Retro Television Review: St. Elsewhere 1.1 “Pilot”


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

When I started reviewing Homicide, Jeff suggested that I should also review St. Elsewhere because the two shows shared a similar sensibility and a lot of behind-the-scenes personnel.  (Homicide showrunner Tom Fontana started out as a writer on St. Elsewhere.)  Apparently. a few characters from St. Elsewhere would eventually cross-over to Homicide.  Since I’m planning on soon reviewing two shows that were descended from HomicideOz and The Wire — it only seemed right to also review a show that was Homicide’s ancestor.

Though the show aired largely before my time, St. Elsewhere is definitely a show that I have heard about.  Everyone who follows American pop culture has either read about or seen the show’s infamous final episode and knows about the Tommy Westphall Universe Hypothesis.  Obviously, I can’t get into it now because that would be a spoiler but we’ll discuss it when the time comes!

For now, let’s start at the beginning, with the pilot!

Episode 1.1 “Pilot”

(Dir by Thomas Carter, originally aired on October 26th, 1982)

St. Eligius is a hospital in Boston that has obviously seen better days.  From the outside, it looks old.  On the inside, the hallways have the dim and dull look of a building that hasn’t been renovated in over ten years.  As Dr. Mark Craig (William Daniels, long before he played Mr. Feeney on Boy Meets World) angrily puts it, the hospital gets no respect in Boston.  It’s seen as being a “dumping ground” for patients who can’t afford anything better.  Dr. Craig is world-renowned heart surgeon whose wealthy patients have donated what few improvements the hospital has seen over the past few years.  (“All of our clocks now read the same time!” Dr. Craig brags at one point.)  But not even Dr. Craig can change the hospital’s reputation as being secondary to Boston General.

There are actually a few good things about St. Eligius.  For one thing, a young Denzel Washington is on staff, playing resident Phillip Chandler.  Denzel doesn’t get to do much in the pilot but still, his presence fills the viewer with confidence.  St. Eligius is also home to a world-renowned liver specialist, Dr. Daniel Auschlander (played by Norman Lloyd, who also worked with Hitchcock and Orson Welles).  Auschlander has liver cancer but the hospital chief-of-staff, Dr. Donald Westphall (Ed Flanders), assures everyone that Auschlander will probably “out live us all.”  (And he was right, to an extent.  Norman Lloyd lived to be 106 years old before passing away in 2021.  Ed Flanders died, tragically by suicide, in 1995.)  St. Eligius is a teaching hospital and the residents want to make a good impression by keeping their patients alive.  That’s always a good thing.

At the same time, how secure can you feel when Howie Mandel is one of the residents?  Mandel plays Dr. Wayne Fiscus, who wears a baseball cap and acts …. well, he acts a lot like Howie Mandel.  Like Washington, Mandel doesn’t do a lot in the pilot.  He does get a subplot where he apparently has sex in the morgue with goth pathologist Cathy Martin (Barbara Whinnery) but otherwise, we don’t see him treating a patient or anything like that.  Still, it’s a bit jarring to see Howie Mandel as a doctor.  I would not necessarily want him for my doctor because he’s to be easily distracted.  Maybe he’ll change my mind as the series progresses.

Speaking of sex, Dr. Ben Samuels (David Birney) has gonorrhea and spends most of the pilot approaching doctors and nurses and informing them of his conditions and suggesting that they might want to get tested themselves.  That’s not exactly the best way to be introduced to a character but it also lets us know that this show is not just going to be about dedicated doctors who spend all of their time worrying about their patients and making amazing medical discoveries.  Instead, this show is also about doctors who get venereal diseases.  Has anyone checked on Fiscus in the morgue?

(That said, Dr. Samuels does get a scene where he saves the life of a woman who was injured in a terrorist bombing, as if the show does want to make sure that we know that he can do his job, even if he is spreading VD through the hospital.)

