Robert Englund as Han Solo? A Little May 4th Trivia


Can you imagine how things might have played out if Robert Englund had played Han Solo?

It’s not as far-fetched as it might sound.  In his autobiography, Hollywood Monster: A Walk Down Elm Street with the Man of Your Dreams, Englund mentions that he was one of the many actor who, in 1975, auditioned for a role in the first Star Wars film.  It’s often forgotten that, before he became famous as Freddy Krueger in A Nightmare In Elm Street, Englund was a busy character actor who had roles in several big studio productions in the 70s.  He was definitely a part of the “new Hollywood” that included people like George Lucas, Steven Spielberg, and Jon Milius.

Though Englund doesn’t go into much detail, he does say that he read for the roles of both Han Solo and Luke Skywalker.  At the time, Englund didn’t feel that he was right for either role and he went back to his apartment under the correct impression that he would not be cast.  However, he did feel that his friend and then-roommate Mark Hamill would be a good pick for Luke Skywalker and Englund writes that he encouraged Hamill to try out for the role.

Would Mark Hamill have been cast if Robert Englund hadn’t told him about the audition?  Probably.  Given that Star Wars was Lucas’s follow-up to the very popular American Graffiti, it’s probable that every struggling young actor in Hollywood was hoping to audition.  As well, Hamill was not totally unknown to George Lucas, having early read for a role in American Graffiti.  Still, it’s nice to think that, long before he was cast as Freddy Krueger, Robert Englund may have played a role in casting one of the most successful films of all time.

What would Robert Englund have been like as Han Solo?  He definitely would not have been as grouchy as Harrison Ford’s Han.  Indeed, one of the striking things out about Englund’s pre-Nightmare career was how he was usually cast as friendly characters who were almost shy.  Englund would have been friendlier and rather eccentric Han Solo but I think he would have been entertaining in his way.

Because of the film’s success, it can be a bit difficult to know who was actually considered for a role in Star Wars.  Lucas has said that he originally wanted to cast Black actor Glynn Turman as Han Solo but he feared audiences would not accept the possibility of an interracial romance between him and Leia, even in a galaxy far away.  (Lucas’s regret over that decision is one of the things that led to the casting of Billy Dee Williams as Lando Calrissian.)  The film’s IMDb trivia page insists that everyone from Al Pacino to Bill Murray to Marlon Brando to Chevy Chase was considered for the role of Han Solo and I have to say that this is a case where I doubt the accuracy of the IMDb.  Harrison Ford, who had originally been hired only to read with people at the auditions, eventually got the role despite telling Lucas, about the script, “You can type this shit but you can’t say it.”

In several interviews, Christopher Lee expressed regret at having turned down the role of Grand Moff Tarkin, which was instead played by Lee’s best friend Peter Cushing.  Interestingly enough, Cushing was also one of Lucas’s choices for Obi-Wan Kenobi so it’s easy to imagine a universe in which Star Wars reunited two Hammer films legends, along with setting box office records.

Famously, Lucas held joint-auditions with his friend Brian De Palma.  De Palma was casting Carrie and just about everyone who read for one of the films also read for the other.  Reportedly, William Katt came close to getting the role of Luke before instead being cast as Carrie’s doomed prom date.  Amy Irving was also a strong contender for Leia, before instead ending up as Sue Snell in De Palma’s film.  Some source that that Sissy Spacek also read for Leia, though I’ve also read that Spacek was not a part of the joint-auditions.  That’s one thing about collecting trivia about classic films.  It’s often hard to know what’s true and what’s just wishful thinking.

I should mention that another strong contender for Han Solo (and reportedly Luke as well) was Kurt Russell.  It’s actually easy to imagine Kurt Russell as Han and, just as with Englund, it leads to an intriguing game of what if.  Would Kurt Russell have gone on to have Harrison Ford’s career if he had been cast in Star Wars?  Would Russell have gone to play Indiana Jones and Jack Ryan if he had been cast as Han Solo and would Harrison Ford have ended up helping the President to Escape from New York?  Or is it just as possible that Star Wars have not worked without the chemistry of Harrison Ford, Carrie Fisher, and Mark Hamill?  Would a Kurt Russell, Amy Irving, and William Katt version of Star Wars captured the imagination of audiences?

