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Retro Television Reviews: The Love Boat 3.25 “Celebration/Captain Papa/Honeymoon Pressure”

Posted on by Lisa Marie Bowman

Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past!  On Wednesdays, I will be reviewing the original Love Boat, which aired on ABC from 1977 to 1986!  The series can be streamed on Paramount Plus!

This week, an important question is finally answered!

Episode 3.25 “Celebration/Captain Papa/Honeymoon Pressure”

(Dir by Richard Kinon, originally aired on March 29th, 1980)

Ever since Vicki first came aboard the ship, I have been wondering how exactly a 12 year-old can live (and apparently work) on an ocean liner.  One of my main questions has concerned how she is getting an education while sailing back and forth to Mexico.

With this episode, I finally got my answer.  When social worker Susan Stoddard (Lois Nettleton) boards the ship to decide whether or not to recommend that the Captain be given custody of Vicki, one of the first question that she asks is about school.

“Chief Petty Officer Dooley has a master’s in education,” Stubing replies, before saying that this never-before-mentioned character served as Vicki’s tutor.

Well, I’m glad that’s been cleared up.  Still, it is interesting that we’ve never before seen or even heard of this Dooley character.  We don’t even see Dooley in this episode.  You would think the social worker would want to talk to the person who is in charge of Vicki’s education.  Instead, Susan sees the rest of the crew, all of whom try to be on their best behavior in order to convince her that the Love Boat is not the floating HR nightmare that we all know it is.

(Still, at least the crew tried.  I’m surprised Doctor Bricker didn’t just try to sleep with her or something….)

This would be a really depressing episode of the Captain wasn’t awarded custody.  Luckily, Susan is so impressed by the crew that she says she will definitely file a positive report.  As she put it, Vicki not only has one wonderful parent.  She has “Five wonderful parents!”  Let’s see — Stubing, Julie, Gopher, Isaac, Doc …. yep, that’s five.  I’m sure Chief Petty Officer Dooley appreciates being left out of the group.

Isaac has more to worry about than just Captain Stubing’s situation.  Isaac is convinced that an old man named Gordon (Noah Beery, Jr.) is bank robber!  Gordon, who works as a bank guard at the port, is sailing on the Love Boat with his wife of 30 years, Betty (Alice Faye).  Gordon is spending a lot of money.  Isaac worries that Gordon stole the money but actually, it turns out that Gordon is just spending his life savings because his wife is in poor health and he wants to make sure that she has a wonderful vacation.  Unfortunately, Gordon spends too much on a diamond ring.  His wife, realizing what Gordon has done, secretly exchanges the ring for a cheaper one and tells her husband that she doesn’t need a life of luxury.  She just needs him.  Awwwwwww!  What a sweet old couple.

Finally, there are two real criminals on the boat.  Ralph (Norman Alden) and Ben (Richard Bakalyan) are two mob enforces who have been sent to accompany the boss’s daughter (Eve Plumb) on her honeymoon with her un-connected husband, Mark (Sal Viscuso).  Ralph and Ben’s presence makes Mark so uncomfortable that he can’t even consummate his marriage.  Ralph and Ben try to make things romantic for the couple.  Eventually, Doc Bricker tells the gangsters that Mark has a fictional disease, which causes Ralph and Ben to back off.  The married couple finally gets to celebrate their honeymoon.  But Mark still married into a mafia family so he’ll probably be machine-gunned as soon as he steps off the boat.

With the exception of the stupid Mafia story, this was a sweet episode.  I’m glad things worked out for the old couple and for Vicki and the Captain.  The Love Boat is not really a show that you watch for the acting but Gavin MacLeod’s natural sincerity always served him well whenever the show focused on his role as Vicki’s father.  Plus, I no longer have to worry about whether or not Vicki is going to have more than a sixth grade education.  So that’s a good thing.

Late Night Retro Television Reviews: Baywatch Nights 1.9 “Blues Boys”

Posted on by Lisa Marie Bowman

Welcome to Late Night Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past!  On Tuesdays, I will be reviewing Baywatch Nights, an detective show that ran in Syndication from 1995 to 1997.  The entire show is currently streaming on Youtube!

This week, Mitch considers the blues!