The majority of the episode follows Dr. Jack Morrison (David Morse), a first-year resident who has been working several 24-hour shifts and who complains, at one point, that he hasn’t seen his wife for days.  Dr. Morrison gets upset when a surgeon wants to operate on one of his patients, a 15 year-old girl named Sandy (Heather McAdams).  Morrison believes that surgeons always want to cut into somebody.  Morrison gets even more upset when Sandy’s mother requests that Sandy be transferred to Boston General, which has a reputation for being a better, more modern hospital.  In fact, Morrison is so upset and exhausted that he forgets to file a death certificate for a patient who dies during the night.  As a result, it’s believed that the patient, who has a reputation for being violent, has gone missing and is stalking the hospital.  Dr. Annie Cavanero (Cynthia Sikes) spends the entire episode looking for a dead man, which at least gives her an excuse to visit every ward and introduce the viewers to the members of the show’s ensemble cast.

Having lost my mom to cancer and now my Dad to Parkinson’s, I was hesitant about reviewing St. Elsewhere.  (Actually, I was hesitant about reviewing any medical show.)  When my Dad was in the hospital, I felt like I couldn’t get anyone to give me a straight answer about his condition and I often felt the doctors were talking down to me.  To be honest, my worst conflicts were with the nurses, one of whom told me that I would have to “lose the attitude” before she would explain why my father had been moved to the Delirium Ward.  (It didn’t help that, at the same time my Dad was in the hospital, there was a huge storm that left us without power for a week.)  At the same time, there were other doctors who were helpful.  The staff at the rehab center that my dad was sent to were also wonderful.  I have my regrets about agreeing to hospice care but the nurse who was assigned to my Dad was very empathetic and totally understanding whenever I asked her for a cigarette.  (Under normal circumstances, I don’t smoke because I have asthma but seriously, the stress was killing me.)  I’m bitter and angry about a lot of what happened but I’m also thankful for the small moments of kindness.

Watching a show set in a hospital was not easy for me but the pilot of St. Elsewhere appealed to me with its mix of melodrama and humor.  There was a quirkiness to it that I appreciated.  William Daniels made me laugh with his annoyed rant about how little respect the hospital received.  Most of all, I cared about whether or not Dr. Morrison would still be alive at the end of his shift.  David Morse’s performance won me over.  He’s the type of doctor that I would want to have.  Well, actually, I’d probably want Denzel to my doctor but Dr, Morrison could assist.  Just keep Dr. Howie Mandel away from me.  Nothing against him but he seemed to be having way too much fun at the hospital….

Most importantly, the show ended with a cat.

Next week, the drama continues at St. Elsewhere!

Horror On TV: One Step Beyond 2.1 “Delusion” (dir by John Newland)


On tonight’s episode of One Step Beyond.

A young woman (Suzanne Pleshette) desperately needs a blood transfusion.  Fortunately, the police have managed to track down one of the only people to share her blood type, an accountant named Harold Stern (Norman Lloyd).  Harold seems like a nice, rather mild-mannered guy and he has a long history of donating blood.  However, when the police approach him, Harold refuses to donate.

“What type of crumb are you!?” the police demand.

Harold explains that, whenever he gives someone blood, he develops a psychic connection with that person.  He can see their future.  And that’s simply a burden that he can no longer shoulder….

This episode of One Step Beyond originally aired on September 15th, 1959.  Norman Lloyd, who plays Harold, got his start as a member of Orson Welles’s Mercury Theater and he also played the villain in Alfred Hitchcock’s Saboteur.  (Speaking of Hitchcock, Suzanne Pleshette played the doomed school teacher in The Birds.)  When Lloyd appeared in this episode of One Step Beyond, he was 44 years old.  He would go on to live for another 62 years, making his final film appearance at the age of 101!

Lisa Reviews An Oscar Nominee: Spellbound (dir by Alfred Hitchcock)


The 1945 Best Picture nominee, Spellbound, tells the story of Dr. Constance Petersen (Ingrid Bergman), a psychoanalyst at a mental hospital in my least favorite state, Vermont.

Constance has fallen in love with a man (Gregory Peck) who she believes to be Dr. Anthony Edwardes, the newly appointed director of the hospital.  Dr. Edwardes is youngish and handsome and idealistic and authoritative …. well, he’s Gregory Peck.  However, he also has an intense phobia about seeing any set of parallel lines.  Curious to discover the reason for Edwardes’s phobia, Constance does a little digging on her own and discovers that Dr. Anthony Edwardes is not a doctor at all!  Instead, he’s a guilt-stricken amnesiac who is convinced that he murdered Dr. Edwardes and took his place!

