

The warden of the prison, Rudolph Hazen (Eddie Albert), is a football fanatic who, at first, is excited to have Crewe as an inmate.  The prison guards have a semi-pro football game and Hazen wants Crewe to coach the team and help them win a national championship.  Though initially reluctant and just wanting to do his time, Crewe relents after witnessing and experiencing the cruelty of the prison system.  Crewe forms The Mean Machine, a team made up of prisoners, and agrees to play an exhibition game against the guards.

At first, the members of the Mean Machine are just looking for an excuse to hit the guards without being punished but soon, they realize that they have a chance to win both the game and their dignity.  But Hazen is not above blackmailing Crewe to throw the game.

When it comes to understanding the Tao of Burt, The Longest Yard is the place to start.  Starting with a car chase and ending with near martyrdom, The Longest Yard is the ultimate Burt Reynolds film.  Paul Crewe ranks alongside Deliverance’s Lewis Medlock and Boogie Night‘s Jack Horner as Reynolds’s best performance.  Before injuries ended his athletic career, Reynolds was a college football star and, on the prison’s playing field, he holds his own with the large group of former professional football players who were cast to play the guards and the prisoners.  The Longest Yard’s climatic football game takes up over an hour of screen time and reportedly, the action was largely improvised during shooting.  Unlike most movie football games, the one in The Longest Yard looks and feels like a real game.

The Longest Yard was directed by Robert Aldrich, who specialized in making movies about anti-authoritarians fighting the system.  The scenes of Crewe recruiting and training The Mean Machine are very reminiscent of Aldrich’s best-known movie, The Dirty Dozen.  With its combination of dark humor, graphic violence, rebellious spirit, and Southern-friend melodrama, The Longest Yard is a movie that could only have worked in the 1970s.  The Adam Sandler remake may have made a lot of money at the box office but it still comes nowhere close to matching the original.

For tomorrow’s movie a day, it’s the best film of 2016, which also happens to be about a football player in prison.

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A Movie A Day #9: Gator (1976, directed by Burt Reynolds)


gatorposterGator McClusky is back!

Since the events in White Lightning, Gator (Burt Reynolds) has been released from prison and he’s now living in the Okefenokee Swamp.  Other than running moonshine, Gator is laying low and keeping to himself.  Gator may be done with the feds but the feds are not done with him.

Gator’s old friend, Bama McCall (Jerry Reed), is now unofficial boss of Dunston County and both the Department of Justice and the Governor of Georgia (played by talk show host Mike Douglas) are determined to take him down.  Federal agent Irving Greenfield (Jack Weston) is convinced that he can get Bama on charges of tax evasion.  But Irving’s from New York and he does not know how to talk to the good ol’ boys.  He needs someone on the inside and that’s where Gator comes in.

Gator not only starred Burt Reynolds but it was his directorial debut as well.  Though it’s a sequel to White Lightning, Gator feels like a very different movie.  Whereas Joseph Sargent kept White Lightning relatively serious, Reynolds take a more jokey approach with Gator.  Reynolds has his famous mustache and his hairpiece in Gator and the self-amused attitude that went along with them.  Gator is full of car chases, fist fights, willing women, and corny jokes.  It also has Lauren Hutton, playing a familiar character who would appear in all of Reynolds’s movies, the sophisticate who cannot resist Burt’s good ol’ boy, country charm.  In the 1970s, audiences couldn’t resist Burt’s good old boy charm, either.  Critics hated Gator but it made a lot of money.

Gator is dumb but fun.  The most interesting part of the movie is seeing Jerry Reed playing a ruthless villain.  Reed is thoroughly convincing as a Dixie Mafia crime boss, the type of redneck who earlier inspired Buford Pusser to pick up a baseball bat and destroy pool halls.  One year later, Jerry would play Burt Reynolds’s best friend in Smoky and the Bandit so it’s interesting to see them playing deadly rivals in Gator.

For tomorrow’s movie a day, Burt’s a football player in jail in The Longest Yard.

