How many of y’all can say that you’ve met Dale Evans, the wife of Roy Rogers?! I can. She was in Perryville, Arkansas to watch one of my fellow high school students play basketball. I don’t remember if he was her grandson, nephew or what exactly the relationship was, but she was there, and I went and introduced myself to her. This would have been in the early 90’s and she was around 80 years old or so. She was so sweet to me, and I’ve always appreciated that I got to meet her.
Today I decided to watch the episode of “The Roy Rogers Show, Season 2, Episode 8, THE KNOCKOUT,” where Charles Bronson is the special guest star. In the episode, Roy notices strangers digging on an isolated section of his land. When he investigates, he discovers that the handlers for prizefighter Willie “Killer” Conley (Bronson) have set up a training camp for the champ. However, Roy begins to suspect that quite a bit more than training is going on there. Before long the fists and bullets are flying as Roy and Dale take down the bad guys. Bronson’s character may be called Killer Conley, but he is a decent guy who’s gotten himself in too deep with the bad guys, and he ends up joining the good guys when the rubber meets the road at the end. That made me happy. With that said, Bronson and Rogers punched it out multiple times before everything worked out well in the end!
This was my first ever viewing of The Roy Rogers Show. From what I understand, it’s a pretty standard entry in a series that consistently displays a simple story with clear morals and a dependable resolution. However, when you consider that this episode was one of the early TV appearances of Charles Bronson, billed as Charles Buchinsky at the time, it emerges as a piece of cinematic history. A couple of decades later Bronson would be the biggest male movie star in the world. At this point for me, it’s nostalgia at its finest!
The Roy Rogers Show is currently streaming on Tubi.
Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Mondays, I will be reviewing Crime Story, which ran on NBC from 1986 to 1988. The entire show can be found on Tubi!
In 1986, riding high on the success of Miami Vice, Michael Mann signed on as executive producer of Crime Story, a cop show that Mann imagined would run for five seasons and which would follow a group of cops and gangsters from 1960s Chicago to 1980s Las Vegas. The show was co-created by former Chicago cop Chuck Adamson and it starred another former Chicago cop, Dennis Farina.
Though generally well-received by critics, Crime Story struggled in the ratings. The show’s highly serialized-nature made it difficult for audiences to follow. (This was in the pre-streaming age, when viewers couldn’t just get online and catch up with what they may have missed.) Crime Story only lasted for two seasons but it has since developed a strong cult following and is now regularly listed as one of the best cop shows ever made.
(Dir by Abel Ferrara, originally aired on September 18th, 1986)
In Chicago, on a rainy night in the early 1960s, a group of masked robbers hold up a fancy restaurant and then try to escape with a group of terrified hostages. On the scene is the Major Crimes Unit, led by the grim Lt. Torello (Dennis Farina, a former real-life cop). The end result is that all of the robbers end up dead, the hostages end up traumatized, and one of Torello’s men, the obviously doomed Wes Connelly (William Russ), appears to be losing his mind over the violence that he has to deal with every day.
The plot of the pilot is actually pretty simple. A gang of thieves is holding up restaurants, banks, and stores in Chicago. Torello believes that an ambitious gangster named Ray Luca (Tony Denison) is behind the robberies and Torello is correct. The cool and sociopathic Ray is working with Johnny O’Donnel (David Caruso). O’Donnel may be a childhood friend of Luca’s but his parents are friends with Torello. When gangster Phil Bartoli (Jon Polito) orders Luca to kill O’Donnel after the latter robs one of Bartoli’s jewelry stores, it’s personal all-around.
Plot-wise, it’s pure Michael Mann. The cops and the gangsters are both obsessive. Luca will kill anyone to get ahead in the underworld. Oddly, his only real loyalty seems to be to his dumbest henchman, Pauli Taglia (John Santucci, a real-life former jewel thief who was once arrested by Dennis Farina). Torello may be fighting on the side of the law but he’s often just as quick to resort to violence as Luca. Director Abel Ferrara’s style can be seen in a scene where Torello is visited by the ghost of the recently murdered Wes Connelly. Torello is burned out and paranoid, flying into a rage when he sees his wife, Julie (Darlanne Fluegel), dancing with another man at a wedding. (The man in question turns out to be Torello’s cousin, whom Torello didn’t even recognize because he apparently doesn’t have much of a connection to anyone outside of the police force.) Towards the end of the episode, there’s a shoot-out in a department store and it’s hard not to notice that neither the crooks nor the cops seem to be all that concerned with the innocent bystanders trying to not get caught in the crossfire.
