For tonight’s Halloween on television, we have the story of four aliens who came to Earth on Halloween and search for candy for their planet. After an initial misunderstanding, two kids help the aliens in their search. It’s sweet!
This was directed by Savage Steve Holland of Better Off Dead fame and it originally aired on October 28th, 1991.
Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Wednesdays, I will be reviewing the original Love Boat, which aired on ABC from 1977 to 1986! The series can be streamed on Paramount Plus!
This week, someone needs to call Family Services.
Episode 5.25 “Burl of My Dreams/Meet the Author/Rhymes, Riddles, and Romance”
(Dir by Richard Kinon, originally aired on March 27th, 1982)
Poor Vicki!
Here she is, living on the Love Boat, surrounded by the middle-aged crew and the largely elderly passengers, and without a single friend her own age. (Seriously, how does Captain Stubing get away with this?) She’s excited when an old school friend, Scott Nelson (Rad Daly), boards the boat but Scott, being 14 and a boy, is totally clueless about the fact that 1) Vicki is no longer a tomboy and 2) Vicki totally has a crush on him.
Gopher sees that Vicki is upset so he tries to cheer her up by telling her that she deserves better than Scott and also sending her flowers. Gopher may have had good intention but now Vicki is convinced that she’s in love with Gopher and that Gopher is in love with her! Captain Stubing is not amused. And Vicki is also not amused when she overhears Gopher explaining that he was just trying to make Vicki feel better. And then she’s truly, truly unamused when Scott kisses her and then reveals that Gopher paid him to do so.
Seriously, poor Vicki! I relate to Vicki more than to Julie because I’ve never been a cruise director but I have been a teenager. I will never understand how the Captain is getting away with raising his daughter on a cruise ship. I can see where it would sometimes for fun for Vicki but doesn’t she miss having friends her own age? Doesn’t she wish she could explore something other than the Aloha Deck? This storyline once again reminded the viewer that Vicki really deserves a life on the mainland.
As for the other two stories, Paul Reese (Jared Martin) is a publishing executive who wants to sign an author named Gus Dolan (Alan Hale, Jr.). Gus is known for his tough crime novels. In order to get close to Gus, Paul strikes up a romance with Gus’s daughter, Kathy (Georgia Engel). Kathy is upset when she discovers that Paul works in publishing but, when Paul throws away the contact that he just got Gus to sign, she realizes that Paul does love her. And then Paul discovers that Kathy is the one who is actually writing Gus’s books. This storyline featured a good performance from Alan Hale, Jr. but there was next to zero romantic sparks between Jared Martin and Georgia Engel.
Meanwhile, Brian (Paul Williams) and Lenore (Joanna Pettet) searched the ship for a secret treasure and fell in love. Isaac’s cabin got ransacked twice. This was a pretty boring story and one of the biggest parts of it — Captain Stubing telling Brian and Lenore not to disturb anyone else’s cabin — took place off-screen.
So, this cruise left me feeling very sorry for Vicki and also for poor Gus Dolan. Vicki wants friends her own age. Gus wants to be a real writer. Not all dreams come true, even on the Love Boat.
That can be a dangerous thing to admit, about both the band and Oliver Stone’s 1991 film. Yes, both the band and the film could be a bit pretentious. They both tended to go on for a bit longer than necessary. They were both centered around a guy who wrote the type of poetry that I used to love back in my emo days. It’s all true.
But, with The Doors as a band, I find that I can’t stop listening to them once I start. Even if I might roll my eyes at some of the lyrics or if I might privately question whether any blues song really needs an organ solo, I can’t help but love the band. They had a sound that was uniquely their own, a psychedelic carnival that brought to mind images of people dancing joyfully while the world burned around them. And say what you will about Jim Morrison as a poet or even a thinker, he had a good voice. He had the perfect voice for The Doors and their rather portentous style. From the clips that I’ve seen of him performing, Morrison definitely had a stage presence. Morrison died young. He was only 27 and, in the popular imagination, he will always look like he’s 27. Unlike his contemporaries who managed to survive the 60s, Morrison will always eternally be long-haired and full of life.
As for The Doors as a movie, it’s definitely an Oliver Stone film. It’s big. It’s colorful. It’s deliberately messy. Moments of genuinely clever filmmaking and breath-taking visuals are mixed with scenes that are so heavy-handed that you’ll be inspired to roll your eyes as dramatically as you’ve ever rolled them. Stone loved the music and that love comes through in every performance scene. Stone also loves using Native Americans as symbols and that can feel a bit cringey at times. Why would Jim Morrison, whose was of Scottish and Irish ancestry, even have a Native American spirit guide? At its best The Doors captures the chaos of a world that it’s the middle of being rebuilt. The 60s were a turbulent time and The Doors is a turbulent movie. I’ve read many reviews that criticized The Doors for the scene in which Morrison gets involved in a black magic ceremony with a journalist played by Kathleen Quinlan. I have no idea whether or not that scene happened in real life but the movie is so full of energy and wild imagery that the scene feels like it belongs, regardless of whether it’s true or not. Stone turns Jim Morrison into the warrior-artist-priest that Morrison apparently believed himself to be and the fact that the film actually succeeds has far more to do with Oliver Stone’s enthusiastic, no-holds-barred direction and Val Kilmer’s charismatic lead performance than it does with Jim Morrison himself.