A Movie A Day #8: White Lightning (1973, directed by Joseph Sargent)


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A year after co-starring in Deliverance, Burt Reynolds and Ned Beatty reunited for another movie about life in the backwoods, White Lightning.

White Lightning starts with two hippies, bound and gagged and floating in a canoe.  While a banjo plays in the background, two rednecks use a shotgun to blow the canoe into pieces.  They watch as the hippies drown in the swamp.  It turns out that one of those hippies was the brother of legendary moonshiner and expert driver, Gator McCluskey (Reynolds).  Gator is doing time but when he hears that his brother has been murdered, he immediately realizes that he was probably killed on the orders of corrupt Sheriff J. C. Connors (Ned Beatty).  The Feds arrange for Gator to be released from prison, on the condition that he work undercover and bring them enough evidence that they can take Connors down.

Back home, Gator works with a fellow informant, Dude Watson (Matt Clark), teams up with local moonshiner, Roy Boone (Bo Hopkins), and has an affair with Roy’s girl, Lou (Jennifer Billingsley).   Connors and his main henchman, Big Bear (R.G. Armstrong) both suspect that Gator and Dude are working for the government.  Since this is a Burt Reynolds movie, it all ends with a car chase.

A classic of its kind and a huge box office success, White Lightning set the template for almost every other film that Burt Reynolds made in the 1970s and 80s.  There is not much to the movie beyond Burt’s good old boy charm and Ned Beatty’s blustering villainy but if you’re in the mood for car chases and Southern scenery, White Lightning might be the movie for you.   Joseph Sargent also directed the New York crime classic, The Taking of Pelham One Two Three, and he gives White Lightning an edginess that would be lacking from many of Burt Reynolds’s later movies.

For tomorrow’s movie a day, it’s the sequel to White Lightning (and Burt Reynolds’s directorial debut), Gator.

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A Movie A Day #7: Sharky’s Machine (1981, directed by Burt Reynolds)


220px-sharkys_machine_ver3After a drug bust goes wrong, Atlanta police detective Tom Sharky (Burt Reynolds, who also directed) is transferred from narcotics to the vice squad, the least desirable assignment in the Atlanta police department.  Despite all of his honors and commendations, Sharky finds himself reduced to busting hookers with Papa (Brian Keith) and Arch (Bernie Casey).  But then Sharky discovers evidence of a prostitution ring being run by Victor D’Anton (Vittorio Gassman), one that services the wealthiest and most powerful men in Georgia.

Working with Papa, Arch, and a burned-out bugging expert named Nosh (Richard Libertini), Sharky begins a surveillance of Domino (Rachel Ward), one of Victor’s girls.  As the days turns into weeks, Sharky falls in love with Domino, who doesn’t even know that she’s being watched.  Sharky also discovers that Domino is sleeping with Hotckins (Earl Holliman), who is about to be elected governor of Georgia.  At the same time, a heroin-addicted assassin named Billy Score (Henry Silva) is assassinating anyone who could reveal Victor’s crimes.

There are two great sequences in Sharky’s Machine.  One is the opening credits scene, in which a bearded Burt Reynolds walks through the roughest parts of Atlanta while Randy Crawford sings Street Life.  This scene lets everyone know from the start that this is not another Burt Reynolds good ol’ boy comedy.  The other is a cat-and-mouse chase through an Atlanta skyscraper, as Sharky and his partners try to track down Billy Score, who is so doped up on painkillers that he barely flinches whenever he’s shot.  Billy Score is one of the most frightening movie villains of all time, seemingly indestructible and capable of moving like a ghost.

henry-silvaWith the exception of maybe Deliverance, Sharky’s Machine is Burt Reynolds’s darkest movie.  There are moments of humor and appearances by the usual members of the Burt Reynolds stock company, like John Fiedler and Charles Durning.  But overall, this is one dark movie.   Likable characters die.  Sharky cries and loses two fingers when they are graphically chopped off by the bad guys.  A woman’s face is literally blown off.  Even when Sharky starts to talk about his childhood, a sentimental moment the occurred in almost every Burt Reynolds film, Domino tells him that she doesn’t care.