Constance, however, doesn’t believe that the Amnesiac is a murderer.  She thinks that he is suffering from some sort of deep-rooted guilt that had led him to believe that killed the doctor.  She wants a chance to psychoanalyze him and discover the truth about his background.  Unfortunately, the police do think that the Amnesiac is a murderer and their determined to arrest him.

Constance and the Amnesiac go on the run, heading to the home of Constance’s mentor, Dr. Alexander Brulov (Michael Chekhov, the nephew of Anton Chekhov).  With Brulov’s help, Constance analyzes a dream that the Amensiac had, one involving curtains decorated with eyes, the faceless proprietor of a casino, and a man falling off a mountain.  Can Constance and Brulov solve the mystery of the Amnesiac’s identity before the police take him away to prison?

Spellbound was the last of the four Hitchcock best picture nominees and it was also the last film that Hitchcock made for producer David O. Selznick.  Selznick was quite a fan of psychoanalysis and he insisted that Hitchcock not only make a movie about it but that he also use Selznick’s own therapist as a technical advisor on the project.  Hitchcock, for his part, was able to bring in the surrealist Salvador Dali to help design the Amnesiac’s dream sequence but Selznick felt that the 20-minute sequence was too long and too weird and, as a result, it was cut down to two minutes for the final film.  All this considered, it’s not a surprise that, despite the fact that Spellbound was a hit with critics and audiences, Hitchcock himself didn’t care much for it and considered it to be more of a Selznick film than a Hitchcock film.  And it is true that the film’s total faith is psychoanalysis feels more like something one would expect to hear from a trendy producer than from a director like Hitchcock, who was known for both his dark wit and his rather cynical attitude towards anyone in authority.

For a film like Spellbound to truly work, there has to be some doubt about who the Amnesiac is.  For the suspense to work, the audience has to feel that there’s at least a chance, even if it’s only a slight one, that the Amnesiac actually could be a murderer, despite the attempts of Constance and Brulov to prove that he’s not.  And Spellbound is full of scenes that are meant to leave the audience wondering about whether or not the Amnesiac should be trusted.  However, because the Amnesiac is played by Gregory Peck, there’s really no doubt that he’s innocent.  Hitchcock was not particularly happy with Gregory Peck as his leading man.  Peck projected a solid, middle-American integrity.  It made him ideal for heroic and crusading roles but made him totally wrong for any role that required ambiguity.  It’s difficult to believe that the Amnesiac is suffering from a guilt complex because it’s difficult to believe that Gregory Peck has ever done anything for which he should feel guilty.  Cary Grant could have played the Amnesiac.  Post-war Jimmy Stewart could have done an excellent job with the role.  But Peck is just too upstanding and stolid for the role.  In a role that calls from neurosis, Peck is kind of boring.

That said, the rest of the cast is fine, with Ingrid Bergman giving one of her best performance as Constance and Michael Chekhov bringing some needed nuance to a role that could have turned into a cliché.  Leo G. Carroll has a small but pivotal role and he does a good job keeping the audience guessing as to his motivation.  Even at a truncated two minutes, the Dali dream sequence is memorably bizarre and the famous shot of a gun pointed straight at the camera still carries a kick.  This is a lesser Hitchcock film but, that said, it’s still a Hitchcock film and therefore worth viewing.

As I mentioned previously, this was the last of Hitchcock’s films to be nominated for Best Picture.  Ironically, his best films — Rear Window, Vertigo, and Psycho among them — were yet to come. Spellbound was nominated for six Oscars but only won for Miklos Rozsa’s score.  (Ingrid Bergman was nominated for Best Actress that year, not for her role in Spellbound but instead for The Bells of St. Mary’s.)  The big Oscar winner that year was Billy Wilder’s The Lost Weekend.