The Doors spent several years in development and there were several actors who, at one time or another, wanted to play Morrison. Everyone from Tom Cruise to John Travolta to Richard Gere to Bono was considered for the role. (Bono as Jim Morrison, what fresh Hell would that have been?) Ultimately, Oliver Stone went with Val Kilmer for the role and Kilmer gives a larger-than-life performance as Morrison, capturing the charisma of a rock star but also the troubled and self-destructive soul of someone convinced that he was destined to die young. Kilmer has so much charisma that you’re willing to put up with all the talk about opening the doors of perception and achieving a higher consciousness. Kilmer was also smart enough to find the little moments to let the viewer know that Morrison, for all of his flamboyance, was ultimately a human being. When Kilmer-as-Morrison winks while singing one particularly portentous lyric, it’s a moment of self-awareness that the film very much needs.
(When the news of Kilmer’s death was announced last night, many people online immediately started talking about Tombstone, Top Gun, and Top Secret. For his part, Kilmer often said he was proudest of his performance as Jim Morrison.)
In the end, The Doors is less about the reality of the 60s and Jim Morrison and more about the way that we like to imagine the 60s and Jim Morrison as being. It’s a nonstop carnival, full of familiar faces like Kyle MacLachlan, Michael Madsen, Crispin Glover (as Andy Warhol), Frank Whaley, Kevin Dillon, and a seriously miscast Meg Ryan. It’s a big and sprawling film, one that is sometimes a bit too big for its own good but which is held together by both Stone’s shameless visuals and Val Kilmer’s charisma. If you didn’t like the band before you watched this movie, you probably still won’t like them. But, much like the band itself, The Doors is hard to ignore.
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.
Smiles, everyone!
Episode 6.3 “The Perfect Gentleman/Legend”
(Dir by Philip Leacock, originally aired on October 30th, 1982)
Jimmy Jordan (Paul Williams, who appeared on a lot of these type of shows) is a rock star who witnessed a mob hit at one of his concerts. Jimmy did what anyone would do. He called the police. They offered to protect him if he testified but then they told him that they probably wouldn’t be able to continue to protect him afterwards. (Uhmm …. hello? Witness Protection Program?) Jimmy decided to fake his own death and then go to Fantasy Island. His fantasy? To not get caught by the two mobsters who have been sent to make sure that he’s actually dead.
Uhmmm …. that’s weird. Like all of that was going on Jimmy just decided to go to Fantasy Island? And then he shows up on Fantasy Island wearing a trenchcoat over his rock star jump suit? Weird.
Fortunately, Michelle (Leslie Easterbrook) is on the island and her fantasy is apparently to have a new butler! Soon, Jimmy is calling himself Godfrey and helping Michelle and her family save their business while Tracer (John Davis Chandler) and Killer (Joseph Ruskin) search for him. Needless to say, Jimmy and Michelle fall in love and leave the island together and, unless I missed something, it appears that Jimmy is planning on just being Godfrey for the rest of his life. He even drives Michelle and her daughter to the docks so that they can all fly off to the mainland. I guess the world is going to go on believing that Jimmy’s dead and….
This fantasy raised way too many unanswered questions and Paul Williams was convincing neither as a rock star or a butler. This is a fantasy that called out for someone like …. oh, I don’t know. Sonny Bono, maybe.
The other fantasy was a bit of an improvement, just because it featured the unlikely but surprisingly likable pairing of Michelle Phillips and Andy Griffith. Phillips plays Andrea Barclay, who has a beautiful singing voice but who suffers from crippling stage fright. Her fantasy is to successfully perform in front of the toughest crowd ever.
Really? Roarke says, The toughest crowd?
By now, guests should realize that whenever Roarke says something like that, it means your fantasy is going to be interpreted in a bizarre way that you never expected. Considering that, the last time that Michelle Phillips was on the show, her fantasy to be the most famous woman in the world somehow led to her becoming Lady Godiva, Andrea really should have known better. Instead, Andrea is shocked when she finds herself in the Old West, where Judge Roy Bean (Andy Griffith) has promised the citizens of Langtry, Texas that his favorite actress and singer, Lillie Langtry (Madlyn Rhue), will be performing for them. When Lillie leaves without singing, it’s time for Andrea to put on a mask and pretend to be Lillie as she performs in Judge Bean’s saloon. Yeah, it’s a silly fantasy but Andy Griffith and Michelle Phillips both put their heart into their performances. Andy Griffith does his folksy-but-intelligent routine while Michelle Phillips especially deserves a lot of credit for taking things seriously.
This episode had the same problem as last week’s. Everything felt very familiar. Last week, we had what seemed like the show’s hundredth boxing and dancing fantasy. This week, we have what feels like the hundredth singing fantasy. After five seasons, it’s obvious that the show’s writers had started to run out of ideas.
Next week …. Roddy McDowall returns to Fantasy Island! Yay!
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. Almost the entire show is currently streaming on Daily Motion, YouTube, Plex, and a host of other sites.