The pilot is dark, gritty, and, in its way, as stylized as any episode of Miami Vice. It never seems to stop raining and, even during the day, the skies are permanently gray and dark. The early 60s are recreated like a fever dream of pop culture, with rock and roll on the soundtrack, cars with tail fins screeching down the street, and Bartoli living in a house that looks more like a tacky diner then a true home. Torello and his men wear their dark suits and trenchcoats the way that soldiers wear their uniforms.
It’s an effective pilot, though we don’t really get to know much about the men working with Torello at the Major Crimes Unit. Bill Smitrovich, in the role Detective Danny Krycheck, establishes himself as being Torello’s second-in-command but that’s about it. Stephen Lang appears in a handful of scenes as David Abrams, a liberal public defender who is the son of a prominent gangster. Both Luca and Torello seem to want to make David into an alley and the episode hints that he will eventually have to make a choice. The episode ends with Luca in sunny Florida, meeting with veteran gangster Manny Weisbord (Joseph Wiseman). Torello, meanwhile, remains in dark Chicago.
The Crime Story pilot was deemed good enough to be released as a feature film in Europe. It also led to a series on NBC, which I will be reviewing here, every Monday! On the basis of the pilot, I’m looking forward to it.
Welcome to Late Night Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Sunday, I will be reviewing the Canadian series, Degrassi: The Next Generation, which aired from 2001 to 2015! The series can be streamed on YouTube and Tubi.
This week, Ellie figures something out about Marco.
Episode 2.14 “Careless Whisper”
(Dir by Laurie Lynd, originally aired on January 13th, 2003)
This episode opens with Marco, Jimmy, and Spinner playing basketball and Marco staring at the shirtless Spinner until Spinner says, “What are you looking at, fag?”
Later, when Dr. Sally (Sue Johanson) comes to give the Health class her annual sex education talk, Jimmy and Spinner ask her how a dude could be attracted to another dude. At this point, someone in the class could have and perhaps should have pointed out that Jimmy and Spinner seem to spend a lot of time together but instead, everyone just snickers.
Everyone except for Marco. As class ends, Marco is quick to tell Spinner and Jimmy that he hates gay people.
Meanwhile, Ellis is wondering why Marco never seems to show her any affection. They’re hanging out. They’re going to the movies. And yet, she feels like Marco is still more of a friend than a boyfriend….
Yes, this is the episode where Ellie figures out that Marco is gay. When Ellie asks him, “Do you like girls at all?,” Marco replies with, “I don’t know.” As we all yell, “No, Ellie!,” Ellie agrees to continue to pretend to be Marco’s girlfriend so that Spinner and Jimmy won’t make fun of him but she says that this isn’t a permanent arrangement….
Seriously, Ellie was always getting her heart broken on this show. First, she agreed to be Marco’s pretend girlfriend. Then she dated Sean, even though he was obviously still in love with Emma. Then she pursued Craig, who was incapable of loving anyone other than himself. And finally, she fell for that narcissistic college newspaper editor. Ellie deserved better and really, while I have sympathy for Marco’s struggle to accept his sexuality while being best friends with the two biggest homophobes in Canada, Marco was always at his most selfish when it came to Ellie.
That said, both Adamo Ruggiero and Stacey Farber give good performances in this episode, as Marco and Ellis respectively. Today, we kind of take it for granted that every high school-based show is going to have at least a handful of gay characters. (By the end of Degrassi’s Netflix run, almost everyone in the school was LGBTQ.) In 2003, though, an extended storyline like this was still a big deal and it undoubtedly took some guts on the part of the showrunners.
As for the B-story, Toby is totally in love with Kendra. Kendra thinks that Toby is getting a bit too possessive. Toby agrees to back off a little. Kendra, you can do better. Sorry, Tobes.