Horror Film Review: Audrey Rose (dir by Robert Wise)


The 1977 film, Audrey Rose, tells the story of an annoying little girl named Ivy (Susan Swift), who is the daughter of annoying Janice (Marsha Mason) and annoying Bill (John Beck).  Everything seems to be perfectly normal in an annoying way until, one day, they notice that they’re being followed around by an annoying man named Elliott (Anthony Hopkins).  Elliott explains that Ivy is the reincarnation of his daughter, Audrey Rose, who was herself kind of annoying.  Whenever Elliott says, “Audrey Rose,” Ivy going into a trance and starts screaming, which gets a bit annoying after a while.  Elliott explains this is because Audrey died in a fiery car crash and was apparently reincarnated too soon after her death.  Therefore, anytime Elliott shows us, Ivy relives the crash and tries to burn herself.  Annoying!

To me, it seems like there’s a simple solution to all of this.  Elliott could just go away or, at the very least, stop saying, “Audrey Rose” every ten seconds.  Anyway, at one point, Ivy starts screaming so Elliott rushes into the apartment and makes her stop.  However, Elliott is accused of attempting to abduct Ivy, arrested, and put on trial.

Elliott’s defense is that he couldn’t abduct his own daughter so therefore, if Ivy is the reincarnation of Audrey Rose, then he’s innocent.  Somehow, this leads to the trial becoming about proving reincarnation.  Hindu holy men are called to the stand.  Elliott smirks and tells his lawyer to call Janice to the stand because he’s figured out that Janice believes him.  Meanwhile, Ivy finds herself drawn towards every fire that she sees…

Audrey Rose was directed by a legitimately great director, Robert Wise.  Unfortunately, Wise takes the material way too seriously.  Just when you think the film is going to be an over the top possessed child flick, it suddenly turns into a turgid and serious debate about reincarnation.  The movie is so busy trying to be realistic that it forgets to be fun.

There’s also a lot of yelling in Audrey Rose.  In between Ivy screaming and Elliott continually calling his dead daughter’s name and Bill arguing with Janice and random characters screaming whenever Ivy gets to close to a fire, it’s easy to get a headache while watching this film.

Mason and Beck are pretty lousy in the roles of Janice and Bill.  Hopkins brings an occasionally neurotic edge to the role of Elliott.  You never quite trust him, even though the movie wants you to.  The best performances in the film come from the performers in the minor roles, character actors like Norman Lloyd, Robert Walden, and John Hillerman.  None of them are required to pretend like they’re taking their dialogue seriously and, as such, they’re a lot more fun to watch.

All in all, Audrey Rose is a fairly silly movie.  For some reason (probably the presence of Hopkins), it does seem to show up on TCM fairly regularly but I wouldn’t recommend watching.  If you want to see a good Robert Wise horror movie, check out The Haunting.

The Los Angeles Film Critics Association Honors …. Small Axe!?


Small Axe: Mangrove

The Los Angeles Film Critics Association met earlier today and announced their picks for the best of 2020.  In the past, the LAFCA has been considered to be one of the more reliable of the Oscar precursors.  For the past decade, the LAFCA’s pick for best film has gone on to pick up several Oscar nominations.

Well, that streak came to an end today.  In a totally unexpected but still rather nice twist, the LAFCA selected Steve McQueen’s Small Axe as Best Picture.  Small Axe, of course, is the umbrella title for five films that McQueen produced for the BBC and which are currently streaming on Prime.  I’ve reviewed two of them — Mangrove and Red, White, and Blue I’ll watch and review the other three this week.

Whether or not Small Axe is Oscar eligible has long been an open question.  Both Mangrove and Red, White, and, Blue were selected to premiere at Cannes and to play at other festivals before making then airing on the BBC and streaming on Prime.  Due to the pandemic, the Academy also changed the rules this year to make it easier for streaming films to compete.  However, Steve McQueen has said that Small Axe was always intended to be a television miniseries and that, despite the films being accepted to Cannes and other festivals, there was never any plan to release any of them theatrically.  For its part, Amazon has submitted Small Axe to the Golden Globes as a Limited Series and was apparently planning on mounting an Emmy campaign next year.  With the exception of documentaries, films nominated for Emmys are not eligible to be nominated for Oscars and vice versa.  The rule, even in this odd year, is that you have to pick one or the other.

So, by all those standards, none of McQueen’s five films nor Small Axe as a whole are Oscar-eligible.  Will that change?  Will Amazon decide to forgo the Emmys and instead go for an Oscar campaign?  Eh …. probably not.  But who knows — with this year blurring the lines between theatrical and television films like never before, anything could happen.  (But probably won’t.)

