A Blast From The Past: Contract For Life (dir by Joseph Pevney)


Our regularly scheduled review of Friday the 13th: The Series will not be posted tonight so that we might bring you this special presentation….

My retro television reviews will return next week.  For tonight, check out 1984’s Contact For Life, an earnest and actually pretty well-acted short film about teenagers and drunk and driving.  Yes, that is William Zabka in the thumbnail below.  I imagine that Zabka is the main reason most people would watch this film today.  He plays a slightly nicer version of Johnny Lawrence in this film.  Be careful about getting too attached to him.

The film also features a hockey practice where everyone apparently practices getting hurt by deliberately falling on the ice and then slamming against a wall.  Ouch!  That game will never make sense to me.  (Sorry, Leonard.)

Without further ado, here is Contract For Life!

A Blast From The Past: You Can’t Take It With You (dir by Kirk Browning and Ellis Rabb)


Our regularly scheduled review of St. Elsewhere will not be posted today so that we may bring you this special presentation….

My retro television reviews will return next week but for now, check out this 1984 production of You Can’t Take It With You, starring the great Jason Robards.  Back in 1938, this play served as the basis of a perfectly charming Frank Capra film.  (It also won best picture of the year.)  This filmed version of the play’s Broadway revival is just as charming.

And now, without further ado, here is You Can’t Take It With You….

A Blast From The Past: Rookie of the Year (dir by Larry Elikann)


TSL’s review of Highway to Heaven will not be posted tonight so that we may bring you this special presentation….

My retro television reviews will return next week but until then, enjoy this blast from the past.  1973’s Rookie of the Year stars 11 year-old Jodie Foster as Sharon Lee, who causes some controversy when she joins her brother’s little league team.  I picked out this program specifically for my sister, Erin, who loves baseball the way that I love movies!

It’s strange to think, while watching this, that Jodie Foster was just three years away from creating even more controversy with her Oscar-nominated role in Martin Scorsese’s Taxi Driver.

And now, here is Rookie of the Year….

A Blast From The Past: Wait Until Dark (dir by Barry Davis)


Malibu, CA will not be reviewed tonight so that we might bring you this special presentation….

My retro television reviews will return next week but, for now, why not enjoy something even better than me discussing my hatred of Malibu, CA?  1982’s Wait Until Dark is a videotaped record of a stage production of Frederick Knott’s classic play about a blind woman who is menaced by three criminals.  (I assume it was filmed for PBS.  According to Lettrboxd, this aired on television on June 20th, 1982.)  This play was famously adapted into an Audrey Hepburn film in 1967.  The production below gives us a chance to see how the suspense plays out in a theatrical setting.  The cast, including Katharine Ross and Stacy Keach, is excellent!

And now, here is Wait Until Dark….

 

 

Film Review: Jackie Brown (dir by Quentin Tarantino)


It took me a while to really appreciated Jackie Brown.

I was nineteen and in college when I first watched the movie.  A friend rented it and we watched it with the expectation that it would be another Tarantino film that would be full of violence, fast music, and stylish characterizations.  And, of course, Jackie Brown did have all three of those.  But it was also a far more melancholy film than what we were expecting and compared to something like Kill Bill, Jackie Brown definitely moved at its own deliberate pace.  That’s a polite way of saying that, at times, the film seemed slow.  It seemed like it took forever for the story to get going and, even once it became clear that Jackie Brown (Pam Grier) and Max Cherry (Robert Forster) were going to steal from Ordell Robbie (Samuel L. Jackson), it still felt like an oddly laid back heist.  Robert de Niro, the film’s biggest star, played a guy who seemed to be brain dead.  Bridget Fonda brought an interesting chaotic energy to the film but her character was disposed of in an almost off-hand manner.  The whole thing just felt off.  I appreciated the performances.  I appreciated the music on the soundtrack.  But I felt like it was one of Tarantino’s weaker films.

