Miniseries Review: Death by Lightning (dir by Matt Ross)


Death by Lightning, a four-episode miniseries that recently dropped on Netflix, tells the story of two “forgotten men,” as the show itself puts it.

Michael Shannon plays James A. Garfield, the Ohio farmer and former Congressman who, despite attending the 1880 Republican convention solely to give the nominating speech for Secretary of Treasury John Sherman (Alistair Petrie), found himself nominated for President after the convention found itself deadlocked between supporters of Former President Grant (Wayne Brett) and Senator James Blaine (Bradley Whitford).  Garfield did not want to run for President and he certainly did not want to run with Chester A. Arthur (Nick Offerman), an associate of New York political boss, Roscoe Conkling (Shea Whigham).  However, in November of 1880, James Garfield was narrowly elected the 20th President of the United States.

Matthew MacFayden plays Charles J. Guiteau, a failed lawyer and self-proclaimed newspaper publisher who felt that a stump speech he had given at a small rally was responsible for Garfield’s victory.  Guiteau expected to be appointed to a position in the Garfield administration, perhaps as Consul to France.  In those days of no Secret Service protection and an open White House, Guiteau was one of the many random office seekers who managed to get a face-to-face meeting with Garfield.  What Guiteau did not get was a job.  While Guiteau may have deluded himself into thinking that he was an inside player, everyone else viewed him as being a pesky and disreputable character.  On July 2nd, 1881, Guiteau shot Garfield in the back.  After Garfield died in September, Guiteau was convinced that he would be pardoned by the newly sworn-in President Arthur.  Instead, Guiteau was hanged on June 30th, 1882.

(It’s now generally agreed that Guiteau was such a bad shot that Garfield would have survived his wounds if not for the incompetence of his doctors, who probed his wounds with their bare hands in an effort to extract the bullet.  Garfield died as a result of multiple infections caused by his medical treatment.)

Again, Death by Lightning describes Garfield and Guiteau as both being forgotten men.  That’s not quite true.  I knew who both of them were before I watched the miniseries but then again, I’m also a history nerd.  As much as I don’t want to admit it, it is true that the majority of today’s Americans don’t know either Garfield or Guiteau.  And yet, in 1881, America revolved around them and their fate.  Everyone checked every day for news on Garfield’s health and Guiteau’s trial was heavily covered by the press.  That’s something to remember whenever you hear people talking about how “history will remember” whatever may be happening in the news today.  History may remember but people are quick to forget.

As for Death by Lightning, it does a good job of telling not only the stories of Garfield and Guiteau but also Chester Arthur as well.  The miniseries takes place at a time when political machines dominated American politics and also at a time when the Spoils system and the widespread corruption that it engendered were both accepted as immutable political realities.  Guiteau, having spent his life seeing other people receive jobs for supporting the right candidate, felt that he was naturally entitled to whatever position he requested.  Guiteau’s actions actually did lead to reformation of the Spoils system, with President Arthur emerging an unlikely reformer.  Never again would a random office seeker by allowed through the front doors of the White House and never again would a President casually walk around Washington D.C. without some sort of guard.  With a smart script, good performances, and even a few moments of unexpected cringe humor, Death by Lighting recreates that moment in American history and it pays tribute to James A. Garfield, who was universally described by his contemporaries as being a decent man who was struck down before he could reach his full potential.

How historically accurate is Death by Lightning?  That’s a fair question.  Death by Lightning sticks to the established facts about Garfield and Guiteau but a scene in which Garfield’s daughter argues with him about immigration is undoubtedly meant to be more of a commentary on 2025 than 1880.  I think it can be argued that no film or series can be 100% historically accurate because those who actually witnessed the events in question are no longer with us.  Inevitably, the past is always viewed and recreated through the filter of the present.  And indeed, it is tempting to compares Garfield and Guiteau to our modern-day politicians and activists.  Guiteau, with his constant excuses for his own dumb decisions and his ranting and raving about how he speaks for the people, was a particularly familiar character.  As for the modest and honest Garfield, it’s sadly difficult to think of any modern-day politicians from the same mold.

As a final note, my favorite part of this miniseries occurred during the first episode.  The recreation of the 1880 Republican Convention is wonderfully entertaining.  It’s amazing to think that, in the days before television coverage required political conventions to become carefully choreographed and tightly controlled, there actually was legitimate suspense about who would end up being nominated.  Sadly, those days seem to be over.