Episode 1.9 “Blues Boy”

(Dir by Reza Badiyi, originally aired on November 25th, 1995)

Lyle Logan (Michael Preston) is a 13 year-old musical prodigy who plays a guitar on the Malibu Pier with his guardian, Ned Simon (Greg Wrangler).  Seven years earlier, Lyle witnessed the murder of his father by his Uncle Willie (Nathan Cavaleri).  Now, Uncle Willie has just been released from prison and he’s searching for Lyle because he believes that Lyle knows where his father stashed the money from a robbery.

Uncle Willie has his men abduct Ned, planning on using him for leverage to get to his nephew.  Lyle approaches Mitch and hires the detective agency to track Ned down.  However, Mitch, Ryan and Garner are more interested in learning the truth about Lyle’s background.  Though Lyle at first refuses to open up and even tries to run away when Mitch asks him about his background, Lyle eventually comes to trust the group.  Together, they save Lyle from Uncle Willie.  As for the stash of money, it’s in a first aid kit that breaks apart when it’s tossed into the ocean.  The money watches up on the beach, where everyone goes crazy trying to grab some for themselves.

This was a pretty simple episode.  In fact, it was a struggle to come up with 200 words to say about the plot.  There’s not a lot going on, beyond Lyle running up and down the pier and Uncle Willie-looking evil.  The only thing that kept this from being an episode of Baywatch was the presence of Angie Harmon and the lack of red bathing suits.  In many ways, this episode highlights one of the biggest problems for Baywatch Nights.  Far too often, the show just feels like a detective-themed episode of Baywatch (a show that actually did feature several detective-themed episodes both before and after the Baywatch Nights experiment).  This episode, for instance, barely features any scenes that take place at night.  Mitch does most of his investigating during the day, which is when he really should be working as a lifeguard.

The episode’s inability to escape the shadow of its parent show is exemplified by a scene that occurs about halfway through the episode.  We get an extended sequence in which Ryan, Garner, and Mitch listen to Lyle play his guitar and they all have flashbacks to their past.  Ryan’s memories deal with being the daughter of a navy officer.  Garner remembers tossing a football back and forth with his father.  And Mitch …. well, Mitch just has Baywatch flashbacks.  It’s one of those silly, overly earnest scenes that one expects to find any production starring David Hasselhoff.  (And the montage is, of course, scored by the Hoff singing a song.)  Still, it’s hard not to notice that, while Ryan and Garner both have a past, Mitch just has another television show.

The episode ends with Lyle meeting and playing with B.B. King.  Hopefully, B.B. adopted the kid.  Seriously, he had been through a lot.

Film Review: Aftermath (dir by Jozsef Gallai and Gergö Elekes)

Posted on by Lisa Marie Bowman

A woman named Kate (Fruzsina Nagy) drives down a road.  We don’t know where she is driving to but we can tell that she’s driving quickly and she’s not in the mood for any delays.  It’s the way that someone drives when they’re trying to escape but they’re not sure where they want to go.  It’s way you drive when you just want to convince yourself that you can somehow leave everything behind.

We hear what sounds like an accident and suddenly, Kate is waking up in a forest.  Her car is nowhere to be seen and Kate has no idea how she came to be in the forest.  In fact, she’s not even sure who she was before she woke up.  She has no memories of her past life, beyond fleeting visions that don’t always seem to fit together.  Eventually, she meets another apparent amnesiac, Bubba (Edward Apeagyei).  Bubba wears a locket around his neck and there’s a picture of a woman in the locket but he doesn’t seem to be quite sure who she was.

Bubba and Kate are not alone in the forest.  There are other wanderers and then there’s a group of men who appear to be soldiers, wearing crude uniforms and gas masks and carrying machine guns.  (The sight of the soldiers, with their crude uniforms, bring to mind the horrific militias that often spring up in the aftermath of a war and attempt to seize power out of the chaos.)  Receiving cryptic orders from their leader (Eric Roberts), the soldiers patrol the forest and execute anyone that they come across.  Their leader repeatedly tells them that they have to track down and execute everyone because the future of the world depends upon it.  Failure is not an option.

Aftermath deals with a very real fear.  The idea of suddenly waking up and discovering that you have not only lost your identity but also control over your own fate is at the heart of many horror stories and it’s also a reflection of the way many people feel about living in today’s world.  One wrong word, thought, or move and you can find yourself exiled into both a real and metaphorical wilderness.  When Kate wakes up with little memory of what the world was like before she ended up in that forest, she’s feeling what a lot of people have felt when they try to remember the world and their lives before the lockdowns of 2020 and all of the political and societal events that followed.  We live in a world that seems to change from day to day and, as result, everyone has had that moment when, like Kate, they’ve struggled to understand what’s happening.  From the minute that Kate wakes up with the feeling that she has no control over what’s happening to her, she becomes an instantly relatable character.  The audience not only wants to know what’s happening to her but they also want her to regain control of her fate.  If Kate can regain control, then those watching in the audience can also regain control.