As I’ve gotten older, I’ve come to better appreciate Jackie Brown.  First released in 1997 and adapted from a novel by Elmore Leonard, Jackie Brown finds Quentin Tarantino at his most contemplative.  Indeed, Tarantino wouldn’t direct anything quite as humanistic until he did Once Upon A Time In Hollywood.  If the heist seemed rather laid back, that’s because Jackie Brown really isn’t a heist film.  It’s a film about aging, starring two icons of 70s exploitation.  Robert Forster was 56 when he played bail bondman Max Cherry while Pam Grier was 48 when she was cast as Jackie Brown, the flight attendant turned smuggler.  Jackie and Max two middle-aged people faced with a world that doesn’t really make much sense to them anymore.  (Obviously, it’s easier for me to understand them now than it was when I was nineteen and I felt like the future was unlimited.)  Max bails people out of jail and it’s obvious that he still has a shred of idealism within him.  He actually does care about the people he gets out of jail and he’s disgusted by Ordell’s callous attitude towards the people who work for him.  Jackie is a flight attendant who, when we first see her, looks like she could have just stepped out of a 1970s airline commercial.  Ripping off Ordell isn’t just something that she’s doing for revenge or to protect herself, though there’s certainly an element of both those motivations in her actions.  This is also her chance to finally have something for her.  Jackie and Max are two lost souls who find each other and wonder where the time is gone.  All of those critics who have wondered, over the years, when Quentin Tarantino would make a mature movie about real people with real problems need to rewatch Jackie Brown.

Of course, it’s still a Quentin Tarantino film.  And that means we get a lot of scenes of Samuel L. Jackson talking.  This is one of Jackson’s best performances.  Ordell is definitely a bad guy and most viewers will be eager to see him get his comeuppance but, as played by Jackson, he’s also frequently very funny and definitely charismatic.  One can understand how Ordell lures people into his trap.  Jackson loves to watch video tapes of women shooting guns.  He allows De Niro’s Louis to crash at his place and the scene where Ordell realizes that Louis is thoroughly incompetent is brilliantly acted by both men.  And then you have Bridget Fonda, as a force of pure sunny chaos.  Jackson, De Niro, and Fonda are definitely a watchable trio, even if the film rightly belongs to Pam Grier and Robert Forster.

The older I get, the more I appreciate Jackie Brown.  This is the film where Tarantino revealed that there was more to his artistic vision than just movie references and comic book jokes.  This film takes Tarantino’s style and puts it in the real world.  It’s Tarantino at his most human.

Song of the Day: Battle Without Honor or Humanity by Tomoyasu Hotei


Today’s song of the day was not specifically written for the Kill Bill soundtrack but that’s still the film that I’ll always associate it with.  Here to help us celebrate Quentin Tarantino’s birthday, it’s Tomoyasu Hotei and Battle Without Honor or Humanity.

A Blast From The Past: Have You Ever Been Ashamed Of Your Parents (dir by Harry Harris)


Monsters will not be reviewed tonight so that we may bring you this very special presentation of 1983’s Have You Ever Been Ashamed Of Your Parents?

Yes, my retro television reviews will return next week but, until then, enjoy this blast from the past.  In this hour-long presentation, Fran Davies (Kari Michaelson) is upset when her mother (Marion Ross) takes a summer job working as a maid for a rich family.  At first, Fran thinks that Andrea (Jennifer Jason Leigh), the daughter of her mother’s employer, is a stuck-up snob but she soon learns that Andrea is instead painfully shy and that she has parents who are rich but unloving.  Meanwhile, Fran’s parents are …. well, I wouldn’t call them poor.  The film acts as if they’re poor but, from all indications, they appear to be comfortably middle class.  The point is that they’re not rich but they are loving.

This is worth watching for Jennifer Jason Leigh’s performance as Andrea, a character to whom I could relate.  It’s not easy being both shy and beautiful.  Fans of great character actors will also be happy to see James Karen, playing Andrea’s father.

Now, without further ado, here is Have You Ever Been Ashamed Of Your Parents?

SHANE (The TV Series) – Episode 13: A Long Night of Mourning (originally aired December 3rd, 1966)


Episode 13 of SHANE opens with a beautiful woman walking into Grafton’s General Store while Joey (Christopher Shea) is there looking at the candy jars. Since Joey doesn’t have a penny, she offers him one, which he immediately converts to 8 pieces of peppermint. She asks Joey his name, and when he replies “Joey Starett,” she asks back, “Is your grandpa, Tom Starett?” When Joey answers in the affirmative, this classy lady takes on the look of someone who has found what she’s been looking for. She takes a room at Grafton’s and tells Sam that someone will be joining her soon and that she’ll need a second room for when he arrives.