Song of the Day: Over The Top by Kenny Loggins


Since today’s scene came from Over the Top, it seems only appropriate that today’s scene should come from it as well.

In a lifetime
Made of memories
I believe
In destiny

Every moment returns again in time
When I’ve got the future on my mind
Know that you’ll be the only one

Meet me halfway
Across the sky
Out where the world belongs
To only you and I

Meet me halfway
Across the sky
Make this a new beginning of another life.

In a lifetime
There is only love
Reaching for the lonely one

We are stronger when we are given love
When we put emotions on the line
Know that we are the timeless ones

Meet me halfway
Across the sky
Out where the world belongs
To only you and I

Meet me halfway
Across the sky
Make this a new beginning of another life.

[Instrumental interlude]

Meet me halfway
Across the sky
Out where the world belongs
To only you and I

Meet me halfway
Across the sky
Make this a new beginning of another life.

The Films of 2025: The Smashing Machine (dir by Benny Safdie)


As a film lover, there are three letters that strike fear in my heart.  U.  F.  C.

Seriously, directors — especially male directors — love the UFC and Mixed Martial Arts in general.  If I had to guess, I would say that in another few years, there will be no more boxing movies.  Sorry, Balboa.  Sorry, Creed.  You’re going to be replaced by movies that are exclusively about men kicking each other in a cage and then pounding on each other once they’re down.  I’m not even saying that’s a bad thing.  Obviously, the sport has a lot of fans.  In the future, when Conor McGregor is doing double duty as both the President of Ireland and the Pope, a lot it will be due to the popularity of MMA.  I have to say, though, that I almost always seem to find films about MMA and cage matches to be a little bit boring, unless they star Jean-Claude Van Damme or, in some cases, Lou Ferrigno.  I prefer boxing movies.  I guess I like my fights without the little kicks.

The Smashing Machine is a biopic of Mark Kerr (played by Dwayne Johnson), an MMA fighter who, the film tells us, was one of the early pioneers of the sport.  When he’s first seen in the film, he’s being interviewed about his success in the UFC.  We see a few clips of him fighting and watching his fists fly, we understand why he’s known as The Smashing Machine.  He’s known for his ability to end fights quickly.  He assures the interviewer that he doesn’t hate any of the men that he fights.  (“Is he okay?” Mark asks about an opponent after one particularly brutal beat down.)  Mark leaves the United States for Pride, which is Japan’s version of UFC.  Not long after arriving in Japan, he discovers that Pride has changed its ruled to disallow almost all of Mark’s techniques because Mark was ending the fights too quickly.

One thing that we notice about Mark is that he’s always smiling and that he seems to have a rather low-key personality for someone who makes his living as a fighter.  It’s easy to see that he’s holding back a lot of his emotions and that he gets those emotions out in the ring.  When he’s not fighting, he’s living in a nice home with his girlfriend, Dawn (Emily Blunt).  He’s a bit of a control freak, worrying about the cat getting on his couch, telling Dawn exactly how to make his protein shakes, and obsessing over the way a cactus is growing outside.  Mark may be a fighter but he also constantly worries about his “tummy,” which is apparently overly sensitive.  Mark is also a drug addict, popping painkillers like candy and shooting up in his bathroom.  When Mark and Dawn argue, his temper can flare and he can go from being soft-spoken Mark to the someone who can tear a door off of its hinges.  After Mark loses his first fight, he sinks deeper into depression and then tries to get clean.  Complicating things is that Dawn is still using and Mark is preparing for his next fight in Japan.

For all the anticipation and the hype that surrounded its release, The Smashing Machine is an uneven film.  It’s not necessarily a bad film but it is a film that leaves the viewer feeling somewhat detached from the action, on the outside looking in.  Dwayne Johnson gives a good performance as Mark and Emily Blunt gives a good performance as Dawn but they’re never quite believable as a couple.  (In fact, I would argue that Johnson’s best dramatic performance remains his nearly silent but physically powerful turn in the unfairly overlooked Faster.)  Because the film is based on a true story and, I imagine, also because the film was directed by Benny Safdie, The Smashing Machine avoids a lot of the traditional cliches of the sports film.  It’s very much an A24 film, wearing it’s indie aesthetic like a chip on its shoulder.  I have to admit though that, while watching the film, I missed a lot of those cliches.  There are some good scenes scattered throughout The Smashing Machine but there’s also not much narrative momentum.

