Retro Television Review: Homicide: Life on the Street 3.2 “Fits Like A Glove”


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, the investigation into the Catherine Goodrich murder continues.

Episode 3.2 “Fits Like A Glove”

(Dir by Ted Demme, originally aired on October 21st, 1994)

Last week’s episode ended with Bayliss and Pembleton discovering that a supply shed had been broken into near the Goodrich scene.  This episode opens with Bayliss and Pembleton talking to the groundskeeper, who explains that he came across the shed earlier.  He reported that the shed had been broken into to the primary on the case, Detective Gaffney.  Gaffney never bothered to follow-up and the shed has since been cleaned up.

That’s it for Gaffney!  Lt. Russert calls him into the office and tells him he’s no longer heading up the investigation.  She tells him to take a few days off and then to transfer to another department.  She promises him a “fair recommendation.”  Gaffney replies that Russert only get her job because of her sex.  He goes as far as to compare her to a statue of a woman on a boat, except she’s not a mermaid.  “You’ve got legs,” he says.  It’s an odd bit of dialogue and I kind of wish that Gaffney had delivered it Al Pacino style.  “You’ve …. GOT …. LEGGGGGS!”

Pembleton is now the primary and not a moment too soon because another murdered woman has been found, again left in a dumpster outside a Catholic church and only wearing long white gloves.  Pembleton theorizes that the killer hates Catholics.  (So …. Matin Luther, maybe?)  Pembleton continues the investigation but clues are hard to come by and smarmy reporter Matt Rhoades (Tony Todd) keeps threatening to reveal that the killer puts gloves on the victims.  At one point, a murder memorabilia collector (Hugh Hodgin) shows up and claims that the murders are connected to a nationwide crime spree.  The collector turns out to be a flake, exactly the type of person who Russert believes would be driven to give false evidence if the news about the gloves got out.

Meanwhile, Kay finds herself being used as a messenger service by both Beau and his estranged wife.  Beau’s wife, Beth (Mary B. Ward), wants to surprise Beau with a romantic dinner so she asks Kay to tell Beau that Beth wants him to come by and see the kids.  Beau tells Kay to tell Beth that their son needs to tighten the laces on his baseball glove.  (Poor Kay!) Beau goes to the house to see the kids, just to discover that Beth lied and sent them away so she could make Beau dinner.  Beau gets mad and leaves.  Mary feeds Beau’s dinner to the dog.

Bayliss, Munch, and Lewis put in for a liquor license for the bar.  Lewis interrogates Munch as to whether or not he was ever arrested in the 60s but — surprise! — Bayliss is the one with the criminal record, an arrest and conviction for misdemeanor gambling while Bayliss was in college.  Bayliss, you never cease to surprise me!

This episode was a bit frustrating because Pembleton doesn’t seem to be any closer to solving the murders.  As well, Felton’s domestic drama would be a bit more compelling if Felton himself was a more likable character.  But, I still liked this episode.  The season 3 ensemble is amazing and just the pleasure of watching actors like Andre Braugher, Melissa Leo, Yaphet Kotto, Ned Beatty, Clark Johnson, Kyle Secor, and yes, even Daniel Baldwin all on the same show is more than enough of a reason to watch.  Everyone was at the top of their game in this episode.

Will Pembleton catch the killer next week?  I have faith and, judging by the way Pembleton crossed himself when looking at the second victim, so does he.

EUREKA (1983) – Gene Hackman strikes gold and tries to strike Rutger Hauer with a meat cleaver in the same move!


I’ve been thinking a lot about Gene Hackman as he recently celebrated his 95th birthday. He’s an incredible actor who has been a part of my life since I first really discovered my love of movies beginning in the mid-80’s. I’ve also been writing about Rutger Hauer every Sunday here on the Shattered Lens. Hackman and Hauer made a movie together back in 1983 called EUREKA, and to be honest, I almost forgot about it. It’s a movie I watched a long time ago and hadn’t watched again until today. It seemed like the perfect time for a revisit.