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 Homicide: Life On The Street, which aired from 1993 to 1999, on NBC! It can be viewed on Peacock.
This week, Whit Stillman directs a story of pain and tragedy.
Episode 5.7 “The Heart of a Saturday Night”
(Dir by Whit Stillman, originally aired on November 15th, 1995)
The Heart of a Saturday Night is a great episode of Homicide, with the exception of one decision that annoyed the Hell out of me.
It’s an experimental episode. We watch as the Homicide detectives work three cases — a carjacking the results in the death of a wife and mother, a bar fight at the Waterfront that results in the death of an alcoholic husband, and the assault and murder of a young woman in East Baltimore. While Bayliss, Giardello, Munch, and Lewis investigate the cases, we see the survivors at a group therapy meeting. Rosanna Arquette plays the widow of the man killed in the bar fight. The great Chris Eigeman is the widower of the carjacking victim. Polly Holliday and Tom Quinn play the parents of the murdered woman.
It’s a bit stagey and talky but it works, largely due to the performances of the guest cast and the intelligent direction of Whit Stillman. As anyone who has seen any of his films can attest, Stillman is unusually skilled at making conversation compelling. It’s a powerful episode because it reminds us that while the Homicide detectives are just doing their job, the cases they investigate leave lasting scars on those left behind. Munch is more concerned with the murder at his bar than the carjacking to which he and Lewis have been assigned but Giardello explains that Munch cannot investigate a crime that occurred at a location that he owns. Giardello investigated the murder at the bar and one gets the feeling that he largely just wants to get out of the office. Lewis becomes obsessed with solving the carjacking but we all know eventually he’ll move on because that’s his job. There’s always going to be another murder. But for the victim’s husband, life is never going to be the same again. He’s angry and bitter, especially since he knows the carjackers will probably never be caught. (At the end of the episode, his wife’s name is the only one still in red on the board,) His words aren’t always pleasant but he has every right to be angry. Chris Eigeman’s performance is incredible and heart-breaking. Even more so than the effective but overwrought Bop Gun, this episode captured the pain of being a survivor.
It’s a powerful episode, up until the the moment that the final member of the therapy group shows up and it turns out to be Dr. Cox. As good as Michelle Forbes has been in the role, this is the third episode-in-a-row in which Cox suddenly takes center stage. It’s hard not to feel that the show is demanding that we love Dr. Cox as much as the writers obviously do. The problem is that this is only Dr. Cox’s third episode. The constant spotlight on Cox feels hamfisted and a bit premature. It reminds me of when The Office tried to make us embrace characters like Robert California and Nellie Bertram. (This is probably the only time in history that The Office and Homicide will ever be compared to each other.)
Other than the awkward inclusion of Dr. Cox at the end, this was a powerful episode. Homicide took a risk and, for the most part, it paid off.
I knew who Jackie Chan was well before I discovered Hong Kong cinema in the early 90’s through the works of John Woo and Chow Yun-Fat. I had seen him in the CANNONBALL RUN movies, including part 2 in the movie theater, and I recognized the VHS for THE PROTECTOR (1985) at my local video store, but I had no idea just how amazing he was as a filmmaker and performer until I became obsessed with Hong Kong’s local film industry in the mid-90’s. As I read about the incredible work that Chan had done or was doing in books like “Hong Kong Babylon,” I made notes on all of his movies that I wanted to see. Of course, the original POLICE STORY was at the top of the list.
In POLICE STORY, Chan plays Hong Kong cop Chan Ka-Kui. In the film’s opening scene, he takes part in a sting operation to bring down Chu (Yuen Chor), one of Hong’s major drug kingpins. After the plan goes awry, we get an incredible action sequence where cars crash through a shantytown, bullets fly, cops piss themselves, Chan hangs off of a bus with the handle of an umbrella, runs down a mountain, arrests the drug lord, and we’re just getting started!
From that amazing opening, Chan is assigned to protect the key witness, Salina (the gorgeous Brigitte Lin), whose testimony is key to bringing Chu down. This doesn’t go well. Between corruption in the police force, false accusations, and Chan’s tenuous relationship with his girlfriend May (Maggie Cheung), the ensuing chaos seems to indicate that Chu is going to get off on the drug charges and Chan just may end up dead.