Let’s see what’s happening on Fantasy Island this week!
Episode 5.6 “Druids/A Night In A Harem”
(Dir by Don Weis, originally aired on November 14th, 1981)
Hey, Tattoo is back!
Now, interestingly enough, Tattoo is in this episode but Julie only appears for a few seconds, just long enough to tell Roarke that she will be too busy babysitting to help out with any of the fantasies this week. Considering that she’s screwed up almost everything she’s been entrusted with, I’m sure Roarke was relieved to hear this. Still, you have to wonder if there was some rule that Julie and Tattoo couldn’t be equally featured in the same episode.
Tattoo is enthused about one of the fantasies this week. Shy and nerdy Herbie Snyder (Paul Williams) wants to have a harem for the weekend so that he can build up his confidence. Tattoo offers to accompany Herbie on his fantasy but Roarke says that won’t be necessary. It turns out Herbie screwed up when he requested his fantasy and asked to be a part of a harem.
Soon, Herbie finds himself surrounded by a bunch of oily body builders as he becomes a member of an all-male harem that belongs to the Contessa (Jayne Meadows)! Herbie is not comfortable being a sex toy but he is happy to meet and fall in love with Lisa (Pat Klous), the daughter of the Contessa. Fortunately, it turns out that the Contessa has a fantasy of her own and that’s for Lisa (hey, great name!) to meet and fall in love with a good man. Herbie and Lisa even get married on Fantasy Island!
This whole fantasy was silly, with Jayne Meadows devouring the scenery as only a veteran guest star can. That said, Paul Williams and Pat Klous were a cute couple.
As for the other fantasy, Lauren Fandell (Joan Prather) wants to be the center of attention. Roarke informs her that she’s a descendant of Druid queen. It turns out that there’s some druids living on a nearby island! Lauren heads over to Druid Island and is promptly proclaimed Queen of the Druids. “Are you married? she is asked. When she says she’s not, she is proclaimed the Virgin Queen. Uhmmm, okay. Maybe that’s a druid thing but that just seems like a huge assumption to me….
Unfortunately, being the Virgin Queen means that she’s due to be sacrificed to their God, the evil Pan. Roarke shows up briefly and gives her a magic acorn necklace, which she does eventually use to distract Pan and escape with her new boyfriend, Paul (Dennis Cole).
(And yes, it does turn out that Paul was another guest whose fantasy was to study the druids.)
This was a good episode. The fantasies were entertainingly silly and Tattoo was back. We even got a little of the old Roarke/Tattoo banter, which used to be a highlight of the show. This episode, with all of its silliness and melodrama, felt like what Fantasy Island was meant to be.
Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Sundays, I will be reviewing the made-for-television movies that used to be a primetime mainstay. Today’s film is 1984’s The Night They Saved Christmas! It can be viewed on Tubi and YouTube.
The Night They Saved Christmas argues that there are two types of people in the world.
There are people who still believe in Santa Claus and all that he represents and then there are the people who gave up their belief a long time ago. Those who believe in Santa Claus are still full of the Christmas spirit and, under the right circumstances, they might even get to meet the elves and the jolly old man himself. Those who do not believe are destined to waste their holiday on focusing on material things that aren’t really important.
Petroleum engineer Michael Baldwin (Paul Le Mat) doesn’t believe in Santa Claus and that’s why he had no trouble moving his entire family to the North Pole so that they could freeze while he headed up an oil exploration project. Michael and his boss, billionaire Sumner Murdock (Mason Adams), are determined to find oil and they’ve got an endless supply of dynamite with which to search for it.
Michael’s wife, Claudia (Jaclyn Smith), still believes in the spirit of Santa and she encourages their children to believe as well. For that reason, Ed the Elf (played by singer Paul Williams), is willing to take Claudia and the kids to North Pole City. They get to meet Santa (Art Carney) and they even learn how Santa uses satellite technology to deliver presents all over the world. The city is really quite impressive, with the movie making good use of matte paintings and miniatures to create the impression of a magical metropolis. And Santa turns out to be a pretty nice guy, even if he does tell the elves that he’s sick of them singing Jingle Bells.
Unfortunately, North Pole City is in danger! Every day, the oil company’s dynamite causes a mini-earthquake. With the dynamiting getting closer and closer to North Pole City, Santa and the elves worry that they might be on the verge of getting blown up! Can Claudia and the kids convince Michael to stop blowing up huge chunks of the North Pole before Christmas is ruined!?
Well, listen — I don’t think it’s a spoiler for me to tell you that Christmas is not ruined. It would be pretty cynical for the movie to end with Michael blowing up Santa Claus and cynical is one thing that TheNightTheySavedChristmas is not. This is a very earnest film, full of cheery elves, a paternal Santa, and lots of Christmas music. Even greedy old Mr. Murdock turns out to be not that bad of a guy. In the end, this film says that Santa and the spirit of Christmas is for everyone and that’s certainly not a bad message. It’s a likeable movie for the holiday season and Art Carney is a perfect Santa Claus, even if he does appear to be a little underweight for the role. As played by Carney, Santa is welcoming, good-humored, and still enthusiastic about his job, even after centuries of doing it. He’s exactly the way you would want Santa to be. This is a film that earns the right to wish everyone a merry Christmas!