EUREKA opens with a stunning aerial shot that descends upon obsessed gold prospector Jack McCann (Gene Hackman) who’s fighting with a man on a snow-covered mountain in the Yukon territory. The man has asked Jack to partner with him in their search for gold, and Jack makes it clear that he will never “make a nickel on another man’s sweat.” Next, we see Jack as he’s walking through a nearly deserted town. In another unforgettable shot, Jack watches a man, who’s clearly gone mad, commit suicide just outside of the local “Claims office.” Before watching again today, that was the only scene that I could remember from my initial viewings of the film so many years ago. Next, we see Jack lying down below a tree at night, in windy, frigid temperatures, just about to freeze to death. Three hungry wolves have even approached ready for dinner. And this is where things get strange. Out of the blue, this clairvoyant madam (Helena Kallianiotes) from a local brothel sees him in her crystal ball, as a mysterious stone falls right next to him, starting a fire that warms him and drives away the wolves. He goes to see the madam at the brothel where she tells him that he will strike gold, but he “will be alone now.” Jack leaves the next morning and finds gold, rivers of gold. It’s another stunning sequence showing the obsessed man, who’s been searching for gold for 15 long and hard years, finally finding the object of his obsession. 

Cut to 20 years in the future, where Jack is now the richest man on earth, living on his own Caribbean island. It also appears he may also be the unhappiest man on earth. He has all the money in the world, but there is no peace in his heart or soul. His wife Helen (Jane Lapotaire), who he was once deeply in love with, is now detached and addicted to alcohol. His daughter Tracy (Theresa Russell) has fallen in love and married Claude Maillot Van Horn (Rutger Hauer). Jack cannot stand Claude as he suspects that he seduced and married Tracy so he could get to his money. His best friend Charles (Ed Lauter) has somehow gotten mixed in with Miami mobsters, led by a guy named Mayakofsky (Joe Pesci) and his lawyer Aurelio D’Amato (Mickey Rourke), who want to force Jack to sell them land on his island so they can build a casino. Jack feels like everybody just wants a piece of him and his money. He has lost the joy in his life. The rest of the film plays out against this backdrop as Jack tries to separate Tracy from Claude, and as the mobsters try to force Jack to sell to them by any means necessary.

EUREKA is not a film that everyone will love, but I enjoyed watching it again after so many years. Director Nicolas Roeg, who also directed PERFORMANCE (1970), DON’T LOOK NOW (1973) and FULL BODY MASSAGE (1995), creates some truly amazing and brutal images that once seen are not easily forgotten. The scene where Jack McCann finds his huge vein of gold is so beautiful, but there are alternatively horrific scenes of brutal violence that play out almost to the point of overkill. The movie also takes some surprising twists and turns in the third act that you may not see coming. I always like it when a movie surprises me. It’s a melodramatic film that doesn’t have a lot of likable characters, but with a cast this good, I’m willing to go along with the filmmakers. In addition to the excellent work of Gene Hackman and Rutger Hauer, Theresa Russell has the important role as the daughter stuck between the man she loves and the dad who adores her. Her acting style exemplifies the melodrama of Roeg’s vision, so it works well in the context of this film. Jane Lapotaire has a couple of strong moments as Hackman’s alcoholic wife who yearns for days long gone when they were so in love. We were quite spoiled in the early 80’s when a movie could round out its already impressive cast with actors like Joe Pesci, Mickey Rourke, Ed Lauter, Corin Redgrave and Joe Spinell.

