4 Shots From 4 Films is just what it says it is, 4 shots from 4 of our favorite films. As opposed to the reviews and recaps that we usually post, 4 Shots From 4 Films lets the visuals do the talking!
Today would have been the birthday of Wings Hauser. It’s time for….
4 Shots From 4 Wings Hauser Films
Vice Squad (1982, dir by Gary Sherman, DP: John Alcott)
A Soldier’s Story (1984, dir by Norman Jewison, DP: Russell Boyd)
Tough Guys Don’t Dance (1987, dir by Norman Mailer, DP: Mike Moyer)
The Siege of Firebase Gloria (1989, dir by Brian Trenchard-Smith, DP: Kevin Lind)
In 1986’s The Wind, Meg Foster stars as Sian Anderson. Sian is a novelist who lives in Los Angeles with her wealthy boyfriend, John (David McCallum). How wealthy is John? He’s so wealthy that he can sit out by his pool with a telephone. (That’s 80s wealthy!) He’s so wealthy that, when Sian says that she’s going to go to Greece so she can work on her next novel, John rents out the Goodyear Blimp and has it say, “Bon Voyage.”
(It would have been funnier if it had said, “The World Is Yours.”)
On the Greek isle of Monemvasia, she rents the home of Elias Appleby (Robert Morley), an eccentric man who tells her that she must be careful during the night because the heavy winds can be deadly. He probably also should have warned her that the handyman, Phil (Wings Hauser), was crazy. No sooner has the wind started howling outside and Sian has started work on her latest novel (which, from what we hear of her writing, sounds absolutely awful), then wild-eyed Phil starts acting crazy and homicidal. Isolated and too stupid to figure out how to use a Greek phone (and yes, that actually is a plot point), Sian tries to survive the night.
TheWind was directed by Greek journalist-turned-filmmaker Nico Mastorakis. Anyone was has seen a previous Mastorakis film will immediately be able to spot that The Wind is a product of his somewhat unique aesthetic vision. As with almost all of Mastorakis’s films, The Wind is both a thriller and a travelogue. Yes, Phil is trying to kill Sian but — hey! Look at how pretty the island is! As well, in typical Mastorakis fashion, the cast is a hodgepodge of familiar faces who don’t all seem as if they belong in the same movie. Along with Meg Foster, Wings Hauser, Robert Morley, and David McCallum, the film also features Steve Railsback as a friendly sailor who, stranded on the island by the wind, attempts to help Sian out.
The other big Mastorakis trademark is that none of the characters in the film seem to like each other. That makes sense when it comes to Sian and Phil. But what is one to make of the scene where Appleby gives Sian a tour of the home and the two of them, who have just met, immediately start snapping at each other for no reason? They’ve just met and they really don’t have any reason to be arguing with each other. But that’s what they do because this is a Nico Mastorakis film.
For me, the funniest part of the film involves John. Worried that Phil is going to kill her, Sian finally gets to talk to John on the phone. The connection is bad but John, who is sitting out by his pool, still clearly hears Sian say that someone is trying to kill her. The line then goes dead. John contacts the international operator and says that he has to make an emergency call to Greece but he’s not sure about the exact number. The international operator replies that a call cannot be made with an exact number. So, what does John? He shrugs, hangs up, gets in the swimming pool, swims a few laps and nearly misses it when Sian, hours later, calls him again. To reiterate: John, a wealthy man with Goodyear Blimp connections, heard that the love of his life was isolated and in fear of her life and his response was to go for a swim.
On the plus side, The Wind is actually decently paced and Nico Mastorakis makes the use of his limited locations. Meg Foster and Wing Hauser are both such eccentric performers that it’s impossible not be entertained by the sight of them acting opposite each other. Even by his usual standards, Hauser is memorably unhinged here. This film is ludicrous and a lot of fun. It’s a Nico Mastorakis film, after all.