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 1986. Almost the entire show is currently streaming is on Youtube, Daily Motion, and a few other sites.
This week’s journey to Fantasy Island is oddly unpleasant.
Episode 4.4 “Don Quixote/The Sex Goddess”
(Dir by Michael Vejar, originally aired on November 15th, 1980)
As always, this episode opens with “the plane, the plane” landing at Fantasy Island and Mr. Roarke and Tattoo heading out to meet their guests. Unfortunately, as has been the case since the since the third season, Mr. Roarke and Tattoo no longer share any sort of playful banter before meeting the guests. In fact, Roarke often seems to refuse to even look at Tattoo while speaking to him. It’s awkward to watch because the dislike between Ricardo Montalban and Heve Villechaize is obvious whenever they share a scene. It’s something that is easy to joke about while talking about the show but it’s far more unpleasant to actually witness.
Of course, this entire episode is rather unpleasant, which is a shame because Fantasy Island‘s greatest strength as a show was that watching it was usually a pleasant and undemanding way to spend an hour.
Take, for instance, the fantasy of Helen Hendrix (Phyllis Davis). Helen’s fantasy is to become a “sex goddess.” Tattoo expresses disbelief that the pretty but far from glamorous Helen could ever be a sex goddess but Roarke reminds Tattoo that, on Fantasy Island, all things are possible. Roarke then says that Helen doesn’t realize that her fantasy could be a “a very dangerous fantasy.”
Well, Mr. Roarke, if it’s so dangerous, why did you agree to allow her to come to the Island? In the past, Mr. Roarke has mentioned turning down many requests for fantasies. He is apparently the final judge on whether or not someone will get their fantasy. (Even when Tattoo granted a fantasy to someone who Roarke previously turned down, it was suggested that it was all a part of Roarke’s master plan.) If the fantasy is so dangerous, why give it to Helen? What is Mr. Roarke’s legal liability if someone gets killed while experiencing their fantasy?
Anyway, Mr. Roarke gives Helen a blue potion and when she drinks it, she becomes a blonde, starts wearing makeup, and gets a dress that’s far more flattering and low-cut than the borderline Amish outfit she was wearing when she first arrived at the Island. She is now an internationally famous sex goddess, which unfortunately leads to her being kidnapped by three men (Michael Callan, Edd Byrnes, and Don Stroud) and held hostage on a neighboring island. Eventually, Helen realizes that she’s going to have flirt her way out of captivity, which leads to a smitten Don Stroud helping her to escape. Or, at least, he does until the potion wears off and Helen goes back being a brunette. Stroud is shocked but, before he can strangle her, Roarke shows up and whisks Helen back to the Island.
Seriously, what a thoroughly unpleasant fantasy. Helen comes to the island because she wants to know what it’s like to be famous and sexy and Roarke essentially allows her to be kidnapped by three men who apparently are planning on trafficking her. Indeed, Roarke seems to suggest that this is Helen’s fault for wanting to be attractive in the first place. Personally, I think Helen should sue Fantasy Island for all its worth.
As for the other fantasy, Paul Williams plays an eccentric Texas banker named Donald Quick. His fantasy is to be Don Quixote. (That’s a weird fantasy but whatever.) Soon, Donald and his lawyer (David Doyle) are riding their donkeys across Fantasy Island while dressed up like conquistadors. Donald saves a woman from a motorcycle gang and you have to wonder just what exactly a motorcycle gang is doing on Fantasy Island. He saves another woman (Mary Louis Weller) from her louse of a boyfriend (Robert F. Lyons) and then he jousts with a Cadillac. It’s silly but at least Donald finds love and David Doyle gets a few funny lines over how much he wants to sue Fantasy Island.
Honestly, this episode could have been saved if the two fantasies had intersected. If Donald and his lawyer had turned up to battle the kidnappers and save Helen, this actually would have been an okay episode and the lawyer could have helped Helen file a lawsuit against Roarke. But instead, the fantasies stay separate and the whole thing just feels icky. Seriously, Mr. Roarke was not on top of his game of this week. It might be time to give Tattoo more responsibility.
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 The Brady Bunch Hour, which ran on ABC from 1976 to 1977. All nine episodes can be found on YouTube!
This week, The Brady Bunch Hour comes to a close and with it, I gain my freedom from having to watch any more pitch perfect but incredibly boring performances from Florence Henderson.
Episode 1.9
(Directed by Jack Regas, originally aired on May 25th, 1977)
Two things happened on May 25th, 1977.
First of all, a film called Star Wars opened in theaters across the country.
Secondly, on ABC, The Brady Bunch Hour aired for the final time.
The final episode begins in the same way as all of the previous episodes. The Kroftettes do a kickline before driving into the pool and the audience applauds while the announcer reads off the names of the Bradys and announces that tonight’s special guest stars include Paul Williams, Rip Taylor, Lynn Anderson (who was a country-western singer), and Ann B. Davis.