Nicolas Roeg appears to be trying to make deep statements about the meaning of life in EUREKA. I’m not a person who generally consumes films for deep meaning, but I thought it might be fun to at least take a surface-level view of some of the items I noticed while watching the movie. Jack spouts a lot of profound things throughout the movie, things that he feels describe him as a person. I mentioned one earlier when Jack tells the competing prospector prior to finding gold that, “I’ll never make a nickel off of another man’s sweat.” He will continue to use this saying throughout the film, even after he’s a rich, jaded, older man. The truth is that he would not have found the gold without the help of the clairvoyant madam, with her even passing away right after he hits the jackpot. In another scene at an extremely awkward dinner party, Jack tells his guests that the only rule that matters is the Golden Rule, “Do unto others as you would have them do unto you.” While I agree with the importance of this rule, Jack does not seem to follow the Golden Rule in any way that helps others or gives him any sense of peace or connection. Jack does not seem to understand the contradictions in his use of these phrases as played out in his own life, but I also think that his lack of understanding helps to illustrate a truth that plays out at times in many of our own lives. So often we’ll claim certain beliefs and values, but our lives as lived will be much more complex and often hypocritical. We can see them in Jack, but can we always see them in ourselves?

EUREKA also seems to be a movie that’s open to different interpretations based on who’s viewing the movie and where they are in life at that specific time. In a moment of clarity with his wife, Jack seems to recognize the hypocrisy in his life when he tells her “I once had it all… now I just have everything.” Jack is finally reflecting on the important things in his life, rather than dwelling on his current distrust of everyone around him. This final quote got me to thinking about my own life and just how different I am as a man in my early 50’s compared that naïve 20-year-old who first watched this film. I didn’t know what it was like to chase my dreams, catch them, and then try to figure out how to keep striving with a purpose. I didn’t know what it was like to be married with the responsibility of loving my wife and genuinely caring about her needs, through both the good times and the bad times. I didn’t know what it was like to be a dad who wanted nothing but true happiness for his children. Jack has lived through these specific opportunities in life, and we can see how he’s dealt with them. Each of these things have now played out in my own life. There have been times that I’ve failed, and there have been times that I’ve succeeded. I just keep reminding myself to try to focus on the things that matter and not get distracted by the things that don’t. Even now, it’s not always easy to do.    

I’ve included the trailer for EUREKA below:

Film Review: Groundhog Day (dir by Harold Ramis)


Happy Groundhog Day!  For the record, Punxsutawney Phil saw his shadow today so get ready for six more weeks of winter!

Oh, how I love Groundhog Day.  I really do.  It’s perhaps the silliest holiday that we have in America and I absolutely adore the whole thing.  I love the fact that people get dressed up for it.  I love that there are people who plan their entire weekend around seeing what the groundhog predicts.  I love that we all know there’s no way a groundhog can reasonably predict the weather but, for one day, we pretend like it can.  And while Groundhog Day itself had its beginning in Germany, the holiday really has become pure Americana.  It’s such an innocent holiday, or at least it is now that Bill de Blasio is no longer in a position to kill the magic groundhog.

(Boo de Blasio!  Boo!)

Of course, no Groundhog Day is complete without watching the 1993 comedy of the same name.  The film has become such a major part of American culture that even people who haven’t watched it know what it’s about.  (It’s a bit like It’s A Wonderful Life in that way.)  Bill Murray plays Phil Connors, a cynical weatherman who is sent to cover Groundhog Day in Punxsutawney and finds himself reliving the same day over and over again.  Every morning, it’s once again February 2nd.  Sonny and Cher’s I Got You Babe plays on the radio.  Phil is approached by Ned Ryerson (Stephen Tobolowsky), an annoying former classmate turned insurance salesman.  Phil steps in the same puddle.  He finds himself covering the same story and, again and again, he’s stranded by the same blizzard.  At first, Phil is angry.  Even multiple suicides can’t stop the cycle.  Kidnapping the groundhog can’t stop the cycle.  Then, he decides to take advantage of living the same day over and over again.  He gets to know the people in the town and realizes that they’re not so bad.  He saves the mayor (Brian Doyle-Murray) from choking at dinner but, in the film’s most poignant moment, realizes that an old homeless man is going to die regardless of how many times he tries to save him.  Phil learns how to learn the piano.  He learns how to speak French.  And, most importantly, he falls in love with Rita (Andie MacDowell).  Of course, when he tells Rita this, she assumes he’s just trying to take advantage of her.  Rita says that they barely know each other but what she doesn’t realize is that Phil has been spending day-after-day with her.