In other words, this ain’t The Cannonball Run.

Burt Reynolds’s first cut of Sharky’s Machine reportedly ran for 140 minutes.  Twenty minutes were cut before it was released into theaters and, as a result, Sharky’s Machine sometimes seems to be rough around the edges.  (One important supporting character is killed off-screen and if you don’t pay close attention to the dialogue, you might never know what happened to him.)  Still, this violent film noir, which Reynolds once called “Dirty Harry in Atlanta,” is one of Burt’s best.

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A Movie A Day #6: The Cannonball Run (1981, directed by Hal Needham)


cannonball_runA legendary Hollywood stuntman, Hal Needham moved into directing in the 1970s and proved that all he required to make a successful film were willing stuntmen, fast cars, Coors beer, and Burt Reynolds.  Following that logic, The Cannonball Run may very well be the ultimate Hal Needham movie.

The Cannonball Run follows several teams of racers as they compete to see who can be the first to reach California from Connecticut.  Trying to stop them is Arthur J.  Foyt (George Furth), who represents the Safety Enforcement Unit and who believes that cars are a menace.  However, Foyt is no match for these racers, who include:

  • J.J. (Burt Reynolds), who is racing in memory of his father, and his mechanic Victor (Dom DeLuise), who turns into Captain Choas whenever he is feeling threatened.  J.J. and Victor are driving an ambulance and are accompanied by crazy Dr. Van Helsing (Jack Elam) and a fake “patient” (Farrah Fawcett),
  • Bradford Compton (Bert Convy) who is riding a motorcycle and who, because of the weight of his mechanic, has to pop a wheelie for the entire race,
  • An Arab oil sheik (Jamie Farr) who is racing for “the glory of Islam” and who would probably not be in the movie if it were made today,
  • Sidney Goldfarb (Roger Moore), the heir to a mattress fortune who has had extensive plastic surgery to make himself look like Roger Moore,
  • Jackie Chan and Michael Hui, called “The Japanese team” even though they both speak Cantonese throughout the entire movie,
  • Terry Bradsahw and Mel Tillis because why the Hell not?,
  • Marcie (Adrienne Barbeau) and Jill (Tara Buckman), using their cleavage to get out of speeding tickets, or at least they do until they’re pulled over by Valerie Perrine,
  • And Dean Martin and Sammy Davis, Jr., pretending to be priests and apparently drunk throughout filming.

Based on a real life (and very illegal) cross-country race that was held four times in the 1970s, The Cannonball Run is profoundly stupid movie that, if you’re in the right mood for it, is also profoundly fun.  It’s a movie that really has no plot but it does have a lot of cars, a lot of stunts, a lot of cleavage, and a lot of politically incorrect humor, some of which has not aged well.  Despite being hated by the critics, The Cannonball Run was a huge box office hit and it still remains a nostalgic guilty pleasure for a lot of people, myself included.  One person who did not like The Cannonball Run was Burt Reynolds who, in an interview with the New York Times, once said, “”I did that film for all the wrong reasons.  I never liked it. I did it to help out a friend of mine, Hal Needham. And I also felt it was immoral to turn down that kind of money. I suppose I sold out so I couldn’t really object to what people wrote about me.”

Burt has a point but, in defense of The Cannonball Run, what other movie actually features Jackie Chan beating up Peter Fonda?

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Or Roger Moore playing someone who thinks that he’s Roger Moore?

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Or Jack Elam playing a mad scientist?

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Or Sammy and Dino, phoning it in one last time?

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Or Captain Chaos?

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Like most of Hal Needham’s films, The Cannonball Run ends with outtakes of Burt Reynolds blowing his lines and hitting people.

Tomorrow’s movie a day will be a film that Burt Reynolds is presumably much more proud of, Sharky’s Machine.