The film’s cinematography emphasizes both the grandeur and the ominous atmosphere of the forest, making it a place that manages to be beautiful and threatening at the same time and the deliberate pace builds up suspense as Kate tries to discover why she is in the forest.  Fruzsina Nagy and Edward Apeagyei both give sympathetic and relatable performances as Kate and Bubba and the audience does care what happens to them.  Aftermath is both an intriguing thriller and a meditation on life and love.

Aftermath will be released on digital and blu-ray by Bayview Entertainment on January 30th.

 

 

Catching Up With The Films of 2023: Golda (dir by Guy Nattiv)

Posted on by Lisa Marie Bowman

In Golda, Helen Mirren stars as Golda Meir, the 4th Prime Minister of Israel and the first woman to lead a government in the Middle East.

The film opens in 1974, with a visibly unwell Golda Meir braving a line of protestors as she testified before a commission that is investigating the events that led to the 19-day Yom Kippur War.  Sitting before the members of the commission, Meir lights a cigarette and, as the smoke forms around her, she speaks with a confidence that belies her physical frailness.  It’s the first of many cigarettes that we will see Golda Meir smoke throughout this film.  While Golda Meir was known for being a chain-smoker in real life, her smoking also plays an important thematic role in the film.  Golda Meir is terminally ill throughout the film, secretly undergoing chemotherapy and continually being told that her high-stress job, her cigarettes, and her coffee are not helping her health.  Golda, however, knows what she has to do to keep herself focuses and to handle the stress of being the leader of a small country that is surrounded by enemies and for her, that means drinking a lot of coffee and smoking a lot of cigarettes.  Much like Israel, she is not going to be told what to do by people who do not understand what she has to deal with on a daily basis.  Throughout the film, Golda willingly sacrifices her physical health for Israel, telling her more trusted aide (Camille Cattin) that the only thing that worries her is developing dementia in her old age.  A leader who cannot think cannot lead.

The majority of the film takes place in 1973, during the 19-day Yom Kippur War.  Israel is caught off-guard by a surprise attack led by Egypt and Syria.  Vastly outnumbered, the IDF struggles to repel the invaders.  While dealing with not only her own bad health but also the personal and ideological conflicts within her government, Meir also reaches out to the U.S. Secretary of State, Henry Kissinger (Liev Schreiber) for help.   Unfortunately, Washington D.C. is more concerned with Watergate than with the latest war in the Middle East and, as Meir quickly deduces, there is also worry that Saudi Arabia will cut off its supply of oil to any country that supports Israel.  Though Meir uses a combination of charm and shrewd political gamesmanship to convince Kissinger to put pressure on the Nixon administration, Meir still finds herself being pressured to accept an internationally-brokered ceasefire rather than pursue a strategy of forcing Egypt into negotiations….

Does this sound familiar?  A vicious surprise attack is launched on Israel during a holy day.  The Israeli Prime Minister, who is loved by some and vilified by others, is accused of not being sufficiently prepared for the attack.  Israel is initially isolated from the world, just to be pressured to accept a ceasefire as soon as it starts to prove its resiliency and humiliate its enemies.  Golda completed production before the October 7th attacks but the film feels like a direct response to them, a reminder that Israel has always had to fight for its existence and that it has always proven itself to be stronger than its enemies realize.

Much like Darkest Hour, another film about a leader who was underestimated, Golda plays out like a dream of history, with the emphasis being on Golda Meir moving from one meeting to another, somehow managing to hold everything together while the world sometimes seem to be falling apart around her.  A good deal of the film’s tension comes from the moments when Golda and her advisors wait to hear whether or not their latest move has been a success.  One of the film’s most harrowing scenes features Golda listening over a radio as a group of Israeli volunteers are wiped out by the invading Egyptians.  It’s a scene that reiterates the human cost of war, regardless of which side wins.  (The film makes good use of historical footage of the war, mixing it with scenes of Golda and her cabinet planning their strategy.  Again, it serves to remind the audience that there are real consequences to every decision.)  Held together by Mirren’s intelligent and authoritative performance, Golda is a film full of details that stick with you.  I’ll always remember the scenes of Golda being led through an underground morgue so that she can secretly be treated for the cancer that is slowly killing her.  With each trip, the morgue become more and more filled with bodies.