As you might have guessed I relate to Rita.  She loves the silliness of the holiday and so do I.  I also relate to Nancy Taylor (Marita Geraghty), just because of her determination to enjoy the day no matter what.  That said, this is totally Bill Murray’s film and this is one of his best performances, one in which he expertly mixes his trademark comedy with some very poignant drama.  One thing I like about this film is that Phil becomes a better man as a result of living the same day over and over again but it doesn’t totally change his personality.  At the end, he’s still the same sarcastic smartass that he was at the start of the film but he’s no longer a cynic.  He’s learned how to appreciate other people.  He’s fallen in love.  Much like George Bailey, he’s become the richest man in town.  This is a rare film where the main character is as interesting after he’s reformed as before.

It always breaks my heart a little to read that Bill Murray and director Harold Ramis had a difficult time working together while making this film.  It’s truly a perfect film and that’s due to both Murray’s performance and Ramis’s heartfelt direction.  I’m also glad that Ramis and Murray made up before Ramis passed away.  Life’s too short and sadly, unlike in the movies, we don’t always get a chance to go back and correct the past.

Groundhog Day is a holiday classic and may it continue to be watched for decades to come.

Late Night Retro Television Review: Check It Out 3.6 “Edna’s Choice”


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 the Canadian sitcom, Check it Out, which ran in syndication from 1985 to 1988.  The entire show is currently streaming on Tubi!

This week, Howard’s dead!  Or maybe not.

Episode 3.6 “Edna’s Choice”

(Dir by Alan Erlich, originally aired on October 24th, 1987)

This week’s episode opens with a rather odd scene in which Howard Bannister, who is still wearing his “Howie” manager uniform, showing up outside the gates of Heaven.  He’s shocked to find that Edna is waiting for him.  She has big wings on her back.  She says that she was made an angel when she came to Heaven because she lived a perfect life after she broke up with Howard.  Howard is surprised.  Edna mentions that she broke up with Howard because he refused to recommend her for a promotion that would have given her a store of her own to manage.  Howard refers to God as being a guy.  Edna replies that God is a woman and then sends Howard to hell.

WHAT!?

With this scene, the show establishes that 1) Edna and Howard broke up, 2) Edna died before Howard, and 3) Howard went to Hell.  That’s a lot to take in!

Of course, it all turns out to be a dream that Edna was having.  Edna tells Marlene about her dream and then she doesn’t mention it again for the rest of the episode.  This is despite the fact that Edna receives a chance to be promoted and Howard doesn’t recommend her for the job.  You would think that Edna would link all of this to her dream and maybe warn Howard that he was condemning his soul to the fires of Hell.  Maybe she forgot about her dream.  These things happen occasionally.  I sometimes forget about my dreams, too!

It’s between Jack Christian and Edna for the new store manager job and, in a very odd scene, Mrs. Schutlz (Barbara Gordon) interviews them both at the same time.  (Oddly, everyone at the store acts as if they all know Mrs. Schultz, despite this being her first appearance on the show.)  Edna notices that all of the questions appear to be biased against Christian.  Mrs. Schultz asks what they would do if a customer came in the store wearing the same dress as them.  Mrs. Schultz asks Christian what he would do if a customer was having PMS.  (“What’s PMS?” Christian asks and sweetie, you don’t want to know.)  Edna realizes that Gordon is only interested in giving the job to another woman so Edna turns down the promotion.  She wants to earn the job on her merits and nothing else.  And she doesn’t break up with Howard so I guess he still has a chance to getting into Heaven.

This episode was weird.  The dream sequence was actually pretty funny and Gordon Clapp scored a few laughs as the store’s dim-witted electrician.  That said, the whole job interview storyline felt strange.  Admittedly, I’ve never had to actually interview for any of the jobs that I’ve had but still, I just imagine it’s handled a bit differently than in this episode.  It was a weird episode.  Edna should have taken that job and ran with it.