Retired Marine Colonel Jason Rhodes (Gene Hackman) and oilman Harry MacGregor (Robert Stack) share a tragic bonf. Both of them have sons that served in Vietnam and are listed as being MIA. Believing that their sons are still being secretly held in a POW camp in Loas, Rhodes and MacGregor put together a team to sneak into Southeast Asia and rescue them.
With MacGregor supplying the money and Rhodes leading the mission, the team includes Blaster (Red Brown), Wilkes (Fred Ward), Sailor (Randall “Tex” Cobb), and Charts (Tim Thomerson), all of whom served with Rhodes’s son. Also joining in his helicopter pilot Curtis Johnson (Harold Sylvester) and former Marine Kevin Scott (Patrick Swayze), whose father was also listed as being MIA in Vietnam. After a rough start, the group comes together and head into Laos to bring the prisoners home!
UncommonValor is one of the many movies released in the 80s in which Vietnam vets returned to Asia and rescued those who were left behind. In the 80s, there was a very strong belief amongst many Americans that soldiers were still being held prisoner in Vietnam, Cambodia, and Laos and Hollywood was quick to take advantage of it. The box office success of UncommonValor set the stage for films like Rambo and Missing In Action, film in which America got the victory that it had been denied in real life.
What set UncommonValor apart from the films that followed was the cast. Not surprisingly, Gene Hackman brings a lot more feeling and nuance to his performance as the obsesses Col. Rhodes than Sylvester Stallone and Chuck Norris brought to their trips to Vietnam. The film surrounds Hackman with a quirky supporting cast, all of whom represent different feelings about and reactions to the war in Vietnam. Fred Ward’s character suffers from PTSD. Randall “Tex” Cobb, not surprisingly, is a wild man. Patrick Swayze’s character is trying to make the father he’ll never know proud. Robert Stack and Gene Hackman represent the older generation, still trying to come to terms with everything that was lost in Vietnam and still mourning their sons. The raid on the POW camp is exciting but it doesn’t feature the type of superhuman action that’s present in other POW-rescue films. Col. Rhodes and his soldiers are ordinary men. Not all of them survive and not all of them get what they want.
UncommonValor started out as a screenplay from Wings Hauser, though he’s not present in the cast of the final film and he was only given a “story” credit. John Milius served as producer. Director Ted Kotcheff is best-known for FirstBlood, another action film about America’s struggle to come to terms with the Vietnam War.
Morgan (Stephen Parr) is a mysterious government operative who puts together a special paramilitary force to take on extreme threats. He says that only misfits are allowed to join his group because they have the edge he needs. Smith (William Russ) is a wild Texan who drives like a maniac. Psychiatrist Winslow (Sonja Smits) can fire an Uzi better than any man. Kowalski (John Matuszak) is a demolitions expert who listens to Beethoven. Jack Coburn (Wings Hauser) is a rebellious detective who is good with a throwing knife.
After a montage of their extensive training and a scene where our heroes take a look at the bullet-proof RV that they’ll be traveling the country in, the movie finally gets down to business. A motorcycle-riding terror cult led by Delgado (Gregory Sierra) has taken an entire town hostage and is threatening to kill everyone unless they’re given a flight out of the country. Our heroes drive their bulletproof van into town and try to defeat the bad guys. There’s one good scene where the RV is driving down the town’s main street and getting hit nonstop with bullets. The scene was obviously ripped off from the end of Clint Eastwood’s The Gauntlet but it’s still exciting to watch. Otherwise, the action in this one is pretty rudimentary.
I guess Command 5 was supposed to be a pilot for television show that never went into production. It is very much a television production. There’s a lot of shooting but no blood. Wings Hauser is less dangerous than usual. The whole thing ends with Command 5 looking forward to adventures that were never to come. Watching the pilot, you can see why it never became a show. The characters were all thinly-written and never seemed to have much of a connection with each other and Hauser and Russ both seemed to be competing to be the loose cannon of the group. This one is for Wings Hauser completists only.