Though Mirren’s performance was acclaimed, Golda itself opened to mixed reviews.  I suppose in today’s political atmosphere, that’s to be expected.  After all, Golda is not only a pro-Israel film but it’s also a film that portrays Henry Kissinger as being something other than a one-dimensional Bond villain.  For many of today’s very online film reviewers, all of that is heresy.  At a time when some so-called educated people are driven to a rage at just the sight of posters of abducted Israeli children, Golda‘s reception is not a surprise.  At a time when people are making excuses for terrorists who would attack farmers and concert-goers, a films as otherwise different as You Are So Not Invited To My Bat Mitzvah and Golda can feel like acts of beautiful cultural defiance.

History repeats itself, Golda tells us.  Golda may largely take place in 1973 but, ultimately, it’s a film about 2023 and 2024.

Retro Television Reviews: Fantasy Island 4.8 “Crescendo/Three Feathers”

Posted on by Lisa Marie Bowman

Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past!  On Tuesdays, I will be reviewing the original Fantasy Island, which ran on ABC from 1977 to 1986.  Almost the entire show is currently streaming is on Youtube, Daily Motion, and a few other sites.

This week, we get one good fantasy and one bad fantasy and a reminder that anything can happen on Fantasy Island!

Episode 4.8 “Crescendo/Three Feathers”

(Dir by Michael Preece, originally aired on December 20th, 1980)

This episode confirms that Fantasy Island is the strangest place on Earth.

Our first fantasy features Toni Tennille as a world-famous singer named Susan Lohmann.  Susan has been invited meet her favorite composer and songwriter, Edmund Dumont (Monte Markham).  Dumont lives in seclusion on Fantasy Island, in an estate that is surrounded by wild animals and where he is tended by a blind butler (James Hong).

Susan is excited to meet Edmund, until she walks in on him playing his piano and discovers that he’s a …. BEAST!  Though he has the body of a human, he has the face of a wolf.  It turns out that Edmund lives in seclusion because he feels that the world would never accept his appearance.  And Susan promptly proves him correct by screaming and demanding to leave.  Susan flees the estate.

Susan’s manager is glad that Susan is free because now she can appear in concert in London.  However, Mr. Roarke informs Susan that Edmund suffers from a curse and the only thing that could have cured him would have been the love of Susan.  Edmund is now determined to die, surrounded by the animals on his estate, the only creatures who accepted him.  Susan, realizing that she was a little bit hard on a guy who couldn’t help his appearance, returns to the estate, gives Edmund a kiss, and Edmund turns into a handsome guy.  Yay!

So, there’s a huge problem here.  Susan Lohmann is incredibly unlikable.  Yes, Edmund may look different.  But all Edmund did was invited her to his estate so that he could express his appreciation for the way the she sings his songs.  Susan claims that Edmund should have told her, in advance, about the way he looked.  Yes, Susan, God forbid someone unattractive appreciate your talent or have any talent of his own.  Seriously, Susan was the worst.

Slightly more likable is Alan Colshaw (Hugh O’Brian), a pilot who has spent a year feeling like a coward.  He was piloting a plane that crashed in the jungle.  Alan went for help and, according to the three other passengers (played by Diane Baker, James Wainwright, and Peter Lawford), he never returned and, instead, he ran off with a stash of diamonds that was on the plane.  Alan says that he is sure he didn’t intentionally desert them but he can’t remember for sure because he’s been suffering from memory loss.

Mr. Roarke gives Alan a medallion, one that will allow him and the others to see what happened when the plane crashed.  As for Alan, he brings along three white feathers, which he plans to give to each of the survivors as a way to symbolize that he’s not the coward that they think he is.  (Yes, it doesn’t make much sense to me, either.)

Lena (Diane Baker) is the first to forgive Alan.  Alan realizes that he’s in love with Lena and he tells Mr. Roarke that he wants to change his fantasy.  He just wants to spend the rest of his life with Lena.  Roarke informs Alan that he can’t do that because …. ALAN IS DEAD!  He died while trying to get help after the crash.  Alan has come back to life for the weekend so that his spirit can find peace.

