Retro Television Review: Fantasy Island 5.12 “The Magic Camera/Mata Hari/Valerie”


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 1984.  Unfortunately, the show has been removed from most streaming sites.  Fortunately, I’ve got nearly every episode on my DVR.

This week’s episode presents your erstwhile reviewer with a bit of an ethical quandary.

Episode 5.12 “The Magic Camera/Mata Hari/Valerie”

(Dir by Don Chaffey and Don Weis, originally aired on January 16th, 1982)

I don’t feel completely comfortable about reviewing this episode of Fantasy Island and I’ll tell you why.

Occasionally, Fantasy Island would broadcast an extra-long episode.  These episodes would typically feature three fantasies as opposed to the usual two.  Unfortunately, when these long episodes were syndicated, one of the fantasies would be edited out so the episode would fit into an hour-long slot.  Usually, the editing was not particularly smooth, either.  The end result would usually be an episode that seemed oddly paced and the performances of Ricardo Montalban and Herve Villechaize would often seem uneven as well.  As such, it’s neither easy nor particularly fair to review those edited episodes.  When it comes to reviewing, I always want to see the complete episode.

And yet, now that the original Fantasy Island is no longer streaming anywhere (seriously, what the Hell, Tubi?), I’m stuck using the episodes that I have on my DVR.  And that means reviewing the edited, syndicated versions of these episodes.

As you can probably guess, this is one of those edited episodes.  The Valerie fantasy was removed for syndication.  That’s a shame because Valerie featured the final televised performance of actor Christopher George, a charismatic B-movie veteran who is pretty popular around the Shattered Lens offices.  It also featured Michelle Phillips, though apparently she did not return as the mermaid who she played earlier on the show.  I’d love to review Valerie but I can’t.  And that sucks,

As for the other two fantasies, one is basically a remake of the Lillian Russell fantasy, except this time Martha Harris (Phyllis Davis) goes into the past and finds herself transformed into her great-grandmother, Mata Hari.  She gets to dance.  She gets to spy.  She gets thrown in prison and sentenced to death but, fortunately, her life is spared when the firing squad’s rifles are filled with blanks and she’s given a drug by one of the men who is in love with that makes her appear to be dead.  This was a enjoyable fantasy, mostly because of the costumes and the melodrama.

The other fantasy features Bob Denver, coming to the Island for the second week in a row.  This time, he’s a photographer who wants to take the type of pictures that the world’s greatest photographers couldn’t.  Because of the awkward way the fantasy was stated, the photographer ends up with a camera that takes pictures of the future.  At first, the photographer is really happy and uses his camera to commit a little insider trading.  But then he takes a picture of a newspaper and sees a headline announcing his death in a fiery auto accident.  Uh-oh!

Again, neither of the two fantasies is bad (though the second one does require a certain tolerance for Bob Denver that some people may not have) but it was hard for me to enjoy them knowing that I was missing out on a third fantasy.  For that reason, I assigning this episode a grade of incomplete.  If I ever get a chance to watch the complete episode, uncut, I’ll revisit this review but until then, I really can’t give an overall grade to this episode.

Finally, for those keeping track, both Julie and Tattoo join Roarke when it’s time to greet the guests.  That’s only second time that’s happened this season.

A Movie A Day #328: Panic in Year Zero! (1962, directed by Ray Milland)


The year is 1962.  Lights flash over California and the news on the radio is bad.  What everyone feared has happened.  Atomic war has broken out and the world is about to end.  Refugees clog the highways as a mushroom cloud sprouts over Los Angeles.  This is year zero, the year that humanity will either cease to exist or try to begin again.

Harry Baldwin (Ray Milland) and his family were among the lucky ones.  They were camping in the mountains when the war broke out.  Harry does not hesitate to do what he has to do to make sure that his family survives.  Harry alone understand that this is a brand new world.  When a local storekeeper refuses to allow Harry to take any goods back to his family, Harry takes them by force.  While his wife (Jean Hagen) worries about whether or not her mother has survived in Los Angeles, Harry’s teenage son and daughter (Frankie Avalon and Mary Mitchel) try to adjust to the harshness of their new situation.  Harry may now run his family like a dictator but his instincts are proven correct when the Baldwins find themselves being hunted by three murderous, wannabe gangsters (Richard Bakalyan, Rex Holman, and Neil Nephew).  This is year zero.

As both a director and an actor, Ray Milland does a good job of showing what would be necessary for a family to survive in the wake of a nuclear apocalypse.  Milland doesn’t shy away from showing Harry as being harsh and violent but he also makes a good case that Harry has no other choice.  Everyone who tries to hold on to their humanity is either killed or sold into slavery.  What sets Panic In Year Zero! apart from so many of the other nuclear war films that came out in the 60s is that, instead of focusing on an anti-war message or calling for disarmament, Panic In Year Zero! seems to argue that end of the world is inevitable and only those who prepare ahead of time are going to survive.  Get a gun and make sure you know how to use it before it is too late to learn, the movie seems to be saying.  That the movie is probably correct in its pessimistic view of humanity makes it all the more powerful.  Panic in Year Zero! is a little-known but gritty and effective film about the end of the world