A group of drug dealers try to pressure football player Buddy Harris (Tom Campitelli) into throwing the big game. Buddy fakes an injury to get out of playing so the dealers murder not only Buddy but also his mother and his younger brother. Big mistake! Buddy’s older brother, Clete (Wings Hauser), is a CIA agent who is working as a listener in Honduras. Clete returns home and, with the help of an arms dealer (Robert Tessier, playing a good guy for change), Clete hunts down and kills everyone who killed his family. Clete not only gets revenge for his family but he also heads down to Bolivia to show the syndicate that, for them, there is no safe haven!
This is one of the ultimate Wings Hauser films, one that he both wrote and starred in. When Clete seeks revenge, he doesn’t mess around. One gunman gets set on fire while standing on his balcony. (He can either burn to death on the balcony or he can jump to a quicker death below. Either way, Clete’s going to take a lot of pictures) Wings chases the villains down with speedboats and helicopters and he does it all with a slight smirk that suggests he’s not only getting revenge but he’s also having the time of his life. This is Wings Hauser at his most demented and he’s playing the hero! Luckily, the villains are even crazier than Wings. I have to make a special mention of Branscombe Richmond, laughing and yelling and killing in a way that you would never expect if you only knew him from Renegade.
This is Wings Hauser at his best, in a movie that’s mean, violent, and never less than compelling. Clete kills a lot of people but it’s okay because, to quote True Lies, they were all bad. Wings throws himself into the role with his trademark intensity and shows why no one’s safe from Clete Harris. I’m going to miss Wings Hauser. Only he could have played Clete Harris. Only he could have made No Safe Haven the B-action classic of 1987.
What’s an Insomnia File? You know how some times you just can’t get any sleep and, at about three in the morning, you’ll find yourself watching whatever you can find on cable or streaming? This feature is all about those insomnia-inspired discoveries!
If you’re having trouble sleeping tonight, you can go over to Tubi and watch 1992’s Mind, Body & Soul.
Brenda (Ginger Lynn) has a new boyfriend! After years of getting stuck with duds, Brenda is happy to finally be dating Carl (Jesse Kaye), who is handsome and successful and has a thing about wanting her to drip hot candle wax on his body. Everything’s going fine until Carl asks her to come hang out with some friends of his. It turns out that they’re all Satanists and they’re planning on sacrificing a woman. Fortunately, the police arrive before the sacrifice can be carried out. Unfortunately, all the Satanists run off and leave innocent Brenda takes the blame.
After she’s arrested and spends several days in jail, Brenda is finally bailed out by defense attorney John Stockton (Wings Hauser). Because Carl apparently blew up her apartment (and, the police say, himself with it), Brenda doesn’t have anywhere to stay. She accepts John’s offer to stay at his place. John promises to be a perfect gentleman. He’s a former probation officer and he just wants to help.
And Brenda definitely needs some help! She suspects that Carl isn’t really dead. She keeps having bizarre visions of the robed and masked leader of the cult. She suspects that the cult might still be after her and, when she agrees to appear on a local talk show to tell her story, she finds herself stunned to be sitting across from an actual witch. Her former cellmate, Rachel (Tamara Clatterbuck), has just been released from prison and is willing to help Brenda out. Again, Brenda needs the help. The cult is after her and it’s going to take a lot of intelligence to survive and that’s probably going to be Brenda’s downfall because it’s hard to think of a dumber character than Brenda.
(Seriously, if my boyfriend took me to a Satanic cult meeting on a date, I would be out of there before they even got around to the human sacrifice part of the night.)
This film is so incredibly dumb that I don’t even know where to begin. Occasionally, I’ll see an incoherent horror film and I’ll give it a good review because the incoherence can sometimes add to the terror. Two of my favorite directors, Lucio Fulci and Jean Rollin, both deliberately made horror films that didn’t make sense because they were tying to capture the feeling of being in a nightmare. Mind, Body & Soul makes sense as long as you accept that Brenda, Rachel, and almost every other character in this film is mind-numbingly dumb. The plot works as long as you accept that there is not a shred of intelligence to be found amongst any of the characters, including the bad guys. This is a dumb film that is never scary. It does feature a fair amount of nudity, which I imagine was probably meant to be the film’s main selling point.