That’s a pretty neat twist and, to its credit, the show sticks with it.  Alan eventually proves that he wasn’t a coward and that another one of the passengers stole the diamonds and then he vanishes into the afterlife.

“Boss,” Tattoo says, “you mean he was a …. g-g-ghost!?”

“Oh, Tattoo!” Roarke snaps, “Please do not tell me that you are prejudiced!”

Fantasy Island may be a strange place but some things — like Roarke passive aggressively attacking Tattoo — never change.

Late Night Retro Television Reviews: CHiPs 1.9 “Hustle”

Posted on by Lisa Marie Bowman

Welcome to Late Night 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 CHiPs, which ran on NBC from 1977 to 1983.  The entire show is currently streaming on Freevee!

This week, Ponch gets bowling fever!

Episode 1.9 “Hustle”

(Dir by Georg Fenady, originally aired on November 24th, 1977)

Life is a hustle when you work for the California Highway Patrol.

Ponch and Baker deal with a lot of things over the course of this episode.  While pursuing two motorcycle riders who are suspected of holding up a grocery store, Ponch gets a cigarette tossed on him by a passing motorist.  The suspects turn out to be two women who were just out for an afternoon ride.  They seem to be pretty amused by the whole thing, despite the fact that Baker roughly frisked them as soon as they pulled over.  Luckily, the sight of the hole that was left on Ponch’s uniform by the cigarette (and the boxers underneath) gives everyone an excuse to laugh.

This is not the best time for Ponch to have a wardrobe malfunction because he’s due in court.  Ponch gave a ticket to Sidney Engelhart (Marty Ingels) but Sidney claims that the only person who is guilty of reckless driving is Ponch.  Sidney tries to prove his point by basically stalking Ponch while he does his job.

While Ponch deals with his stalker, Baker pulls over a car being driven by veteran screen actor Broderick Crawford.  Ponch is totally excited to see Crawford but Baker is fairly nonchalant about the whole thing.  When his pen runs out of ink, Baker borrows Crawford’s gold fountain pen and then forgets to return it to the actor, which leads to Baker getting called out at the next morning briefing.

Meanwhile, there’s a huge car accident that leads to Ponch and Baker saving a mother and her baby from a live electrical wire.  Baker also pulls over a man driving a car that only has three wheels and, of course, there are the grocery store robbers to deal with.

And yet, for everything going on, Ponch’s main concern remains the department’s bowling tournament.  As has been a consistent theme so far during the first season of CHiPs, Ponch’s main concern continues to be doing things that don’t have much to do with his actual job.  Whereas Baker comes across as if nothing makes him happier than writing a speeding ticket, Ponch often seems to view policework as something to do until something better comes along.  On the one hand, this does not make Ponch a particularly effective cop.  We’re only 9 episodes into the series and I’ve lost count of the number of times that he’s had to go back to the trailer park to change his uniform.  On the other hand, it is probably a realistic portrayal of how most people view their jobs.  Ponch does enough to get by.

As for the episode itself, this was another “day-in-the-life” style episode.  So far, the first season of CHiPs has been dominated by rather loose plotting.  Ponch and Baker just ride and see what type of trouble they can find on the highways.  As for the bowling subplot, Baker turns out to be a surprisingly competent bowler and Ponch plots to win a lot of money from his fellow officers.  But then Baker sprains his bowling fingers and it looks like Ponch is once again out of a small fortune.  Poor Ponch, he is fortune’s fool!

(I actually have gone bowling a few times.  I’m not any good at it but I’ve been told that the important thing is to jump up and down regardless of what happens.)

This Hustle, I would give a solid B.  The scenery was nice.  There was an exciting motorcycle chase at the start of the show.  The episode was a pleasant-enough diversion, albeit not one that leaves a huge impression afterwards.

Retro Television Review: Miami Vice 1.17 “The Maze”

Posted on by Lisa Marie Bowman

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 Miami Vice, which ran on NBC from 1984 to 1989.  The entire show is currently streaming on Tubi!

It was not easy but I managed to rouse myself from my sickbed long enough to stumble into my home office so I could watch and review this week’s episode of Miami Vice!

Episode 1.17 “The Maze”

(Dir by Tim Zinnemann, originally aired on February 22nd, 1985)

This episode of Miami Vice gets off to a good start, with an exciting and, even by the standards of today, surprisingly violent shoot-out in downtown Miami.  The shoot-out leaves one cop dead, one partner embittered, and Crockett and Tubbs looking for the perpetrators, the Escobars.  As Tubbs explains it, the Escobars were strictly small-timers but it appears that they’ve recently gotten out of prison and now they are trying to make a name for themselves in Miami.