Dressed in blue, The Bradys come out and perform a song called I’ve Got Love, which was written for a Broadway musical called Purlie. Purlie was a show about a black preacher living in the South during the Jim Crow era so you have to wonder how exactly the song relates to anything having to do with The Brady Bunch. As led by Florence Henderson, the Bunch turns the song into an “up with people”-style anthem. The Kroftettes meanwhile swim around with a punch of plastic hearts.
The song ends and, as the rest of their family struggles to catch their breath, Carol welcomes everyone to the show.
“I love love!” Carol announces.
The banter starts and the joke this time is that Carol enjoyed the song so much that she just won’t stop singing even while the rest of the family is trying to talk. This gets annoying pretty quickly because we’ve all had a relative like Carol, that person who can carry a tune and who goes out of their way to make sure that no one ever forgets it. Reportedly, one of the main reasons that Florence Henderson agreed to do The Brady Bunch Hour was because she wanted to transform herself into a Barbra Streisand-style singer and the producers agreed to allow her to do a solo in every episode. Henderson did not have a bad voice but she still had a tendency to oversell every song that she sang, performing in an over-rehearsed manner that revealed little real personality. During the last few episodes, a desperation creeped into Henderson’s performances, as if she felt that she alone could save the show by singing the Heck out of every song that she got.
After a minimum amount of banter (in which not a word is said about this being the final episode of the series), we cut to Carol and the kids performing a song called We’ve Got Us in front of a cardboard city skyline. For some reason, everyone’s dressed for golf.
At one point, the Brady daughters carry Carol across the stage while Carol sings. The audience applauds but Cindy looks like she’s struggling not to lose her grip on Carol’s ankles.
Peter and Bobby then carry Greg out on their shoulders while Greg sings. At one point, they nearly drop Greg and Greg’s reaction (his singing voice goes up several octaves) would seem to indicate that this was not at all planned.
After the rest of the Bunch marches off stage, Peter sneaks back and discovers that Mr. Merrill (played, of course, by Rip Taylor) is sleeping on a park bench. Mr. Merrill gets upset when Peter tries to move a trashcan because that is apparently where Mr. Merill keeps all of his stuff. Peter finds a slinky in the trashcan and Mr. Merrill announces, “Haven’t you ever seen Palm Springs?” Peter also finds a bottle of liquor in the the trashcan. Mr. Merrill explains that it’s “Beethoven’s fifth.” Peter and Jackie proceed to perform Me and My Shadow and it’s just as painful as it sounds.
The show goes to commercial. When it comes back, Fake Jan announces that the next guest is “my favorite female recording star, Lynn Anderson.” Fake Jan spends so much time praising Lynn that Greg comes out and tells Fake Jan that giving Lynn too much of a big build-up will make Lynn nervous. “Ladies and gentleman,” Fake Jan says, “a singer who’s not too bad, Lynn Anderson!” (To give credit where credit is due, I laughed.) Lynn Anderson comes out and sings a song called Right Time Of The Night and Fake Jan was right. She’s not too bad.
As Lynn finishes up the song, Fake Jan announces that Lynn is the best. “You just can’t say stuff like that on TV,” Greg says, sounding a bit like a jerk, if we’re going to be honest. Fake Jan demands that Greg tell her one person who sings as well as Lynn Anderson, who looks as good as Lynn Anderson, who has more hit records than Lynn Anderson, and who has beautiful blonde hair like Lynn Anderson.
“Paul Williams,” Greg says. “Great musician, but he’s a troublemaker …. remember when he came by the house?”
“Oh yeah,” Fake Jan says, “that was trouble.”
It’s flashback time!
We cut to the Brady Compound, where Alice is attempting to break up with Rip Taylor’s Jackie Merrill. Carol interrupts their fight to tell Alice to go clean another part of the house. Alice agrees to go on a date with Jackie, mostly to get him to go away. After Merrill leaves, Carol announces that Paul Williams is coming over. Marcia enters the living room, dressed in overalls because Paul Williams is into simple things, “like how people feel inside.”
Carol says…. I am not making this up …. Carol says, “Oh. Well, maybe you should swallow him, then.”
*snicker*
Greg enters the living room and starts leaving copies of his songs all over the living room. Marcia makes fun of his lyrics. Greg tells her, “Watch your mouth.”
*snicker*
Anyway, Marcia runs off crying. Mike enters the living room, looking confused. Carol explains that Paul Williams is only coming over to discuss what he’s going to do on the show. He doesn’t want to see Greg’s music or hang out with Marcia. A disgruntled Greg collects all of his lyrics. Finally, after Greg leaves the living room, Paul Williams rings the doorbell.
Paul tells Mike that he’s a “big fan of yours.” The audience laughs because Paul Williams is short. However, it turns out that Paul Williams is an even bigger fan of Carol’s. As Paul flirts shamelessly with Carol, Mike leaves to get the kids. Mike and the kids re-enter the living room just in time to hear Paul announce that he’s in love with Carol. The show cuts to commercial.
When the show returns, Mike is standing on stage, by himself. He’s wearing another one of his turtlenecks. “Welcome back to the second half of my family’s favorite show,” Mike tells us. Mike makes fun of Paul for being short and then shows us what happened at the Brady compound.