It’s a question to which there is no real answer, a bit like wondering if The Godfather would have been as big a hit if it had starred George C. Scott, Martin Sheen, and Burt Reynolds.  Still, it’s interesting to consider.

Retro Television Reviews: Can Ellen Be Saved (dir by Harvey Hart)


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 1974’s Can Ellen Be Saved!  It  can be viewed on YouTube!

Ellen Lindsey (Katharine Cannon) is an intelligent but depressed teenager who feels that she just doesn’t belong anywhere in the world.  She’s not interested in the money and class-obsessed lifestyle of her parents, Arnold (Leslie Nielsen, back in his serious actor days) and Bea (Louise Fletcher).  At the same time, she’s also not interested in the silly lives of her friends, who spend all of their time chasing boys and talking about celebrities.  Ellen is looking for something deeper and she thinks that she may have found it when she attends a religious retreat led by a charismatic man named Joseph (Michaele Parks).

Everyone at the retreat is very friendly and very dedicated and very concerned with finding more to life than just surface pleasures.  They spend hours listening to sermons.  They spend even longer singing hymns.  The leaders of the retreat emphasize that anyone can leave whenever they want but, if they do, they’ll still be making the biggest mistake of their life.  Ellen is happy because she’s finally found a group of friends who seem to feel the same way that she does about society and materialism.  Joseph is happy because he’s brainwashed another member of his cult who he can now send out to panhandle for him and the compound.

Arnold and Bea are not happy when Ellen runs away to join Joseph’s commune.  When Arnold visits the commune, he discovers a secretive world where outsiders are not welcome.  He also discover that Ellen no longer seems to be capable of thinking for herself.  With the police unwilling to help, Arnold and Bea turn to an enigmatic deprogrammer named James Hallbeck (John Saxon).  Hallbeck specializes in grabbing kids that have joined cults and bringing them back to their parents.  Of course, it’s hard not to notice that neither Joseph nor Arnold seems to be giving much thought to what Ellen actually wants from her life.

Can Ellen Be Saved? is a well-made TV movie that has a lot in common with later films like Split Image and Ticket To Heaven.  As in both those movies, the first half of the film details how cults initially brainwash their members while the second half deals with the sometimes harsh process of reversing that brainwashing.  And, just as in those two later films, Can Ellen Be Saved? features parents who mistakenly assume that their child can be returned to them exactly as she was before.  Though all three of the films feature cults that are definitely sinister, they also feature main characters who were lost before they joined the cult and all three of them end on an ambiguous note, leaving us to wonder if the characters have regained their free will or if they’ve just traded one brainwashing for another.

Along with being a well-written and well-acted film, Can Ellen Be Saved features one of those once-in-a-lifetime casts.  Popping up in small roles are familiar faces like William Katt, Rutanya Alda, and Kathleen Quinlan.  Michael Parks and John Saxon are both convincing as two morally ambiguous characters whose own motives are left enigmatic.  Katherine Cannon is sympathetic as Ellen, whose need to be a part of something leaves her vulnerable to manipulation.  Finally, it must be said that Leslie Nielsen — despite his reputation for having been a dull dramatic actor — is actually very effective as Ellen’s confused but well-meaning father.  Usually, when I watch Neilsen in a dramatic film, I find myself expecting him to wink at the camera or deliver a silly line in a deliberately flat and unemotional tone.  But, in this film, I actually forgot I was watching Leslie Nielsen.  Instead, he just become a suburban dad, trying to understand why his daughter was so dissatisfied with the life that he had worked so hard to give her.

I wasn’t expecting much from Can Ellen Be Saved? but it turned out to be surprisingly effective.

Retro Television Reviews: Swimsuit (dir by Chris Thomson)


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 1989’s Swimsuit.  It  can be viewed on Tubi!