On the plus side, Wings Hauser is always entertaining. You’ll be able to guess the big plot twist that involves his character but no matter. With his quick smirk, he at least seems to be enjoying himself. As was so often the case, Hauser’s performance is the only one in this film that feels like an actual performance. Wings Hauser was an actor who always gave it his all, even while appearing in something like this.
As a teenager of the late 80’s who was absolutely obsessed with movies, I spent a lot of time in the local videos store in and around Conway, Arkansas. I would meticulously go through their entire inventory. Nobody wanted to go with me to the video store because they knew they were going to be there for awhile. That’s where I first became obsessed with Charles Bronson, and he’s been my obsession to this day, over 20 years after his death.
The video store was a place where I also discovered a lot of other amazing actors. It would always go something like this; I would see a person’s name on a movie that looked good. I would watch the movie and enjoy it. I would go back to the store and notice that person was in a lot more movies. I would then try to watch them all. This pattern started with Bronson, and then moved on to actors like Clint Eastwood, Roy Scheider, Burt Reynolds, Rutger Hauer, and yes, Wings Hauser. On a side note, I always thought it was pretty cool that two of my favorite actors had practically the same name, Hauer and Hauser. The video stores were full of movies starring Hauser that I thought looked good. My preferred box art would generally feature Hauser holding a gun (see picture at the top), and usually with generic sounding titles like DEADLY FORCE (1983), HOSTAGE (1986), NO SAFE HAVEN (1987), DEAD MAN WALKING (1988), and MARKED FOR MURDER (1990). When I rented a movie “starring Wings Hauser” in the 80’s through the early 90’s, I had a pretty good idea what I’d be getting. It would usually be a low budget movie, with some solid action and some sexy ladies, all anchored by a likable and charismatic performance from Wings Hauser. Those are the types of low budget, action movies that I really loved and Hauser did a bunch of him. I know they aren’t great movies, certainly not of the same quality of Hauser’s own best work in movies like VICE SQUAD (1982) and THE SIEGE OF FIREBASE GLORIA (1988), but I enjoyed them so much growing up.
While my favorite Wings Hauser movies featured him as a cop, we watched him in so many different types of roles. I remember our family renting TOUGH GUYS DON’T DANCE (1987). None of us knew what the hell was going on in that movie. Hauser would co-star in movies like BEDROOM EYES II (1989), OUT OF SIGHT, OUT OF MIND (1990), and BEASTMASTER 2: THROUGH THE PORTAL OF TIME (1991). I’d watch them all. Hell, he even directed a graphic slasher flick called THE ART OF DYING (1991). That movie is nuts! No matter the quality of the movie, I always enjoyed seeing Hauser on screen.
When YELLOWSTONE hit it big on TV a few years back, my wife Sierra loved the character Rip Wheeler. Since Rip is played by Cole Hauser, I took that as an opportunity to introduce her to his dad Wings Hauser. I never watch an episode of YELLOWSTONE that I don’t think of Wings Hauser and those old times at the video store. The first Wings Hauser movie I introduced my wife to was VICE SQUAD, but we watched quite a few of his movies over the last couple of years. It has been fun revisiting the films and sharing them with her.
Wings Hauser will always have a special place in my heart, because I spent a lot of time with him. Today, as a tribute to him, I share my story and a scene from DEADLY FORCE. It’s just a fun car chase scene featuring Wings in one of his low budget action movies. This is the Hauser I loved the most. Rest in peace, sir!
First released in 2004, Irish Eyes tells the story of two brother, born eleven months apart.
Tom Phelan (John Novak) is the older brother, the one who is destined to go to law school, join the Justice Department, and to marry Erin (Veronica Carpenter), the daughter of one of Boston’s most prominent attorneys. Tom’s future lies in politics. As he makes his reputation by taking down members of the Boston underworld, he finds himself being groomed for attorney general and then who knows what else.