Lisa Marie’s Week In Television: 1/26/25 — 2/1/25


My sinuses were really bothering me this week so I didn’t watch much, other than the shows that I review for this site.  I mean, it was literally a struggle for me to look at a screen, whether it my phone, a laptop, or a television for more than a few minutes without getting a headache.

I did watch two more episodes of Dark with Case.  This intriguing German show gets more and more creepy with each episode.

On Sunday, Jeff and I watched a football game.  It was Taylor Swift’s team vs someone else.  Taylor Swift won.

I watched Kitchen Nightmares.  This week’s restaurant was boring.  I’m hoping for another Amy’s Baking Company style fiasco.

And I watched Hell’s Kitchen.  Really?  They eliminated Egypt?  First Brandon and then Egypt?  Weakest final two ever!

Finally, I watched and reviewed Miami Vice, CHiPs, Fantasy Island, Pacific Blue, The Love Boat, Monsters, Malibu CA, Highway to Heaven, St. Elsewhere, Friday the 13th, Welcome Back Kotter, and Check It Out!

And that’s it, thanks to my sinuses.  Bleh!

 

Love On The Shattered Lens: Ladies’ Man (dir by Lothar Mendes)


In the 1931 film Ladies’ Man, the always suave William Powell plays Jamie Darricott.

Jaimie may be suave but, when we first meet him, he’s faking it.  He lives in a tiny broom closet in a grand hotel and he only has two suits to his name.  The only thing that Jamie has going for him is that he’s charming and he’s handsome, in the way that only William Powell could be.  He’s like a much sleazier and far less likable version of Nick Charles.  Unfortunately, Jamie doesn’t have Nora Charles or Asta in his life.  He just has one valet and a lot of ambition.  It’s strange to see Powell play a bitter man but that’s what he does here.

Jamie starts spending time with the wealthy Mrs. Fendley (Olive Tell), despite the fact that she’s married to wealthy businessman Horace Fendley (Gilbert Emery).  Jamie starts to move up in the world.  He gets a much better room.  He gets a few more suits of clothes.  Soon, Jamie is also spending time with Mrs. Fendley’s daughter, the wild Rachel (Carole Lombard).  Rachel doesn’t care if prohibition is the law of the land.  She’s going to get as drunk as she wants every night.  And Rachel doesn’t care if society judges her for sleeping over in another man’s room despite not being married to him.  Rachel does what she wants!  And I have to admit that, at first, I liked Rachel.  She was a rebel and she made no apologies for her behavior and good for her!  (It helped she was also played by Carole Lombard, who was just starting her career but already had a lively screen presence.)  What’s interesting is that both Mrs. Fendley and Rachel seem to know that the other is seeing Jamie and they’re both pretty much okay with that.  And since Jamie is getting paid by both of them, he’s okay with it too.

This might sound a bit racy for a 1931 film and I suppose it is.  However, this is also a pre-code film.  Before the Production Code was instituted, films always portrayed New York society as being filled with gigolos and people who got drunk at nightclubs.  Pre-code films had the advantage of not only knowing what people wanted to see but also the freedom to give it to them.  Ladies’ Man is pretty open, if not particularly explicit, in detailing how Jamie makes his money.  And the message seems to be that no one can blame him.  There’s a depression going on!  Jamie has to do something to survive!  At least he’s not killing people Jimmy Cagney or Paul Muni!

However, when Jamie meets and falls for the kindly Norma Page (Kay Francis), he starts to reconsider his lifestyle.  And when Rachel finds out that Jamie is actually falling in love with Norma, she lets her father know about what’s going on.  It all leads to a rather sudden and surprisingly dark ending.  The film may have been pre-code but it was still a film from the era of DeMille and hence, all sinners had to be punished.