That said, I do have to say that the film’s ending, which feature the real Mark Kerr shopping for groceries, did bring a smile to my face.  He’s someone who has been through a lot so seeing him smiling and debating which cut of beef to purchase was definitely something of a relief.

 

MAN WITH A CAMERA (TV Series) – starring Charles Bronson – S1, E7: Another Barrier


Originally airing on November 28th, 1958, “Another Barrier” opens with free-lance photographer, Mike Kovac (Charles Bronson), in the middle of the California desert working on a photo layout of Major Sandy Dickson (Grant Williams), a hotshot U.S. Air Force pilot who’s in the process of testing the latest X-2 plane. Kovac wants to follow Sandy around for a couple of days leading up the next big test flight, which means he also gets to meet Sandy’s fiancé, Liz (Norma Crane). While having dinner with the couple, Kovac sees just how scared and worried she is about her lover’s dangerous job. Sandy later confides to Mike that Liz has had bad luck with the “men in her life,” in this case being her father and her brother, who both died tragically years earlier. It seems she thinks her love is a curse, and now she’s afraid she’s going to pass it on to Sandy. Maybe she has a point, because on Sandy’s next test flight, his X-2 goes down, losing contact with the control tower ninety-four seconds after being released from its mothership B-50. With the rescue teams looking for Sandy, and with his survival chances being somewhere between slim and none, Kovac tells Liz what happened, and then takes her back to her apartment. Believing it’s her fault that Sandy’s plane went down, as soon as she gets her chance, Liz crawls out on the balcony of the top floor of her multi-story apartment complex. Kovac begins to try his best to convince her not to jump, to at least find out for sure if Sandy is dead or alive. But will anything work on a woman who’s convinced she’s a curse?!

This review may surprise some of my readers, but I didn’t really enjoy this episode at all. I didn’t like its entire concept. I enjoy episodes of the series where Kovac’s pictures help solve crimes, or he’s getting to mix it up with bullies and bad guys. This episode is just melodrama, and boring melodrama at that. Okay, so Sandy loves his job and Liz, and he wants Liz to accept the danger of his job, but she just seems to be a scared and anxious ball of emotions waiting around for him to die. And all Kovac does is take some pictures, listen to Sandy go on and on about Liz, and then beg Liz not to jump once everyone thinks he’s as dead as a doornail. Boring! About the only mildly amusing thing that happens is when Kovac convinces Sandy that a picture of a pilot in his long johns is just what the layout really needs. Boring AND kinda creepy! And I know that Norma Crane is a fine actress, having recently reviewed her episode of ALFRED HITHCOCK PRESENTS: “There Was an Old Woman,” where she also works with Bronson. They were good together in that episode, but neither have anything to work with when it comes to this story. She’s sad and wants to die, and he’s worried and doesn’t want her to jump. The characters barely know each other, having only met the day before, and the drama does not play out convincingly at all. Grant Williams is likewise boring as the “hot shot” Sandy Jackson. If the Air Force wanted to feature a pilot, they should have probably found one with at least a little bit of personality. I’ve always said that I love Bronson so much that I’d pay to watch him read the phone book. Good Lord willing, this episode is the closest I’ll ever get to seeing that happen.

There was one interesting thing that I noted while watching “Another Barrier,” and that’s the connection that its plot shares with a movie that Charles Bronson would star in a few years later, X-15 (1961), the theatrical debut of director Richard Donner. In X-15, which includes narration by the legendary James Stewart, Bronson plays an Air Force pilot with the dangerous job of testing X-planes, and Patricia Owens is his wife who’s worried about him back at home. It’s not one of Bronson’s best, and frankly, it’s kind of boring too. There may be a great movie or show about X-plane test pilots out there. I just know they don’t star Charles Bronson!     

Lisa’s Retro Television Reviews Will Return On November 17th


I will be taking a small break from my Retro Television Reviews so that I can celebrate my birthday this weekend and enjoy a little mini-vacation.  This feature will return on Monday, November 17th, with reviews of Miami Vice and CHiPs!