Anyway, here are the LAFCA winners!

Best Film
Small Axe
Runner-Up: Nomadland

Best Foreign Film
Beanpole
Runner-Up: Martin Eden

Best Director
Chloé Zhao – Nomadland
Runner-Up: Steve McQueen – Small Axe

Best Actress
Carey Mulligan – Promising Young Woman
Runner-Up: Viola Davis – Ma Rainey’s Black Bottom

Best Actor
Chadwick Boseman – Ma Rainey’s Black Bottom
Runner-Up: Riz Ahmed – Sound Of Metal

Best Documentary Film
Time
Runner-Up: Collective

Best Screenplay
Promising Young Woman
Runner-Up: Never Rarely Sometimes Always

Best Animated Film
Wolfwalkers
Runner-Up: Soul

Best Supporting Actress
Youn Yuh-jung – Minari
Runner-Up: Amanda Seyfried – Mank

Best Editing
The Father
Runner-Up: Time

Best Production Design
Mank
​Runner-Up: Beanpole

Best Supporting Actor
Glynn Turman – Ma Rainey’s Black Bottom
Runner-Up: Paul Raci – Sound Of Metal

Best Music/Score
Soul
Runner-Up: Lovers Rock

Best Cinematography
Small Axe
Runner-Up: Nomadland

New Generation Award
Radha Blank – The Forty-Year-Old-Version

Career Achievement Award
Hou Hsiao-Hsien and Harry Belafonte

Legacy Award
Norman Lloyd

The Douglas Edwards Experimental Film Prize
John Gianvito – Her Socialist Smile

John Boyega in Small Axe: Red, White, and Blue

 

Horror On TV: One Step Beyond 2.1 “Delusion” (dir by John Newland)


On tonight’s episode of One Step Beyond.

A young woman (Suzanne Pleshette) desperately needs a blood transfusion.  Fortunately, the police have managed to track down one of the only people to share her blood type, an accountant named Harold Stern (Norman Lloyd).  Harold seems like a nice, rather mild-mannered guy and he has a long history of donating blood.  However, when the police approach him, Harold refuses to donate.

“What type of crumb are you!?” the police demand.

Harold explains that, whenever he gives someone blood, he develops a psychic connection with that person.  He can see their future.  And that’s simply a burden that he can no longer shoulder….

This episode of One Step Beyond originally aired on September 15th, 1959.  Norman Lloyd, who plays Harold, got his start as a member of Orson Welles’s Mercury Theater and he also played the villain in Alfred Hitchcock’s Saboteur.  (Speaking of Hitchcock, Suzanne Pleshette played the doomed school teacher in The Birds.)  When Lloyd appeared in this episode of One Step Beyond, he was 44 years old.

Today, Norman Lloyd is 105 years old and guess what?  He’s still active!  He had a role in Trainwreck and still occasionally appears on television.

Enjoy!

Horror On TV: One Step Beyond 2.1 “Delusion” (dir by John Newland)


On tonight’s episode of One Step Beyond.

A young woman (Suzanne Pleshette) desperately needs a blood transfusion.  Fortunately, the police have managed to track down one of the only people to share her blood type, an accountant named Harold Stern (Norman Lloyd).  Harold seems like a nice, rather mild-mannered guy and he has a long history of donating blood.  However, when the police approach him, Harold refuses to donate.

“What type of crumb are you!?” the police demand.

Harold explains that, whenever he gives someone blood, he develops a psychic connection with that person.  He can see their future.  And that’s simply a burden that he can no longer shoulder….

This episode of One Step Beyond originally aired on September 15th, 1959.  Norman Lloyd, who plays Harold, got his start as a member of Orson Welles’s Mercury Theater and he also played the villain in Alfred Hitchcock’s Saboteur.  (Speaking of Hitchcock, Suzanne Pleshette played the doomed school teacher in The Birds.)  When Lloyd appeared in this episode of One Step Beyond, he was 44 years old.

Today, Norman Lloyd is 103 years old and guess what?  He’s still acting!  He had a role in Trainwreck and still occasionally appears on television.

Enjoy!