A Movie A Day #5: ffolkes (1979, directed by Andrew V. McLaglen)


A group of terrorists, led by Lou Kramer (Anthony Perkins, at his bitchiest) and Harold Schulman (Michael Parks), have hijacked Esther, a supply ship that services two North Sea oil rigs, Ruth and Jennifer.  Kramer demands that the British government pay him 25 millions pounds.  If he’s not paid, he’ll blow up the two oil rigs, destroying the British economy and causing a catastrophic environmental disaster.  Kramer has also rigged the Esther with explosives.  If anyone tries to board the boat, he will blow both the ship and himself up, taking the crew with him.

The British Prime Minister (Faith Brook, playing Margaret Thatcher) could pay the ransom or she could call in counter terrorism expert, Rufus Excalibur ffolkes (Roger Moore).

(Though the name undoubtedly looked odd to American audiences, ffolkes is a common Welsh surname and is often spelled with both fs lowercase.)

Made in between The Spy Who Loved Me and Moonraker, ffolkes was Roger Moore’s attempt to defy the typecasting that had defined his career.  Other than his loyalty to Queen and country, ffolkes has very little in common with James Bond.  James Bond was a suave smoker who bedded several women per film, lived in a hip London flat, drank Martinis, and was always ready with a quip.  ffolkes is humorless, drinks Scotch, hates cigarette smoke, and lives in an isolated castle.  The biggest difference between Bond and ffolkes?  Embittered by one bad marriage, ffolkes has no interest in women and refuses to work with them.  Instead, ffolkes loves cats.

ffolkes had always been overshadowed by Moore’s work as James Bond but it holds up well as a good, old-fashioned adventure film.  In many ways, Anthony Perkins’s Kramer feels like a predecessor to Die Hard‘s Hans Gruber and, if ffolkes had been released ten years later, it probably would have been referred to as being “Die Hard at sea.”  If you can get used to him playing someone other than James Bond, Roger Moore does a good job as the eccentric ffolkes and James Mason provides welcome support as ffolkes’s only friend.

Though ffolkes was a box office disappointment, it retains a cult following and it used to show up regularly on British television.  (I saw it at least once every summer that I went to the UK.)  When it was originally released in the U.K., it was called North Sea Hijack.   When it was released in the U.S., presumably under the assumption that American audiences wouldn’t be able to find the North Sea on a map, the title was changed to ffolkes, which probably left audiences more confused than the North Sea ever would have.  When the movie was first broadcast on American television, the title was changed yet again, this time to Assault Force.

To quote Roger Moore: “The film has so many title changes that I’ve lost count.  But everyone seems to like the character I played.”

For tomorrow’s movie a day, it’s another film where Roger Moore did not play James Bond, The Cannonball Run.

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A Movie A Day #4: The Glory Boys (1984, directed by Michael Ferguson)


glory-boysProfessor David Sokarev (Rod Steiger) is a nuclear physicist who is scheduled to give a lecture in London.  When he is informed by Mossad that a Palestinian splinter group is planning on assassinating him, Sokarev wants to cancel his trip.  However, the Israeli government insists that he go to London and put his life in danger.  To do otherwise would only serve to embolden the terrorists.  Accompanied by two Mossad bodyguards, Sokarev reluctantly leaves for London.

Three Palestinians are intercepted as they attempt to sneak into England.  Two of them are killed but the youngest, Famy (Gary Brown), survives and makes his way to London.  He meets up with McCoy (Aaron Harris), a world-weary member of the Irish Republican Army.  Though McCoy would rather just spend his time with his innocent girlfriend, Norah (Sallyanne Law),  he has agreed to help the Palestinians but is shocked to discover that Famy is so inexperienced that he doesn’t even know how to drive.