Seen today, Ladies’ Man is definitely a relic of a previous time.  It was made early enough in the sound era that it’s obvious that some members of the cast were still learning how to act with sound.  For a film with a 70-minute run time, it has a surprisingly large numbers of slow spots.  This is not the film to use if you want to introduce someone to the wonders of the pre-code era.  That said, I love William Powell and I love Carole Lombard.  This film was made before their brief marriage and it’s nowhere near as fun as their later collaboration, My Man Godfrey.  But it’s still enjoyable to see them together, bringing some much needed life to this scandalous tale.

Retro Television Review: Welcome Back, Kotter 4.16 “The Goodbye Guy”


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 Welcome Back Kotter, which ran on ABC  from 1975 to 1979.  The entire show can be purchased on Prime.

This week, Epstein gets a story of his very own.

Episode 4.16 “The Goodbye Guy”

(Dir by Norman Abbott, originally aired on February 1oth, 1979)

Barbarino is gone.  Gabe is gone.  It’s Epstein’s turn to step up and become the center of the show.

Epstein is upset because he has wrestling tickets but the other Sweathogs all have dates for the evening,  For some reason, Epstein decides to go the Kotter apartment even though Gabe is — *ahem* — out of town.  Was Epstein planning on asking Julie to go see a wrestling match with him?  We’ll never know because Julie is not at the apartment.  She’s at the faculty dance with Mr. Woodman.

Mr. Woodman’s niece, Kelly (Georganne LaPiere), is at the apartment, babysitting the rarely-seen Kotter twins.  (I was actually starting to think that Gabe might have abducted the twins and moved to Long Island with them, it’s been so long since we’ve seen or heard from any of them.)  Kelly is a college student but she looks considerably younger than Epstein, who is supposedly just a high school senior.  That said, it’s love at first sight between Kelly and Epstein.  Mr. Woodman’s not happy about that and orders Kelly to stay away from the Sweathog.  So, of course, Kelly moves in with Epstein.

It’s as culture clash, of course.  Kelly is smart and sophisticated.  Epstein has been in high school for ten years and says that his dream is to own a fleet of dump trucks.  After Kelly laughs at his dream and Epstein makes a scene at a vegetarian restaurant, it looks like their love might be doomed!

Well, that happens when you move in with someone after knowing them for two hours….

“I’m going to miss you, Fido,” Epstein says after they have one final conversation in the high school courtyard.  The audience says “Awwwww!” but I think Kelly made the right decision to walk way because Epstein is never going to graduate high school.  The show’s producers obviously intended to keep the Sweathogs in that school forever.  Add to that, how can you love a guy who nicknames you after a dog?

Speaking of nicknames, why does Epstein tolerate being called “Little Juan” by Horshack?  When this show began, Epstein was the most dangerous and unstable of the Sweathogs.  He was the one who was voted most likely to take a life.  I remember at least a few episodes where he brought a knife to school.  Epstein was always on the verge of exploding, which made his character an interesting one.  If Kotter could reach Epstein, he could reach anyone.  But now, Epstein is just as bland and well-behaved as everyone else in the show.  It’s a shame.

Oh well.  At least Woodman was happy by the end of this episode.

We’re nearly done with this show!  Only a few more episodes to go.  Will Gabe ever return?  We’ll find out.

Film Review: Soap Opera (dir by Andy Warhol)


Directed by Andy Warhol, 1964’s Soap Opera features a plot that largely plays out in silence.

The silent, grainy black-and-white footage depicts what appears to be a love triangle between Warhol associate Rufus Collins, Sam Green, Ivy Nicholson, Gerard Malanga, and “Baby Jane” Holzer.  There’s a lot of kissing.  There’s a lot of slapping.  There’s a lot of scenes of our nameless characters giving each other suspicious and meaningful looks.  At one point, Jane Holzer makes what appears to be a very important phone call.  We don’t know who these people are or how they’re related but they certainly do seem to be intensely obsessed with each other.  The situations grow progressively more and more sexual and one gets the feeling that, if we could only hear the dialogue, we would have a chance to vicariously take part in a great melodrama.  Of course, the footage itself is so grainy that it’s sometimes hard to tell who is who.  Indeed, the characters often seem to be interchangeable.  That’s certainly true of real soap operas as well.  With new actors regularly stepping into old roles and one story’s hero becoming the next story’s villain, soap operas were all about accepting whatever was presented on the screen.  In real life, drama has real consequences.  In Warhol’s film and on television, melodrama is just something that happens without any real repercussions.