Tears of A Clown: Charles Chaplin’s LIMELIGHT (United Artists 1952)


gary loggins's avatarcracked rear viewer

Charlie Chaplin was unquestionably one of the true geniuses of cinema. His iconic character ‘The Little Tramp’ has been entertaining audiences for over 100 years, enchanting both children and adults alike with his winning blend of humor and pathos. But by 1952, the 63-year-old Chaplin had been buffeted about by charges of immoral behavior and the taint of Communism during the HUAC years, and filmgoers were turning against him. It is at this juncture in his life and career he choose to make LIMELIGHT, a personal, reflective piece on the fickleness of fame, mortality, despair, and most prominently, hope. It could be considered Chaplin’s valedictory message to the medium he helped establish, even though there would be two more films yet to come.

“The story of a ballerina and a clown…” It’s 1914 London, and the once-great Music Hall clown Calvero arrives home from a drunken bender. Fumbling with the…

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Sweet Land of Liberty: Alfred Hitchcock’s SABOTEUR (Universal 1942)


gary loggins's avatarcracked rear viewer

The Master of Suspense puts the pedal to the metal once again in SABOTEUR, another “double chase” spy thriller that doesn’t get the attention some of Alfred Hitchcock’s other films do, but should. I’ve always enjoyed the performance of Robert Cummings as the “ordinary man caught in an extraordinary situation”; his naturally laid-back, easygoing charm makes him perfect playing Barry Kane, accused of sabotaging a wartime aircraft plant and killing his best friend in the process, who winds up on a cross-country chase alongside reluctant heroine Priscilla Lane . SABOTEUR is certainly an  important film in Hitchcock’s body of work for one important reason: it’s the director’s first film for Universal Pictures, a studio he’d have a long and profitable association with, and where he’d later create some of his finest movies.

SABOTEUR is in many respects a loose remake of Hitchcock’s THE 39 STEPS , transplanted to America and…

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A Movie A Day #182: FM (1978, directed by John A. Alonzo)


Hey, California!  Are you ready to soft rock!?

That is the question asked by FM, a movie about rock that tries to stick it to the man with some of the safest, least revolutionary music ever recorded.

FM is centered around Q-Sky, an FM radio station in Los Angeles.  Because the laid back station manager (Michael Brandon) allows his DJs to program their own music with little commercial interruption, Q-Sky has become one of the most popular radio stations in California.  The corporate suits, though, demand that Q-Sky play less music and air more commercials, especially one that is specifically designed to get mellow Californians to join the Army.  When Brandon refuses, he is fired.  Outraged, Q-Sky’s motley crew of DJs (who include Martin Mull, Cleavon Little, Eileen Brennan, and even former football great Alex Karras) barricade themselves in the station and lead a protest by playing their music without commercials.

That would all be well and good except that the DJs spend most of their time playing songs by such noted rockers as Jimmy Buffett, Billy Joel, and REO Speedwagon.  A major set piece of the film is Q-Sky’s attempt to secretly broadcast a Linda Ronstadt concert that is being sponsored by a rival station.  At a time when Johnny Rotten was still singing Anarchy in the UK,  Q-Sky’s idea of rebellion was to go from Bob Seger to James Taylor with limited commercial interruption.

The always reliable Martin Mull is always good for some laughs and this was the only movie directed by award-winning cinematographer John A. Alonzo so, if nothing else, FM always looks good.  With its ensemble cast and episodic narrative, FM tries hard to be an Altmanesque satire but, ultimately, it fails because the revolution is not going to sound like The Doobie Brothers.

(Even though The Doobie Brothers clearly rock.)

“Who likes The Doobie Brothers?”

Because Michael Brandon looked like Gary Sandy and Martin Mull possessed a passing resemblance to Howard Hesseman, some reference books state that FM was the inspiration for WKRP in Cincinatti.  However, the first season of WKRP was already in production before FM was released to theaters and FM was such a financial flop that it is doubtful it inspired anything.

Add to that, while Venus Flytrap probably could have made it work, Dr. Johnny Fever would never have fit in at Q-Sky.  Johnny’s frequent acid flashbacks would have unnerved the mellow Q-Sky vibes.  Herb Tarlek, on the other hand…

“It must be a struggle to match the belt with the shoes.”
“Sometimes, I can’t do it.”