The Unnominated #14: Kansas City Bomber (dir by Jerrold Freedman)


Though the Academy of Motion Picture Arts and Sciences claim that the Oscars honor the best of the year, we all know that there are always worthy films and performances that end up getting overlooked.  Sometimes, it’s because the competition too fierce.  Sometimes, it’s because the film itself was too controversial.  Often, it’s just a case of a film’s quality not being fully recognized until years after its initial released.  This series of reviews takes a look at the films and performances that should have been nominated but were, for whatever reason, overlooked.  These are the Unnominated.

In 1972’s Kansas City Bomber, Raquel Welch stars as KC Carr.

KC. is a star on the roller derby circuit, a tough fighter who is loved by the audience and who shows no fear when it comes to skating around the track and getting into brawls with the other team.  The audience especially loves it when she fights Jackie Burdette (Helena Kallianiotes), madly cheering over every punch landed and every elbow thrown and every strand of hair pulled.  It’s not glamorous work but KC loves the adulation of the crowds and the comradery of her team.  She’s a single mother and putting on roller skates and getting bruised in fights allows her to support her daughter, Rita (a pre-Taxi Driver Jodie Foster).

But then KC is traded to another team, the Portland Loggers.  It takes KC a while to fit in with her new team.  She’s viewed with suspicion, especially when she starts to date the owner of the team, Burt Henry (Kevin McCarthy).  Burt may seem charming but KC soon discovers that he has a jealous side.  When KC spends too much time with her best friend and roommate, Burt trades her to another team.  When a male skater named “Horrible” Hank (Norman Alden) reveals that he has a rather obvious crush on KC, Burt goes out of his way to humiliate Hank.  Burt wants to start a new team in Chicago and he’s promised to make KC a star.  Will KC give up her own freedom to be Burt’s well-compensated star or will she stand up for herself and show that she doesn’t belong to anyone?

You already know the answer.  The wonderful thing about Raquel Welch is that she was tough.  She didn’t let people push her around and, if that resulted in people in Hollywood whispering that she was difficult, so be it.  Like KC Carr, Raquel Welch didn’t make any apologies.  Kansas City Bomber is one of the few of Welch’s early 70s films to celebrate and show how just how tough she was.  For once, Welch is given an actual character to play and she proves herself to be a strong and fierce actress.  It’s fun and more than a little empowering to watch her performance here.  Everyone underestimates KC Carr, just as everyone underestimated Raquel Welch.  In both cases, the doubters are proven wrong.

Kansas City Bomber is not a great film.  (The pacing is totally off and the supporting characters are not quite as memorable as either Welch or Kevin McCarthy.)  But Raquel Welch gave a great performance.  That Welch was never Oscar-nominated isn’t really a surprise.  She didn’t appear in the type of movies that received Oscar attention and she was often cast in roles that didn’t give her much of an opportunity to show off what she could do.  She definitely deserved a nomination for Kansas City Bomber.  

Previous entries in The Unnominated:

  1. Auto Focus 
  2. Star 80
  3. Monty Python and The Holy Grail
  4. Johnny Got His Gun
  5. Saint Jack
  6. Office Space
  7. Play Misty For Me
  8. The Long Riders
  9. Mean Streets
  10. The Long Goodbye
  11. The General
  12. Tombstone
  13. Heat

That’s Entertainment!: TIME OUT FOR RHYTHM (Columbia 1941)


gary loggins's avatarcracked rear viewer

to1

Most of you “Cracked Rear Viewers” know I run an occasional series titled ‘Cleaning Out the DVR’, where I do capsule reviews of five or six different films. TIME OUT FOR RHYTHM was going to be included in my next ‘DVR’ entry, but after watching it, I’ve decided to give it the full treatment. This has happened only once before (see PENELOPE). It’s a 40’s B-movie lovers dream, a second-tier all-star musical comedy, and it gives The Three Stooges probably their best feature showcase of the 40’s. Plus the tap-dancing wonders of lovely, leggy Texan Ann Miller. Now how can you beat that!

tio2

The plot’s as old as film musicals themselves: theatrical agents Rudy Vallee and Richard Lane become successful, and develop a hit show. Lane’s former flame (Rosemary Lane, no relation) comes between them, and the partners break up. Vallee and sidekick Offbeat (comic Allen Jenkins) discover Rosemary’s maid (our girl Ann)…

View original post 557 more words

Batter Up!: TAKE ME OUT TO THE BALL GAME (MGM 1949)


gary loggins's avatarcracked rear viewer

ballgame1

The National Pastime is just a frame for TAKE ME OUT TO THE BALL GAME to hang its picture in. That’s okay though, because producer Arthur Freed and the MGM Musical Dream Factory put together a rollicking, colorful romp with turn of the (20th) century baseball as an excuse to let Gene Kelly, Frank Sinatra , Esther Williams, Betty Garrett, and company razzle-dazzle us with plenty of songs, dancing, romancing, and comedy.

ballgame2

There’s not much of a plot in this outing. The World Champion Wolves are at spring training, awaiting the arrival of star diamond duo Eddie O’Brien and Denny Ryan, who’re off on a vaudeville tour. Eddie (Kelly) is a skirt chaser with Broadway dreams, while Denny’s (Sinatra) a shy, geeky guy who lives and breathes baseball. They get to camp just in time to hear the Wolves’ owner has died and left the club to his only relative, K.C. Higgins (Williams), who…

View original post 328 more words