Mrs. Allison (Cyd Charisse, in what is basically an extended cameo) is determined to make Saltare Swimsuit Company the most popular swimsuit brand in the world.  And, as we all know, the key to popularity is picking the right models.  She assigns her second-in-command, Brian Rutledge (William Katt, giving off a pure Malibu vibe), to find the most beautiful women and men on the beach.  Joining Brian on this mission is his goofy assistant, Willard Thurm (Tom Villard).

Brian and Willard quickly manage to gather a group of potential models, all of whom will now compete for the chance to represent Saltare.  Among the hopefuls:

Maria (Nia Peeples) is hoping that she will not only become the body of Saltare but that she’ll also be able to launch an acting career.  Complicating matters is that she used to be married to Brian and he tends to get upset whenever an audition causes her to be late to a photoshoot.

Jade (Catherine Oxenberg) wants to be famous and rich and she’s already living a wealthy lifestyle.  Everything about Jade suggests that she’s probably doing massive amounts of cocaine but, since this is a made-for-TV movie, we don’t get to see any of that.  Instead, she ends up having a very unlikely romance with Willard.

Romella (Ally Walker) is Hungarian and speaks mangled English, which this film plays for cringey laughs.  She befriends a male model named Scott (Paul Johansson) and schemes to make money.

Finally, Rosy (Cheryl Pollak) is an innocent and naïve waitress who, like all good Americans, has always dreamed of being a model.  As she competes, she finds herself torn between two potential suitors.  Chris Cutty (Billy Warlock, showing off the blue  collar beach style that landed him the role of the troubled lifeguard on Baywatch) is working class but honest and he has big plans of opening up his own business.  Hart Chadway (Jack Wagner) is slick and wealthy and older.  Gee, I wonder who Rosy will end up with?

You know all the horror stories that you hear about the modeling industry?  The sexual harassment?  The eating disorders?  The constant pressure to be perfect?  The drug addiction and the depression and the stalkers and the cancel crowd watching your every move?  Well, absolutely none of that is present in Swimsuit, which basically portrays modeling as perhaps the most earnest and wholesome industry to be found in the United States.  Mrs, Allison wants the best for all of her models and Brian and Willard are complete gentlemen.  You’ll be able to guess, from the minute she first appears onscreen, who is ultimately going to be the winner of the model search but, in the end, everyone gets something to be happy about.  This is a film without any real conflict, beyond Rosy trying to decide whether to date a working class hunk or a slightly more wealthy hunk.

You may have guessed that there’s not a huge amount of depth to Swimsuit.  It’s a movie about good looking people posing in swimsuits.  It’s the type of film that you can play in the background while you do other things.  Whenever someone starts singing a song on the soundtrack or you hear the sound of waves hitting the beach, you know that it’s time to look at the screen.  No one in the film makes a huge impression, though Cyd Charisse is properly eloquent as Mrs. Allison and William Katt is likable as Brian.  Tom Villard and Catherine Oxenberg make for an unexpectedly cute couple, which just goes to show that it’s never a bad idea to temper beauty with goofiness and vice versa.  Otherwise, this is an inoffensive but slightly forgettable fantasy of what it’s like to be a model.

Daddy’s Girl (1996, directed by Martin Kitrosser)


Daddy’s Girl is a forgotten film today but I swear that there was a two-month period in 1997 when it showed up every weekend on late night Cinemax and Showtime.  Like many former late night cable mainstays, Daddy’s Girl never developed enough of a cult following to justify getting a DVD release so, if you want to see it, you either have to have a working VCR or the ability to search YouTube.

I’m surprised this film doesn’t have a following because it features two thing that were every popular on cable in the 90s, William Katt and an evil child.  This time, William Katt plays Don, a toy designer who can’t get anyone to buy his creations.  Because he’s struggling, his wife (Michele Greene) is having to support the family.  Despite the fact that they’re not in great financial shape, they still decided to adopt 11 year-old Jodi (Gabrielle Boni).  Jodi loves Don and he spoils her every chance that he gets.  Jodi hates everyone else and tries to kill all of them.

