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. 

A Blast From The Past: Don’t Call Me Mama Anymore (dir by John Moffitt)


“The Love Boat will not be reviewed tonight so that we might bring you this special presentation….”

My Retro Television Reviews, including my reviews of The Love Boat, will return next week.  For now, let’s enjoy a blast from the past.  First aired in 1973, Don’t Call me Mama Anymore was the second television special to feature Cass Elliott.  Like the first one, it was essentially a pilot for a weekly variety show.  This special was a far better showcase for Cass Elliott and it actually led to her getting a show for the 1974 season.  Unfortunately, Cass passed away in London before filming began.

For now, here is Don’t Call Me Mama Anymore, featuring Cass Elliott, Joel Grey, Michelle Phillips, and Dick Van Dyke.

Film Review: The Black-Eyed Children (dir by Jozsef Gallai)


I’ve never been much for camping.

I’ve probably mentioned this before.  I’ve certainly reviewed enough films about deadly campgrounds and fatal walks through the woods that there’s no way that I haven’t talk about camping in the past.  It’s just not for me.  Even though I grew up largely in the country and I tend to think of myself today as being a country girl in the city, I have to admit that staying out in the wilderness has never appealed to me.  I don’t like bugs.  I don’t like the threat of wild animals suddenly appearing out of nowhere.  I’ve seen enough horror movies to know that I should run if I ever see a guy walking through the woods while wearing a hockey mask.  (Not that it would do any good, of course.  I’m such a klutz that there’s no way I wouldn’t trip over a stick or something.)  The fact of the matter is that I find the wilderness to be very creepy.  The dark shadows, the feeling of being surrounded by trees that tower of above me, the isolation of it all …. nope, not for me!

The Black-Eyed Children, an upcoming horror from from director Jozsef Gallai, does a very good job of capturing just how creepy being alone in the wilderness can be.  Kata Kuna stars as Claire, a young psychology major who is totally excited to have gotten a job as a counselor at St. Beatrice, a camp for children with special needs.  Claire wants to make the world a better place and this seems like a wonderful opportunity to do so.  (Honestly, I hate camping but if you told me that doing so would make life better for a child who hasn’t been given much in the world, I would be the first to head down to the sporting goods store and buy a tent.)  However, when Claire enters the woods and finds herself at St. Beatrice, it’s not at all what she was expecting to find.

The camp appears to be totally deserted.  The children who were supposed to be there are gone.  The other counselors who were presumably employed there have disappeared.  Claire walks through the camp, checking cabins and searching for an explanation.  Finding the files on the kids who were supposed to be at camp, Claire starts dialing phone numbers and what she discovers shocks her.  And no, I’m not going to tell you what she discovers.  The Black-Eyed Children is scheduled for a late 2025 release so you can watch it then and find out the secret of St. Beatrice.

The Black-Eyed Children is a found footage film.  Luckily, Jozsef Gallai is one of the best when it comes to working with the found footage genre and the film is full of creepy and atmospheric imagery.  St. Beatrice and the woods surrounding it all give off a vibe of steady menace, leaving the viewer frightened about what might jump out of the shadows.  Kata Kuna does a great job as Claire and what she discovers at St. Beatrice will leave you feeling uneasy, especially if you know about the urban legend that gives this film its name.  Clocking in at 70 minutes, The Black-Eyed Children is an effective and creepy horror film.  It’ll definitely keep you out of the woods.

A Blast From The Past: Rock: It’s Your Decision (dir by John Taylor)


Pacific Blue will not be reviewed this week so that we might bring you this special broadcast of 1982’s Rock It’s Your Decision!

Jeff (Ty Taylor) has been challenged to think about the music he listens to and to only listen to Christian music for a few weeks.  Jeff takes the challenge and, in the film’s climatic speech, he reveals that even Barry Manilow is a servant of the Devil.  This film is dated, incredibly silly, and oddly watchable.  It might have had more impact if the lead character wasn’t so dorky.  “I love a get down beat!”  I love the way his voice cracks when he shouts, “Do you think I’m sexy?”

Pacific Blue will return next week.  For now, check out Rock It’s Your Decision!

A Blast From The Past: The Mama Cass Television Program (dir by Sid Smith)


Normally, this is where and when I would post my weekly review of Fantasy Island but, due to this being a busy week, my Retro Television Reviews are on break until Sunday.  Fear not, though, we have alternative programming!

From 1969, it’s The Mama Cass Television Program!  This was actually meant to be a pilot for a variety show that would have been hosted by Mama Cass Elliott, formerly of the Mamas and the Papas.  For that reason, there’s some comedy bits along with Cass singing.  Keep an eye out for Martin Landau!  The comedy, to be honest, is a bit cringey but it really doesn’t matter when you’ve got Cass Elliott and her amazing voice.

Fantasy Island will return next week but for now….

 

Song of the Day: Overture (Lawrence of Arabia) by Maurice Jarre


Lawrence of Arabia (dir. by David Lean)

Since today is David Lean’s birthday, it only seems appropriate that today’s song of the day should come from the film that is regularly acknowledged as being Lean’s masterpiece, 1962’s Lawrence of Arabia.  Composed by Maurice Jarre, here is one of the greatest film scores of all times.

Song of the Day: Main Title Theme From Bullitt by Lalo Schifrin


In honor of the birthday of Steve McQueen, today’s song of the day comes from his 1968 film, Bullitt.  Composed Lala Schifrin later went on to do the score for another film about a California detective with his own way of doing things, Dirty Harry.