What happened?, you may ask. Well, Mike tells Paul that he doesn’t appreciate Paul loving his wife. Bobby asks if Mike is going to punch out Paul but Carol says that Mike doesn’t punch people out. “Good,” Paul says, “anyone over 5’5 punching me is assault with a deadly weapon.” (Because Paul Williams is short, get it?) Cindy asks Paul why he’s in love with Carol, as if even she can’t believe it. Paul says that Carol is “one foxy lady.” Mike promptly sends the children out of the living room and then starts yelling at Paul (or, at the very least, his voice goes up an octave or two as he expresses his annoyance).
Paul apologizes and then says that he has a compulsive personality “because I’m short,” and that occasionally, he does something compulsive like declare his love for Carol Brady. Paul then suggest that he and Carol could get married on the show. After Carol turns him down, Paul explains that he only came on the show so he could meet Carol. He then Carol a broach that once belonged to his grandmother. “She was a very foxy lady too,” Paul says, “Short but foxy.” Paul leaves.
“What a sweet man,” Carol says, looking at the brooch.
“He’s a loon!” Mike declares.
Before Mike can say anything else insensitive about the man who just opened up his mental health on national television, Fake Jan comes running in with Lynn Anderson. Lynn mentions that Paul Williams is in love with her and then holds up a brooch that Paul gave her. “It was his grandmother’s!”
We cut to the pool, where Peter has decided to outsmart Greg by getting in the pool himself. Greg swears that he wasn’t planning on pushing Peter in the pool this week. Peter climbs out of the pool and announces that Paul Williams is the next musical guest. “He’s so short,” Peter says, “he needs a ladder to get into a good mood.” Paul comes out and shoves both Greg and Peter in the pool.
Paul then sings The Hell Of It, a song that he wrote for Brian DePalma’s Phantom of Paradise. While he sings, thunder rumbles on the soundtrack, the Kroftettes perform in the pool, and the lights in the studio flash on and off. It’s actually surprisingly good for The Brady Bunch Hour but you have to wonder how the show’s target audience felt about a song that was sung from the point of view of someone who had just sold his soul to the Devil.
We then cut to a country road, where Carol sings a country song called Born To Say Goodbye. She’s no Lynn Anderson, that’s for sure. Still, listening to the lyrics, you have to wonder if she sang this knowing that the show was about to end. Despite the fact that no one on the show has mentioned anything about this being the final episode, one would have to think that the Bunch had some sort of knowledge that things weren’t looking good for the show’s future.
We then cut to a comedy skit, in which Paul Williams tells us that the member of the Brady Bunch will be recreating the voyage of Columbus. At one point, Williams flubs his lines but keeps going. According to Wikipedia, several members of the cast and crew have said that Paul Williams was drunk while filming The Brady Bunch Hour and that is definitely the vibe that comes through. Anyway, the skit is actually about what was going on with Columbus’s family while Christopher was out exploring and it’s called The Columbus Bunch. The members of the Bunch all speak with exagerrated Italian accents. It’s annoying as Heckfire. The skit goes on forever and as I watched it, I actually found myself thinking of the terrible fantasy sequences that used to appear on Saved By The Bell. It’s painful and the fact that everyone involved seems to be trying so hard makes it even more painful.
It’s time for the final finale of The Brady Bunch Hour! This week, there’s no banter before the finale. Instead, the Bunch appears on stage, wearing white suits. Mike says “The finale this week is….” and I honestly can’t understand what it is that he says next. It sounds like he says, “The finale this week is done,” but that wouldn’t make any sense. All I know is that the members of the Bunch desperately run off stage, as they do at the start of every finale. Again, I’m not sure why anyone thought it was a good idea to show the Bunch as being totally scatter-brained and incapable of the least bit of professionalism but whatever. The show’s almost over.
As for the finale, it’s all about music.
The Krofetettes dance while Bobby, looking like Satan’s stepchild, plays a ragtime tune on the piano.
Mike and Carol sing a few bars from the hottest song of 1950, Music! Music! Music!
Marcia sings Look What They’ve Done To My Song, Ma, which was a song by Melanie, the folk singer who appeared on an earlier episode.
Carol, who is literally sitting in front of a poster that reads Easy Listening, performs 1962’s The Sweetest Sounds, a song that was previously covered by Barbra Streisand.
Greg sings a song called Music Is My Life. Greg’s voice isn’t terrible but it’s awfully generic. He might need to get a different life, especially considering that this is the final episode.
Geri Reischl, who is so talented that she deserves to be referred to by her real name (and not Fake Jan) for this performance, comes out and sings Hey Mister Melody and once again shows that she was way too musically talented for this show. She and Florence Henderson had the best voices of the cast but, unlike the overly rehearsed Henderson, Geri actually brought some spontaneity to her performances.
Rip Taylor and a miserable-looking Ann B. Davis perform The Music Goes Round and Round.
Paul Williams and Lynn Anderson perform an Old Fashioned Love Song. One can almost sense Florence Henderson fuming off-stage over Lynn getting to be the one who performed with Paul Williams.
The Brady kids come out and sing Piano Man with the all the good-natured cheer of a church youth group.
The finale ends with the entire cast doing an unenthusiastic version of I Believe In Music. Paul Williams dances with Florence Henderson while a manic Rip Taylor throws confetti all over the stage.