What sets Daddy’s Girl apart from other crazy kid movies is just how far Jodi will go to kill anyone who might get between her and her adopted father.  Don’t even think about recommending that Jodi go to a special school because Jodi will knock you off a ladder and then push over a bookcase so that it lands on top you!  Don’t try to investigate her past because Jodi knows how to use a meat tenderizer as a deadly weapon!  Even if you’re at the hospital as a result of Jodi’s actions, she’ll just go down there and pull the plug herself!  And Jodie won’t just kill you.  She’ll make a joke about it after she does it!  Jodi is full of one liners.  Is this kid a comedian or a killer?  You’ll die laughing!

It’s hard to believe that no one would catch on to what Jodi is doing and I think the movie overestimates the physical strength of a typical 11 year-old girl but Daddy’s Girl isn’t bad.  William Katt was one of the better actors to regularly appear in direct-to-video thrillers like this one and Gabrielle Boni is a trip as the clingy and crazy Jodi.  Direct-to-video mainstays Mimi Craven and Whip Hubley also make welcome appearances.  Daddy’s Girl is an enjoyable take on The Bad Seed.

Horror Film Review: House (dir by Steve Miner)


Yesterday, I didn’t get to watch or review any horror films because the air conditioner at the house stopped working.  While I know that a lot of people up north think that AC is a luxury that’s going to destroy the world, I live in Texas and an air conditioner is a necessity down here.  So, if that leads to glaciers melting and me getting a lecture from some obnoxious little brat …. well, fine.

Anyway, we were able to get the air conditioner fixed.  It took a while but it’s now working again.  Once the AC was again blowing cool air into the house, I started to think about how it could be worse.  I mean, the house could be haunted.  We always tend to assume that ghosts are going to be nice but really, there are some nasty ghosts out there.

Take the 1986 film, House, for instance.  House stars William Katt as Roger Cobb, a horror author who needs a best seller.  Cobb is dealing with a lot.  He’s wife (Kay Lenz) has left him.  His son has vanished.  His aunt has recently committed suicide, leaving behind her house.  On top of all that, Cobb is still haunted by his experiences during the Vietnam War, when he was forced to leave behind a gravely wounded soldier named Big Ben (Richard Moll).  Cobb wants to write about his Vietnam experiences but his agent is aghast.  No one wants to talk about the war!

So, Roger moves into his aunt’s old house.  He was originally planning on selling it but, for whatever reason, he thinks living in an abandoned house that drove its last owner to suicide will be a good idea.  Roger thinks that living in the house will help him finish his book.  The House has different ideas.

Soon, Roger finds himself dealing with a series of incidents that feel as if they were lifted from other, more cohesive horror movies.  In a scene that feels like it was inspired by the Evil Dead, his wife turns into an otherworldly creature and tries to attack him.  Weird gremlin creatures, which could have come from Troll or Ghoulies, keep showing up and trying to kidnap an obnoxious neighbor child.  Roger’s neighbor (George Wendt) thinks that it’s possible that Roger is a murderer and that he’s buying his victims out in the backyard.  Even worse, a decaying and pissed off Big Ben starts to show up.

House is an occasionally likable attempt to mix horror and comedy.  Most of the comedy comes from Roger’s attempts to keep anyone else from noticing just how crazy things have gotten in the house.  (Disposing of a demon’s body turns out to be not as easy as one might imagine.)  William Katt does a good job with selling the comedy, though he never quite convinces you that he’s a best-selling horror author.  That said, the horror aspect is far more interesting, if just as a metaphor for Roger’s PTSD.  At its best, the film suggests that the house is feeding off of the lingering trauma of Roger’s war experiences.  It’s an interesting idea but not one that’s really explored as much as you might like.  Unfortunately, the film struggles to balance the horror and the comedy.  Just when it really starts to scare you, it remembers that it’s supposed to be a comedy.  Sam Raimi would have been the ideal director for House.

That said, House is entertaining, if a little bland.  If nothing else, watching it made me feel better about my own house.  My air conditioner may have gone down for a few hours yesterday but at least it didn’t open a portal to Hell.