The search for the Escobars leads Crockett and Tubbs to a seemingly abandoned apartment building that has been nicknamed “The Maze.”  The Escobars have taken over the building and now, the handful of people who were previously living in the Maze are virtual hostages.  With the police surrounding the Maze, Tubbs decides to go undercover as a drifter who just happens to drop by the Maze in search of a place to stay.  Of course, no sooner has Tubbs entered into the Maze then a renegade cop named Duryea (Jay O. Sanders) decides to rush the building himself and the police are forced to reveal themselves.  Realizing that they’re surrounded, the Escobars demand a helicopter to the Bahamas and $10,000.  (Personally, I think they should have just asked for the helicopter.  People will give up helicopters much quicker than money.)  They hold every person in the building hostage, including Tubbs.

As I previously mentioned while reviewing T and T, I’m not a fan of shows that center around hostage situations, largely because they almost always end up being dramatically inert.  There’s only so many times that you can watch a sweaty criminal demand a helicopter before you get bored with listening to him.  That is certainly the case here.  The show gets off to a good start and even the scenes with Tubbs breaking into the Maze and pretending to be a Jamaican drifter had some flair to them.  But once the tense hostage situation started up, I got bored.  I appreciated the fact that the Escobars, as opposes to being hardened criminals, were really just as scared as the people they were holding hostage but otherwise, this episode was just a bit too slow for me.

That said, this episode does feature Breakin 2‘s Adolfo ‘Shabba-Doo’ Quinones as a dancing informant, early performances from Joe Morton and Ving Rahmes, and a really cool moment where Tubbs smirks and says, “Nobody’s going to the Bahamas.”  Even a lesser episode of Miami Vice still had style to burn.

Retro Television Reviews: Death Cruise (dir by Ralph Senesky)

Posted on by Lisa Marie Bowman

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 the made-for-television movies that used to be a primetime mainstay.  Today’s film is 1977’s Death Cruise!  It  can be viewed on Tubi and YouTube.

The thing with the Love Boat is that it promises something for everyone.  It’s a place where you set a course for adventure and put your mind on a new romance.

The same cannot be said of the Death Cruise.

Death Cruise opens with three couples winning an all-expenses paid trip on a luxury liner.  None of the couples are in a happy marriage.  Sylvia Carter (Polly Bergen) is tired of her husband, Jerry (Richard Long), and his philandering ways.  Elizabeth Mason (Celeste Holm) is frustrated with David Mason (Tom Bosley) and his loud dinner jackets.  Mary Frances Radney (Kate Jackson) is fed up with James (Edward Albert) and his smug refusal to start a family.  Of course, it’s not just martial problems that connects these passengers.  It’s also the fact that someone on the boat is stalking and killing them, one-by-one.  Can Dr. Burke (Michael Constantine) and Captain Vettori (Cesare Danova) track down the killer before it’s too late?

Death Cruise is an enjoyably twisty little murder mystery.  It aired in 1974, a good two years before the first Love Boat pilot film appeared on television.  However, both Death Cruise and The Love Boat were produced by Aaron Spelling so the two productions definitely have a shared DNA.  The Love Boat is basically Death Cruise with the addition of a laugh track and considerably less murder.  That said, I have my doubts as to whether Doc Bricker would have been as effective a detective as Dr. Burke.

One of the most interesting things about Death Cruise is how little anyone on the boat really seems to care about the fact that the passengers are turning up dead.  In fact, one widower is asking a widow to be his date to dinner within a few hours of the deaths of their spouses.  Of course, the murderer makes sure that dinner date is canceled but it’s still hard not to wonder whatever happened to an appropriate time of grieving.  Then again, I guess if you’re on a boat for a weekend, you just do whatever feels right at the moment.

(And certainly, if they were on The Love Boat, the walking HR nightmares that was Doc Bricker wouldn’t have wasted any time asking the widows to come by his office for a examination.)

Of the victims and suspects, Richard Long and Edward Albert are memorably sleazy while Tom Bosley plays up just how annoyed he is with the whole situation.  Michael Constantine is a good detective and the movie’s final twist is nicely executed.  Personally, when it comes to cruises, I will always prefer the safety and romance of The Love Boat but Death Cruise was an entertaining nautical diversion.