After a commercial break, the Bunch comes out to say goodnight.
“Remember last week when I said, ‘I guess this bring us to the end of tonight’s show?” Carol says.
Yes, we do. Carol, is there something you need to share with the audience about the show’s future?
“Well, I’m saying it again this week,” Carol says, “I guess this brings us to the end of tonight’s show.”
Mike tell Carol that she should come up with something new to close the show and Carol does a stuttering impersonation of Porky the Pig and that’s when I nearly threw a shoe at the screen. Fortunately, I was distracted by Cindy saying, “And don’t worry about Paul Williams, he’s not really crazy.” Everyone says goodnight and the show ends….
….and never returns!
So, The Brady Bunch Hour has come to an end and what have we learned from these reviews? Cocaine was very popular in the 70s.
Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Wednesdays, I will be reviewing the original Love Boat, which aired on ABC from 1977 to 1986! The series can be streamed on Paramount Plus!
Let’s hear it for life’s sweetest reward!
Episode 1.23 “Musical Cabins”
(Dir by Allen Baron, originally aired on May 6th, 1978)
This week’s episode of The Love Boat opened with …. a commercial!
Actually, if you’re watching the show on Paramount Plus like me, every episode opens with a commercial and occasionally the commercial freezes and you have to start all over again. This week, though, was significant because it was a new commercial from Pfizer. The commercial opened with P!nk holding a rubber germ.
“If I was holding COVID-19,” P!nk says, “I would be in trouble …. because I have asthma.”
Plus, she would be in trouble because that’s the biggest goddamn germ I’ve ever seen. Don’t get me wrong. I have asthma too and I am more than aware of the dangers of getting an aggressive respiratory illness. But I’m just not sure that having a bunch of celebrities passing around a big rubber germ is the best way to advertise the vaccine. As soon as P!nk threw the germ at Michael Phelps and ?uestlove, the commercial started to lose me. It felt cheap, like one of those ICDC commercials that Master P forced Romeo Miller to do. Don’t throw germs at your friends.
Speaking of which, this week’s episode of The Love Boat is all about friendships and relationships. Ms. O’Roarke (Marica Wallace) is a gossip reporter who has heard that the Pacific Princess is a notorious hotbed of lust and hedonism on the high seas. She books a ticket and then sneaks around the boat with her notepad, watching as people go in and out of different cabins. She thinks that she’s uncovering evidence of an orgy on the high seas but actually, she’s just witnessing a bunch of misunderstandings.
For instance, Didi (Barbara Rhoades) is so disgusted by Curt (Dick Gautier), her chauvinistic boyfriend, that she refuses to stay in their cabin. When Gopher informs her that the cruise is sold out and there are no other cabins available, Doc immediately volunteers his cabin. Judging from the look on Gopher’s face, he’s just about had it with Doc hitting on every single passenger on the boat. An HR report is about to be filed.
Doc, for his part, assumes that Didi is looking for more than just a place to sleep. Being the swinger that he is, Doc slips into his pajamas and offers to help Didi unwind.
Didi is scandalized and kicks Doc out of his own cabin. Doc ends up asking Julie if he can crash in her cabin. Julie agrees but then wonders why Doc has never tried to hit on her. Doc replies that he thinks of Julie as being a “kid sister.”
Wrong answer, Doc!
Fortunately, Julie is soon approached by Nelson Hoag (Paul Williams), who has been asking every woman on the cruise if she’ll consider marrying him. Everyone turns Nelson down but what they don’t know is that Nelson is going to inherit a good deal of money but only if he gets married before his next birthday!
Julie and Nelson spend the night talking and Julie is actually charmed by Nelson. However, just as she learns in to kiss him, Gopher shows up and puts the kibosh on it. Gopher is going to have a lot of HR reports to write.
Since Doc is sleeping in her cabin, Julie ends up staying in Nelson’s cabin. Meanwhile, Nelson meets Irene (Michele Lee), a widow who is pretending to be an heiress. Irene allows Nelson to stay in her cabin and then she spends some time with an entirely smitten Captain Stubing. Is anyone on the boat actually doing their job?
Eventually, as O’Roarke hides behind the corner and takes notes, everyone meets in one cabin to work out their feelings. Curt wants Didi back but Didi actually prefers the company of the gentle Nelson. For her part, Irene likes men who take what they want and say whatever pops into their mind and that certainly describes Curt. By the end of the cruise, Julie and Doc are friends again, Didi is married to Nelson, and Irene is dating Curt. And O’Roarke realizes that she doesn’t have a story so she tears up all of her notes.
Usually, I can’t stand shows (or movies) where the plot hinges on a series of misunderstandings that could all easily be cleared up by people just not being stupid but I actually found this episode of The Love Boat to be rather charming, as the show made good use of the cast’s natural chemistry and the guest stars actually brought some much needed emotional depth to characters who were otherwise rather thinly written. Yes, Nelson was a little weirdo but, oddly, he and Didi made for a really sweet couple. Add to that Michele Lee brought a sense of genuine sadness to her role as the lonely widow. Watching the show, I found myself hoping that things would work out for her and they did!