Cinemax Friday: The Paper Boy (1994, directed by Douglas Jackson)


12 year-old Johnny McFarley (Marc Marut) is a paperboy who desperately wants to be a part of a stable family.  He wants Melissa Thorpe (Alexandra Paul) to be his mother but Melisssa has moved to a different town.  Johnny solves that problem by suffocating Melissa’s mother with a plastic bag, which causes Melissa to return home.  That’s one way to do it!

As soon as Melissa and her daughter, Cammie (Brigid Tierney), move into Melissa’s mother’s old house, Johnny starts making himself indispensable by doing things like mowing the lawn for free.  He also does things like break into the house in the middle of the night, plant hidden cameras, and demand that Melissa bake him a pie.  He wants Melissa to be his mother and because Melissa feels sorry for him, she indulges Johnny and his mood swings.  Even after everyone else in the neighborhood tells her that Johnny is a little bit off, Melissa continues to allow him into the house.  Not even the crazy religious lady saying that Johnny has “the mark of Cain” can dissuade Melissa.

Johnny will do anything to make Melissa his new mother.  But then Brian (William Katt), Melissa’s boyfriend, shows up and Johnny really goes off the deep end.

The Paperboy is an adequate killer child film.  Marc Marut gives a good performance as the creepy and disturbed Johnny and the movie does make an attempt to provide him with a believable backstory to explain why he’s become the little killer that he is.  The kills are all imaginatively staged and all the more disturbing because they feature a child as the killer and that really is the whole point of the whole psycho kid genre.  The main problem with the movie is that Melissa keeps overlooking Johnny’s clearly unstable behavior.  At the point when just about anyone else would have told Johnny to stay away and perhaps even called the cops on the little bugger, Melissa keeps letting him back into her life.  By the time that Melissa finally realizes that maybe Johnny actually is as dangerous as everyone has been telling her, you’re too frustrated with her to care.

One good thing about The Paperboy is that it features William Katt in a supporting role.  If there’s ever a Late Night Cinemax Hall of Fame, William Katt will be entitled to an entire wing.  Even though he spent the majority of the 90s appearing in low-budgets movies like this one, Katt always gave a good performance, like he does here.

 

Cinemax Friday: Stranger By Night (1994, directed by Gregory Brown a.k.a. Gregory Hippolyte a.k.a. Gregory Dark)


Detective Bobby Corcoran (Steven Bauer!) is a cop with an anger problem.  Whenever he and his parter, Troy Rooney (William Katt!!), catch a criminal, Bobby just loses control.  Since, for some reason, they seem to catch a lot of criminals on rooftops, this often leads to Bobby threatening to throw someone over the edge.  Even when his boss, Detective Larson (Michael Parks!!!) tells Bobby to stop trying to kill all of the suspects, Bobby still struggles to control his rage.  He’s seeing a Dr. Anne Richmond (Jennifer Rubin!!!!), a psychiatrist, about his anger issues but since their sessions usually get interrupted by bouts of soft-core, saxophone-scored sex, it is debatable how much time they actually spend digging into the roots of Bobby’s problems.

Bobby also suffers from frequent blackouts.  While he’s unconscious, he’s haunted by black-and-white memories of his abusive father (J.J. Johnston) beating up his mother.  When he wakes up, he’s often in a different room from where he blacked out.  Anne says that Bobby must be sleep-walking.  Bobby says that he’s not sleep walking because he’s stubborn and doesn’t feel safe letting anyone into his mind.  Lately, whenever Bobby passes out, a prostitute ends up dead.  An unknown killer is stalking them and chopping off their ears.  Bobby, with his anger issues and his dislike of prostitutes, is an obvious suspect.  Is Bobby the killer or is he being framed?

Stranger By Night‘s credited director is Gregory Brown, who is better known as Gregory Dark.  Dark is one of the best-known of the directors who specialized in erotic thrillers in the 90s.  Dark was responsible for some of the classics of the genre but, unfortunately, Stranger By Night is not one of his better efforts.  The action frequently drags and, with the exception of Bobby’s black-and-white flashbacks, Stranger By Night has none of Dark’s usual visual style.  The film looks and feels flat and the plot is never feels as involving as it should.  The discovery of the killer’s identity inspires not shock but an indifferent shrug.