Janes Holzer in Soap Opera

Fortunately, the film provides a few breaks from the repetitive cycle of nonstop, grainy drama.  Sprinkled throughout the film are commercials breaks, featuring actual commercials that were supplied to Warhol by Lester Persky, an advertising executive who later found greater fame as a Broadway producer.  (He produced Hair, amongst other productions.)  In between scenes of Ivy Nicholson kissing Sam Green and Rufus Collins looking shocked, we get a serious of very happy and very loud commercials.  Indeed, after watching the silent and grainy soap opera footage, it’s a bit jarring to have an expertly staged commercial suddenly blare forth in crisp black-and-white.  An obnoxious salesman tries to sell us things to make our home better and our meals tastier.  Jerry Lewis shows up with a child and tells us to be sure to contribute money to his telethon.  Model Rosemary Kelly is introduced by an announcer who tells us that Rosemary is going to tell us about the greatest adventure of her life.  That adventure?  Not conditioning her hair for five days.  Amazingly, her hair is still full and lustrous!  Even after swimming and sleeping on it!  Not even a broken steam valve can make her hair look bad!  This commercial is so effective that it’s actually featured twice and why not?  Even I want to know Rosemary’s secrets and my hair always looks good!

Rosemary Kelly in Soap Opera

Warhol subtitled this film The Lester Persky Story, both to thank Persky for supplying the commercials but also to point out that the commercials were really the whole point of the show.  The plot of any show, whether it’s a real one or the one in Warhol’s film, really only exists to keep you watching long enough to see the commercials.  And it must be said that the commercials are the most interesting part of this film.  After watching the Soap Opera actors for ten minutes, it’s a relief when Rosemary Kelly appears and, with a big smile on her face, starts enthusiastically talking about her hair.  We all complain about commercials but we still accept them as a fact of life and, in the end, it’s usually the commercials that people remember and try to pattern their lives after.  I mean, there’s a reason why I’m still singing that “Nothing is everything” song from the Skyrizi commercials.

And now, let’s check out how Rosemary Kelly’s hair is doing in hurricane winds!

Rosemary Kelly in Soap Opera

 

Song of the Day: The Man Who Shot Liberty Valance, performed by Gene Pitney


Since I already shared a scene from my favorite John Ford film, it seems only right that today’s song of the day should pay some respect to Mr. Ford as well.  Here is the theme song from 1962’s The Man Who Shot Liberty Valance, performed by Gene Pitney.

When Liberty Valance rode to town
The womenfolk would hide, they’d hide
When Liberty Valance walked around
The men would step aside

‘Cause the point of a gun was the only law
That Liberty understood
When it came to shooting straight and fast
He was mighty good

From out of the East a stranger came
A law book in his hand, a man
The kind of a man the West would need
To tame a troubled land

‘Cause the point of a gun was the only law
That Liberty understood
When it came to shooting straight and fast
He was mighty good

Many a man would face his gun
And many a man would fall
The man who shot Liberty Valance
He shot Liberty Valance
He was the bravest of them all

The love of a girl can make a man stay on
When he should go, stay on
Just trying to build a peaceful life
Where love is free to grow

But the point of a gun was the only law
That Liberty understood
When the final showdown came at last
A law book was no good

Alone and afraid, she prayed that he’d
Return that fateful night, oh that night
When nothing she said could keep her man
From going out to fight

From the moment a girl gets to be full grown
The very first thing she learns
When two men go out to face each other
Only one returns

Everyone heard two shots ring out
One shot made Liberty fall
The man who shot Liberty Valence
He shot Liberty Valance
He was the bravest of them all

The man who shot Liberty Valance
He shot Liberty Valance
He was the bravest of them all

Songwriters: Burt F. Bacharach / Hal David