Smokey and the Bandit II (1980, directed by Hal Needham)
The gang’s all back in this sequel to Smokey and the Bandit! Burt Reynolds is the Bandit! Jackie Gleason is Sheriff Buford T. Justice and his two brothers, Reginald and Gaylord! Jerry Reed is Snowman! Sally Field is Carrie! Pat McCormick and Paul Williams are Big and Little Enos! Mike Henry is Junior! Dom DeLuise is an Italian doctor! Terry Bradshaw and Mean Joe Greene play themselves! There’s an elephant!
You get the idea. Smokey and the Bandit II promises more of the same. In some ways, it delivers. There are some entertaining stunts. The finale features what was, at the time, the biggest car chase ever filmed. But Smokey and the Bandit II fails at the most important part. It fails to recreate the fun of the first film. Everyone is just going through the motions. Burt Reynolds later said that he only made the film as a favor to Hal Needham while Sally Field said that she agreed to appear in the film as a favor to Burt Reynolds. Jackie Gleason did the movie because he needed the money but, because he was also in poor health, he requested that his scenes be filmed first and that they be filmed quickly. That the three stars didn’t have much enthusiasm for the project is obvious while watching the movie.
This time, Big Enos wants the Bandit to transport an elephant to the Republican National Convention in Dallas. The Bandit, however, has been an alcoholic wreck ever since Carrie left him to, for some reason, get back with Junior. Snowman manages to sober up the Bandit and, after they help Carrie run out on her wedding for a second time, it’s time to transport an elephant.
In hot pursuit, Sheriff Justice gets help from his brothers, all of whom are also played by Gleason. Reginald Justice is a Canadian Mountie who speaks with a posh accent that is in no way Canadian. Gaylord Justice is a flamboyant state patrolman. Whenever the brothers talk to each other, doubles are used. There are a few split screen shots that are so ineptly handled that it ends up looking like a page from a comic book with each Gleason standing in a separate panel. The end credits list Gaylord as having been played by “Ms. Jackie Gleason,” just in case you’re wondering the level of this film’s humor.
Dom DeLuise gets some laughs as an Italian doctor who is recruited to take care of the elephant but otherwise, this is a depressing movie. Burt Reynolds and Sally Field were on the verge of breaking up when this film was made and neither one of them acts their scenes with much enthusiasm. Watching the movie, it’s impossible not to compare their strong chemistry in the first movie to their total lack of it in the second movie. There’s a subplot about the Bandit trying to prove that, even though he’s getting older, he’s still a legend and, for those who know anything about Burt Reynolds’s career, it hits too close to home. Combining that with the sight of an obviously unwell Jackie Gleason and you’ve got a surprisingly depressing comedy.
There is one cool thing about Smokey and the Bandit II. After the critics thoroughly roasted the film, Hal Needham took out a one-page ad in Variety. The ad was a picture of Needham sitting in a wheel barrow full of money. That’s one way to answer your critics!
Smokey and the Bandit 3 (1983, directed by Dick Lowry)
Smokey and the Bandit 3 is even more depressing than the second film. Not surprisingly, Sally Field is nowhere to be found. She had broken up with Burt after the second film and was busy pursuing a career as the type of actress who didn’t appear in car chase films. Burt does appear in the film but he only makes a cameo appearance, showing up for a few minutes at the end with a resigned look on his face as if he realized that he was never going to escape being typecast as an aging good ol’ boy. Also not returning was Hal Needham. Needham was busy directing Stroker Ace so he was replaced by Dick Lowry. What type of director was Dick Lowry? Other than Smokey and the Bandit 3, Lowry’s best known credit is for Project Alf.
Jackie Gleason, Jerry Reed, Pat McCormick, Mike Henry, and Paul Williams all return but none of them look happy to be there. The plot is that Sheriff Buford T. Justice has retired to Florida but he just can’t turn down a challenge from Big Enos and Little Enos to drive a stuffed shark from Miami to Dallas. Smokey is the Bandit! (That was originally the title of this film.) When it looks like Buford is doing too good of a job of transporting the shark, the Enoses hire Snowman to chase Buford and slow him down. It doesn’t make any sense and Jerry Reed and Jackie Gleason don’t share any scenes together despite co-starring in the film. Supposedly, Gleason was originally cast as two characters — Buford and the man hired to slow Buford down — but when preview audiences were confused by the film, the studio demanded reshoots. Jerry Reed was brought back and all of the scenes featuring Gleason as the new Bandit were reshot with Reed. Reed even grew a mustache, wore a red shirt, and broke the fourth wall just like Burt did in the first film.
Not surprisingly, Smokey and the Bandit 3 is a disjointed mess that doesn’t even have any spectacular car crashes to justify its existence. Jerry Reed is as amiable as he was in the first two films but Jackie Gleason’s Buford Justice was never meant to be a lead character. In small doses, he was funny but Buford was too one-dimensional of a character to build an entire film around.
Smokey and the Bandit 3 was a failure with critics and at the box office so the Bandit’s adventures came to a temporary end. Years later, Hal Needham produced four made-for-TV prequels the starred Brian Bloom as a young Bandit. I haven’t seen them. If I ever do, I’ll review them.