Back at the ranch that evening, Joey is telling Shane (David Carradine) and his grandpa Tom (Tom Tully) about the woman at Grafton’s. Tom immediately gets a troubled look about him when Joey tells him that her name is Lydia Montgomery (Joanne Linville).  Coincidentally, Shane knows Lydia Montgomery because he had worked for her husband Dave awhile back in Springfield, IL, which is where Tom had lived before moving out west to Wyoming to be with his son Joe & daughter-in-law Marian (Jill Ireland). Shane asks Tom how he knew Dave Montgomery, and Tom surprisingly reveals, “I had him hanged.” It turns out that Tom had been a judge in his prior life. Convinced of her husband’s innocence and blaming “Judge Tom Starett” for his death, Lydia and her hired gun Lee (Bill Fletcher) have come to Cross Roads to kill him on the 5th anniversary of the hanging. Even Shane may not be enough to stop them. 

After mostly playing the kind old grandpa up to this point in the series, Tom Tully takes center stage in episode 13. It’s actually quite surprising because it reveals things about Tom’s past that had not even been hinted at in prior episodes. Not only do we learn that Tom was a judge, but we also learn that he was a terrible drunk who escaped out west to be with his son and daughter-in-law and get away from the guilt associated with decisions he made from the bench. His entire countenance changes from the man we’ve come to know the moment he hears the name Lydia Montgomery, and we watch him go through several stages that are quite predictable for a man living with guilt. First, we see him get extremely defensive and start lashing out at his family as he tries to explain why he sentenced Dave Montgomery to be hanged. This is clearly a man who doesn’t feel good about the decision. Next, we see him go back to the bar to get drunk, something he hasn’t done in many years, in order to numb his pain and help him forget, if even for just a little while. We can see that he almost feels that he deserves whatever he gets from Mrs. Montgomery, and her gunman. And finally, when he’s confronted by Mrs. Montgomery again at the end, he’s arrived at the point where he can plainly state the truth of what happened, admit his own shortcomings in the situation and accept whatever fate comes his way. I won’t reveal the entire circumstances of the case that brought all of this about, but I will say that it definitely points out the shortcomings of the American justice system where justice and the law don’t always coincide. Tully does a good job of presenting a much more complex man underneath the hardworking and kind grandpa character we’ve been presented with thus far. Tom is like the rest of us, we’ve all got our different stories and some of them aren’t so pretty when you scratch beneath the surface. 

Guest star Joanne Linville is very good as Lydia Montgomery, the grieving widow who, in the years after her husband’s death sentence, has elevated him from being a mere mortal to a place of sainthood. Through her relationship with the gunman Lee Maddox, a man who clearly loves her, we learn that she has never come to terms with the reality of his life or death, and she certainly has never accepted that he’s really gone. Her obsession with taking revenge on one man, Tom Starett, has basically stopped her life in its tracks and she needs to deal with her emotions even more than Tom does. The rest of the cast doesn’t have that much to do in the episode, although there are a few good moments for them. Shane is mostly there to provide Tom some physical protection, while also questioning his decision on that fateful day from five years earlier. His interactions with gunman Lee Maddox are pretty good as they had worked together in the past and respect each other. They don’t want to have to go against each other, but they will if it comes down to it. Jill Ireland has a good scene as Marian where she confronts Lydia Montgomery about her plans to kill Tom. It’s a tense scene and the ladies go at it back and forth nicely. They don’t resolve anything, but it’s another effective way to beat home the moral dilemma the episode presents. 

Prior to watching Episode 13, the last thing I was expecting was an installment of the series devoted entirely to Tom Starett, and I probably wouldn’t have really wanted one. With that said, I enjoyed it for what it was and I’m glad to be able to see Tom as a more complex man. This didn’t really leave any time for longing looks between Shane and Marian, but we did get a brief look of love at the very end, and I’ll take it.