On the positive side, it’s got a cast of skilled genre vets and all of them do what they can to elevate the material.  William Katt is jittery and frequently funny while Jennifer Rubin, who deserved to have a much bigger career, is as sultry as ever.  (Rubin brought both intelligence and sex appeal to almost every role that she played and it made her one of the best genre actresses around.)  Steven Bauer, another actor who probably deserves a bigger career than he’s had, does a good job in the lead role.  Bobby isn’t always a likable character and Bauer doesn’t try to make him one.  On the other hand, it’s frustrating that Michael Parks does not get to do much, other than frown.  There’s nothing more frustrating than watching a film that doesn’t take full advantage of the casting of Michael Parks.

Stranger By Night does seem to have a serious subtext.  It tries to deal seriously with how Bobby’s abusive childhood has scarred him and there’s a lengthy scene where Bobby finally talks to his aged father.  The scene is played straight and it’s not the sort of thing that you’d normally expect to see in a direct-to-video erotic thriller.  (It’s a good example of what set Gregory Dark apart from some of the other directors churning out these type of films in the 90s.)  For the most part, though, Stranger By Night is a forgettable trip to the world of late night Cinemax.

From the Direct-To-Video Film Vault: Naked Obsession (1990, directed by Dan Golden)


Franklyn Carlysle (William Katt) is a fine, upstanding city councilman, with a rich wife (Wendy MacDonald) and a bright future.  Carlysle wants to be mayor and he’s come up with the perfect scheme.  He’s going to work with a developer to renovate Dante’s Square, the city’s notorious red light district.

One night, while Franklyn is driving through Dante’s Square, he’s carjacked.  Someone knocks him out before stealing both his car and his wallet.  When Franklyn comes to, he discovers that he’s being watched over by Sam Silver (played by Rick Dean).  Sam is apparently a homeless philosopher, who tells Franklyn that he’s been taking life too seriously and that sometimes, you just have to yell, “Fuck this shit!” at the top of your lungs.  When Franklyn asks where he can find a phone so he can call the cops, Sam leads Franklyn to the Yin Yang Club.  It’s there that Franklyn sees Lynne (Maria Ford), a dancer to whom he is immediately attracted.  Suddenly, his missing car and his stolen wallet no longer seem that important.  With his marriage already in trouble, Franklyn returns to the club the next night.

Franklyn soon discovers that Lynne has a thing for being choked during sex.  Even though Sam keeps telling him things like, “Nothing wrong with the dark – you spend half your life in it – trouble is, most people keep their eyes closed,” Franklyn is worried that his affair with Lynne will derail his mayoral ambitions.  However, when Lynne shows up dead, Franklyn finds himself dealing with a much bigger problem.  He’s now the number one suspect in her murder.  Things just get stranger as Franklyn discovers that he wasn’t the only one cheating, meets a masked, gun-wielding stripper, and discovers that Sam might not even be of this world.

William Katt and Rick Dean in Naked Obsession

It can be said, without fear of hyperbole, that Naked Obsession in the Citizen Kane of Roger Corman-Produced Straight-To-Video Maria Ford-Stripper movies.  This is largely due to the performance of the late, great Rick Dean in the role of Sam.  Sam’s not just just a homeless drunk with a motormouth.  As played by Dean, he’s a philosopher king and, the film hints, much more.  He comes across like an angel of the devil and he’s exactly what Franklyn Carlysle needs to liven up his too safe life.  Maria Ford, who specialized in playing troubled strippers in Roger Corman films, gives one of her best performances and, in the role of Franklyn’s secretary, Elena Sahagun, has some great scenes too.  Finally, William Katt classes up the joint, giving a real performance as Franklyn instead of just sleepwalking through the film.  Dan Golden’s direction emphasizes the surreal and, by the time the end credits roll, Naked Obsession will leave you wanting to spend a night or two at Dante’s Square.