But let’s be honest, the plot is just a reason to get to the action. And once you’ve seen a few of Jackie Chan’s Hong Kong movies, you just settle in for a loose story, lots of goofy humor (that doesn’t always work), and some of the most insane stunt work you’ll ever see. POLICE STORY is a perfect example of that formula, and quite honestly, it’s one of the great action films. The stunts feel and look dangerous. The final sequence, set in a shopping mall, is some of the best action I’ve ever seen in a movie. I sat there with my mouth open and shaking my head as great stunt after grunt stunt takes place. I can’t help but wonder how many people got injured doing those scenes as glass shatters, bodies fly, and Chan puts himself through hell for the sake of the scene. It can’t be described… it needs to be experienced.
And yet, for all the amazing action, I can relate to Jackie Chan. He messes up. He gets hurt. He argues with his girlfriend. I’ve done all of these things, and I love it when he gets his stuff together and uses his unique set of skills to save the day!
As awesome as POLICE STORY is, viewers need to be aware of the serious tonal shifts that take place in the Hong Kong cinema of the 80’s. It can be a little jarring if you’re not used to it, as the movie goes from slapstick comedy to brutal action to melodrama, sometimes within the same scene. In some ways, that’s part of the charm, but these films can feel very strange for the uninitiated.
At the end of the day POLICE STORY isn’t perfect, but it is Jackie Chan at his best… fearless, inventive, and committed to giving the audience their money’s worth. If you’re interested in the unique and dangerous films that Chan made at this physical peak, this is as good as it gets.
Welcome to Late Night Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Saturdays, I will be reviewing Saved By The Bell, which ran on NBC from 1989 to 1993. The entire show is currently streaming on Prime and Tubi!
This week, we finish up the first season.
Episode 1.19 “Slater’s Friend”
(Dir by Don Barnhart, originally aired on November 28th, 1992)
Who killed Artie?
That’s the question that Zack, Kelly, Jessie, Lisa, and Screech are left to consider when Slater’s pet chameleon Artie dies. Slater specifically asked them to take care of Artie while he was out of town. When Slater returns to Bayside, both Zack and the girls attempt to fool him with a duplicate chameleon because no one on this show ever just tells the truth. When Slater figures out that Artie is dead, he’s bitter and he’s angry and he even disrupts Coach Rizzo’s (Frankie Como) speech class. Belding, of all people, emerges as the hero, telling Slater that it’s okay to be sad. In the end, Artie is given a funeral and the cast sings Artie Boy.
This episode has long had a reputation for being the worst episode of Saved By The Bell. NBC was so embarrassed by it that they actually didn’t air it until four years after it was filmed. In his highly-suspect autobiography, Dustin Diamond claimed that everyone was trying not to laugh during the funeral scene.
Well, you know what? This episode — as silly as it is — kind of works. If you’ve ever lost a pet, you can relate to Slater’s grief. And really, Slater having a pet chameleon makes sense when you consider the fact that he spent his entire childhood traveling from one military base to another. It’s not like he could really own a cat or even a dog under those circumstances. A lizard on the other hand….
This episode is actually a good example of how good Mario Lopez actually was in the role of A.C. Slater. When Slater says, “It’s just a dead lizard,” your heart breaks for him. When he hugs Mr. Belding, you feel Slater’s pain. Even in an episode that ends with everyone singing a song about a chameleon, Mario Lopez gave it his all.
Worst episode ever? Not hardly! We’ve still got the Tori episodes to review, after all. In fact, my only complaint about this episode is that Coach Rizzo was never brought back. He was my favorite teacher at Bayside!
Another week, another special about boy bands. I watched this 3-hour, two-part documentary on Wednesday and Thursday. Joey Fatone was one of the producers so it’s not a surprise that a major theme of the documentary was that Joey Fatone was a pretty cool guy. This show hit all the usual points — hey, there’s Lou Pealman! — without adding much new insight.
Crime Story (Tubi)
My review will drop this upcoming Monday.
Degrassi: The Next Generation (Tubi)
My review will drop tomorrow night.