Late Night Retro Television Review: Highway to Heaven 4.21 “A Dolphin Song For Lee: Part One”


Welcome to Late Night Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past!  On Thursdays, I will be reviewing Highway to Heaven, which aired on NBC from 1984 to 1989.  The entire show is currently streaming on Tubi and several other services!

This week, Mark finally gets the stuff.

Episode 4.21 “A Dolphin Song For Lee: Part One”

(Dir by Michael Landon, March 9th, 1988)

After he complains for the hundredth time about not having “the stuff,” Mark finally gets the boss’s attention in this episode.  Suddenly, Mark is the one who doesn’t need to eat, who knows where to go for the assignment, and who instinctively realizes that the young woman they’ve been assigned to help — Lee (Bess Meyer) — desperately needs a bone marrow transplant.  Meanwhile, Jonathan becomes human yet again.

That’s not a bad idea for a story, though it’s hard not to notice that this is the second time that Jonathan’s gone from being an angel to being mortal during season four.  One would think that either Jonathan or Mark would have noted this fact but neither one does.  Maintaining continuity has not been season four’s strong point.

As for the story itself, it’s pretty simple but then again, it’s only Part 1 of a two-parter.  Lee refuses to get the bone marrow transplant because she fears her parents won’t be able to afford it.  Using “the stuff,” Mark essentially commands a local news producer to do a story on Lee and her need for a transplant.  In a scene that feels like a fantasy today, we see people apparently all across the country watching the news story on Lee.  One guy in a bar yells at everyone to be quiet so he can hear the story.  It feels incredibly dated and almost too earnest for its own good, if just because it’s hard to imagine people actually sitting around the TV and watching a network newscast nowadays.  (It’s also hard not to wonder if Mark essentially zapping the producer and taking over his mind is a good example of what the Boss wants done with the stuff.  That’s not something that Jonathan has ever done, even though it would have made things a lot simpler.)

People across the country donate money so that Lee can get her operation.  Lee’s cancer goes into remission but the “To Be Continued” announcement at the end of the episode feels a bit ominous.  If Lee’s going to be okay, why does the story need to be coninuted?

We’ll find out next week!

Retro Television Review: Decoy 1.11 “Two Days To Kill”


Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past!  On Thursdays, I will be reviewing Decoy, which aired in Syndication in 1957 and 1958.  The show can be viewed on Tubi!

This week’s episode is really, really good!

Episode 1.11 “Two Days To Kill”

(Dir by Stuart Rosenberg, originally aired on December 23rd, 1957)

Selma Richmond (played by a young Diane Ladd!) is the girlfriend of gangster Johnny Troy (Michael Strong).  Johnny is about to go on trial and Selma’s testimony about his crimes is the key piece of evidence against him.  Knowing that Johnny wants Selma dead, the police put her up in an apartment.  Casey is assigned to protect her.

At first, Casey and Selma seem to become unlikely friends.  Selma is flighty and obsessed with Hollywood.  Even though she’s testifying against him, she claims that Johnny is just misunderstood.  Casey, taking some sympathy on her, tells Selma about the man that she loved.  For the first time, we learn something about Casey’s background.  We learn that her husband was a cop and he died in a shoot out.  It’s a surprising moment and one that’s poignantly played by Beverly Garland.  (The camera closes in on her face while she slowly smokes a cigarette.)  Not only does it help us understand why Casey sometimes to seems to be emotionally detached but it also shows the friendship between the two women.  Casey doesn’t open up for many people but she does for Selma.

However, that friendship ends when Selma realizes that Johnny will be facing the death penalty.  Selma manages to sneak a letter Johnny, letting him know where she’s being held.  Johnny shows up at the apartment, carrying a knife.  Casey is waiting for him with her gun drawn.  During the stand-off, Johnny tells Selma that he loves her and Selma believes it.  The Johnny uses his foot to unplug the apartment’s lamp.  In the darkness, he lunges at Selma and Casey opens fire, killing Johnny.  Selma’s response is to shout, “I bet you’re glad you killed him!”

This was an outstanding episode.  Director Stuart Rosenberg, taking over from Teddy Sallis, makes good use of the gritty New York locations.  Each scene is lit like a film noir, with Johnny literally emerging from the shadows at one point.  Rosenberg also gets excellent performances from both Ladd and Garland.  This was a strong episode and the best of the series so far.