Like so many classic films from the golden age of late night Cinemax. Naked Obsession has never been released on DVD or Blu-ray but it can be found on YouTube.

Horror Scenes That I Love: Carrie Destroys The Prom


Today’s horror scene that I love comes from 1976’s Carrie.

This scene starts out on a note of happiness with Carrie (Sissy Spacek) and Tommy (William Katt) being named as Queen and King of the Prom.  Things, however, get a bit ominous when Sue (Amy Irving) notices that bucket of pig’s blood and Nancy Allen and John Travolta hanging out underneath the stage.  Things get even worse when the coach (Betty Buckley) refuses to listen to Sue and tosses her out of the gym.

And then suddenly, there’s blood everywhere and Piper Laurie’s chanting, “They’re all going to laugh at you …. they’re all going to laugh at you….”

Is everyone really laughing at Carrie?  I believe some of them are.  Norma is definitely laughing because I think the shot of the coach laughing is included to let us know that some of the laughter is strictly in Carrie’s mind.  Nothing about the character would lead us to suspect that the coach would laugh.  In fact, seeing as how the coach just threw out Sue, it’s debatable whether she would even be back among the crowd by the time the pig’s blood came down.

(Plus, would everyone be laughing even with Tommy, the most popular kid in school, lying dead on the stage?)

Anyway, regardless of whether they were all laughing or not, we all know what happens next!

A Movie A Day #165: Big Wednesday (1978, directed by John Milius)


If there is a male bonding hall of fame, Big Wednesday has to be front and center.

This episodic movie follows three legendary surfers over twelve years of change and turmoil.  Jack Barlowe (William Katt) is the straight arrow who keeps the peace.  Leroy “The Masochist” Smith (Gary Busey) is the wild man.  Matt Johnson (Jan-Michael Vincent) is the best surfer of them all but he resents both his fame and the expectation that he should be some sort of role model for the younger kids on the beach.  From 1962 until 1974, the three of them learn about love and responsibility while dealing with cultural turmoil (including, of course, the Vietnam War) and waiting for that one legendary wave.

After writing the screenplays for Dirty Harry and Apocalypse Now and directing The Wind and The Lion and Dillinger, John Milius finally got to make his dream project.  Big Wednesday was based on Milius’s own youth as a California surfer and he has said that all three of the main characters were based on different aspects of his own personality.  Expectations for Big Wednesday were so high that Milius’s friends, George Lucas and Steven Spielberg, exchanged percentages points for Star Wars and Close Encounters of  The Third Kind for a point of Big Wednesday.  The deal turned out to be worth millions to Milius but nothing to Lucas and Spielberg because Big Wednesday was a notorious box office flop.  Warner Bros. sold the film as a raunchy comedy, leaving audiences surprised to discover that Big Wednesday was actually, in Milius’s words, a “coming-of-age story with Arthurian overtones.”

I can understand why Big Wednesday may not be for everyone but it is one of my favorite movies.  It is one of the ultimate guy films.  Some of the dialogue and the narration may be overwrought but so are most guys, especially when they’re the same age as the surfers in Big Wednesday.  We all like to imagine that we are heroes in some sort of epic adventure.  The surfing footage is amazing but it is not necessary to be a surfer to relate to the film’s coming-of-age story or its celebration of the enduring bonds of friendship.  Katt, Vincent, and Busey all give great performances.  Considering their later careers, it is good that Big Wednesday is around to remind us of what Gary Busey and Jan-Michael Vincent were capable of at their best, before their promising careers were derailed by drugs and mental illness.  Be sure to also keep an eye out for infamous 70s character actor Joe Spinell as an army psychiatrist, a pre-Nightmare on Elm Street Robert Englund, playing a fellow surfer and providing the film’s narration, and Barbara Hale, playing the patient mother of her real-life son, William Katt.

One final note: At a time when the shameful stereotype of the psycho Vietnam vet was becoming popular and unfairly tarnishing the reputation of real-life vets, Big Wednesday was unique for featuring a character who not only joins the Army but who appears to return as a better person as a result.