Hollywood Demons (HBOMax)
I watched two episodes. The first one was about Stephen Collins (yikes!). The second was about Jerry Springer. Now that Jerry is dead and his show is definitely never coming back, all of his producers are trying to cash in by letting you know that they were anti-Jerry the whole time. It all feels a bit self-serving.
Homicide: Life on the Street (Peacock)
My review will drop tomorrow.
Saved By The Bell (Tubi)
Along with this week’s review episode (which will be dropping shortly), I also watched three Patrick Muldoon episodes on Friday. RIP.
Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Saturdays, I will be reviewing Baywatch, which ran on NBC and then in syndication from 1989 to 2001. The entire show can be viewed on Tubi.
This week, we finish off the first season of Baywatch.
Episode 1.21 “The End?”
(Dir by Reza Badiyi, originally aired on April 6th, 1990)
This the end, my only friend, the end….
Earthquake! The ground shakes in Los Angeles and the result is pure chaos. While Mitch oversees the rescue operations, Shauni tries to get over her fear of natural disasters, Eddie helps a pregnant woman deliver twins in his lifeguard tower, Gina finds herself pinned under a shelf at the loft, and Craig and Cort are trapped in an underwater cave. Have none of these people noticed that hanging out with Cort always leads to stuff like this happening?
We see a news report that says that five people died in the earthquake. Fortunately, none of those people were a character on Baywatch. (Though, now that I think about it, when was the last time anyone saw Trevor?) The LAPD dive team saves Cort and Craig. Hobie helps Gina get out from underneath that shelf. Eddie and Shauni work together to help deliver those twins and then, as the sun sets behind them, Eddie asks, “Will you marry me?” Shauni nods as the theme music starts up….
Was this the end? It was meant to be. After a season of declining ratings and raising production costs, NBC decided to cancel Baywatch. I guess the executives figured that, if even a shark attack failed to get people to watch, it was best just to move on. Baywatch decided to go out with an episode about an earthquake because it was a California show and California is all about the ground moving under your feet. It actually turned out to be one of the better episodes of the first season, specifically because it focused on lifeguards and other first responders doing their job. There were no silly plots about gamblers or Mitch’s love life or anything else. This was Baywatch the way it probably should have been. But it was too late to keep the show alive on network television.
That said, the Hoff believed in Baywatch and, working with the show’s producers, he brought it back in syndication. This episode was the end of Baywatch on NBC but it was just the beginning of the show that would go on to epitomize a decade.
In my quest to see every movie and TV show that Charles Bronson ever appeared in, I finally decided to take on THE MOB this morning. I’ve held off for years because this early, uncredited role as a dockworker only gives Bronson a couple of lines. He looks like a natural fixture on the docks, but his screen time only adds up to a minute or two in total.
With Bronson being little more than some temporary dockside scenery, I settled in for a story about Johnny Damico (Broderick Crawford), a tough, no-nonsense cop who’s doing some rainy night ring-shopping for his girlfriend when a man is killed just outside the store. He bungles up the whole situation, and the killer gets away. It turns out the killing was a mob hit and soon Damico is going undercover as Tim Flynn from New Orleans so he can infiltrate and bust the organized crime ring operating on the waterfront.
Broderick Crawford is so good in this role. His Damico / Flynn has a cynical sense of humor that I enjoyed. He thinks fast, he’s rough around the edges, and he even gets to slap some bad guys around a time or two. He’s one of those characters whose mouth should probably get him in more trouble. Well, now that I think about it, his mouth does almost get him killed a couple of times. Crawford and Bronson would work again together a few years later in the prison film BIG HOUSE USA (1955).
With Crawford’s performance anchoring the movie, Director Robert Parrish delivers a tight, efficient and entertaining crime story that clocks in at just under an hour and a half. One of the things that made the film enjoyable for me is the interesting and recognizable supporting cast of actors who pop up throughout the film. I’ve already mentioned Bronson, but actors like Ernest Borgnine, Neville Brand and Frank DeKova all show up to torment our undercover cop at various points throughout the film. It’s always fun for me to see a cast full of familiar faces!
At the end of the day, I enjoyed THE MOB. It doesn’t try to be anything more than a good crime film, and with Broderick Crawford’s excellent performance, it does its job well.
Through the Shattered Lens 