The head of MI5, Mr. Jones (Alfred Burke), is tasked with keeping Prof. Sokarev safe.  He recruits Jimmy (Anthony Perkins), a retired agent.  Jimmy once saved Jones’s life but now he is an alcoholic and is considered to be unpredictable and insubordinate.  Once Jimmy comes out of retirement, Jones worries that Jimmy is so obsessed with violence that he’s willing to use Sokarev as bait to draw out the terrorists.

The Glory Boys was originally a three-part miniseries that was made for Yorkshire Television.  It was later re-edited into a 104 minute movie that was released in the United States.  Even late into the 1990s, it was not unusual to come across the edited version of The Glory Boys on late night television.  Based on a novel by Gerald Seymour, The Glory Boys holds up well and the issues that it raises, about how far the government should go to battle terrorism, remain relevant today.  Rod Steiger brings a lot of dignity to the role of Sokarev and Joanna Lumley has a small role as Jimmy’s girlfriend.  But ultimately, the main reason to see The Glory Boys is because of the strange casting of Psycho‘s Anthony Perkins as a British intelligence agent.  Perkins’s accent is dodgy but his jittery persona works surprisingly well for the role.  Jimmy (Is the name meant to be a swipe at the infallible persona of James Bond?) is ruthless, paranoid, and possibly sociopathic, which makes him perfect for intelligence work but worthless for almost every thing else.

For tomorrow’s movie a day, Anthony Perkins returns in another British spy film, ffolkes.

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A Movie A Day #3: The Firm (1989, directed by Alan Clarke)


the-firm1The Firm, which should not be confused with the John Grisham novel or the Tom Cruise film adaptation, was a 70-minute film about football hooliganism that was made for the BBC’s Screen Two in 1989.  In the United States, it has never really been understood just how big a problem football hooliganism was in the United Kingdom in the 1980s.   That’s because, despite the best efforts of ESPN, most Americans don’t care about soccer.  In America, “soccer riot” sounds like the punchline of a bad joke.  But in Europe, it was a very real problem.  If you want to understand why some people call football hooliganism “the English Disease,” The Firm is the film to see.

Clive “Bex” Bissell (Gary Oldman) has a nice home, a well-paying job as an estate agent, a loving wife (played by Lesley Manville, who actually was married to Oldman at the time), a newborn son, and a large circle of friends.  He’s also the head of the Inner City Crew, a violent group of football hooligans (known as a firm) who follow West Ham United across Britain and pick fights with other firms.  (Bex is actually a second-generation football hooligan and his father is constantly complaining that the new generation isn’t tough or violent enough.)  Bex does it for the buzz.  As another member of the ICC puts it, after listening to a fatuous television commentator going on about how football hooligans are actually searching for some sort of larger meaning in their lives,  “Why doesn’t he just say that we like hitting people?”  With the 1988 European Championships coming up, Bex wants to unite all the regional firms into one national organization, with himself in charge.  To do that, he’ll have to defeat two rival firm leaders, Oboe (Andrew Wilde) and Yeti (Phil Davis).

For a film about people about who are willing to kill over association football, very little soccer is actually seen in The Firm.  The ICC plays a game, which is interrupted by Yeti driving across the field.  Later, Yeti and his lieutenants walk through a stadium, looking for a fight and ignoring the match being played in front of them.  Bex’s childhood bedroom is covered with newspaper clippings about West Ham United but Bex is more interested in the buzz than in football.

The Firm is full of classic scenes, from Bex initiating the newest member of the ICC to the disturbing moment that Bex’s son gets a hold of his knife to the final bar brawl.   For me, my favorite scene is when the three rival firms hold a meeting in a posh hotel room:

Along with featuring one of Gary Oldman’s best performances, The Firm was also the last film to be directed by the great Alan Clarke.  Making good use of the steadicam walking shots that he was famous for and taking an unflinching approach to the story’s violence, Clarke not only directed the definitive film about football hooliganism but also provided a portrait of life in the final years of Margaret Thatcher’s Britain.

For tomorrow’s movie a day, we stay in Britain as Anthony Perkins fights terrorists in The Glory Boys.

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