Sean Phelan (Daniel Baldwin) is the younger brother. Haunted by the murder of his father and stuck at home taking care of his mother (Alberta Watson) while Tom goes to college, Sean soon pursues a life of crime. He falls under the influence of the Irish mob, led by Kevin Kilpatrick (Wings Hauser). Sean quickly works his way up the ranks. It doesn’t matter how much time he does in prison. It doesn’t matter how many people he has to kill. It doesn’t matter if it alienates the woman that he loves or if it damages his brother’s political career, Sean is a career criminal. It’s the one thing that he knows. When Sean finds himself as the head of the Irish mob and also the American connection for the IRA, his activities are originally overlooked by his brother. Sean even threatens a reporter who makes the mistake of mentioning that Sean and Tom are brothers. But soon, Tom has no choice but to come after his brother. What’s more important? Family or politics?
Obviously (if loosely) based on Boston’s Bulger Brothers (Whitey became a feared criminal while brother John became a prominent Massachusetts politico), Irish Eyes doesn’t really break any no ground. Every mob cliché is present here and so is every Boston cliché. Don’t rat on the family. Don’t betray your friends. The only way to move up is to make a move on whoever has the spot above you. Every bar is full of angry Irish-Americans. Every fight on the street turns deadly. Everyone is obsessed with crime or politics. The film, to its credits, resists the temptation to have everyone speak in a bad Boston accent. (The Boston accent, much like the Southern accent, is one of the most abused accents in film.) Sean narrates the films and you better believe he hits all of the expected points about life on the street.
That said, it’s an effective film with enough grit and good performances to overcome the fact that it’s just a wee predictable. Daniel Baldwin is appropriately regretful as Sean and John Novak does a good job of capturing the conflict between Tom’s love of family and his own political ambitions. Curtis Armstrong shows up and is surprisingly convincing as a psychotic IRA assassin. Admittedly, the main reason that I watched this film was because Wings Hauser was third-billed in the credits. Hauser only appears in a handful of very short scenes and that’s a shame. In those few scenes, he has the rough charisma necessary to be believable as the crime boss who holds together the neighborhood and it’s hard not to regret that he didn’t get more to do in the film. That said, the film still works for what it is. It’s a good mob movie.
This film was originally entitled Irish Eyes. On Tubi, it can be found under the much clunkier name, Vendetta: No Conscience, No Mercy.
The 1987 film, Tough Guys Don’t Dance, opens with Tim Madden (Ryan O’Neal) talking to his father, tough Dougy (Lawrence Tierney). Dougy has stopped by Tim’s New England home to let Tim know that he has decided stop chemotherapy and accept his eventual death from cancer because, as Dougy puts it, “Tough guys don’t dance.” The tone of Dougy’s voice is all we need to hear to know that, in his opinion, his son has spent way too much time dancing.
Tim is an ex-convict turned writer and, when we first see him, he’s obviously had a few rough nights. He explains to Dougy that he woke up after a bender with his ex-girlfriend’s name tattooed on his arm, blood all over his jeep, and two heads dumped in his marijuana stash. Tim says that he’s hopeful that he’s not the murderer but he can’t be sure. He’s been drinking and doping too much. He suffers from blackouts. He’s not sure what happened.
The majority of the film is made up of flashbacks, detailing Tim’s affairs with a number of women and also his odd relationship with the town’s police chief, Luther Regency (Wings Hauser). Luther is married to Tim’s ex-girlfriend, Madeleine (Isabella Rossellini), who long ago accompanied Tim on a trip to North Carolina where they hooked up with a fundamentalist preacher (Penn Jillette) and his then-wife, Patty Lariene (Debra Sundland). (Tim found their personal ad while casually skimming the latest issue of Screw, as one does I suppose.) Patty Lariene eventually ended up married to Tim, though she has recently left him. As for Madeleine, she has never forgiven him for a car accident that they were involved in. Is Tim capable of loving anyone? Well, he does say, “Oh God, oh man,” repeatedly when he discovers that his wife has been having an affair.
Tim tries to solve the murders himself, finding that they involve not only him and Luther but also Tim’s old prep school friend, Wardley Meeks III (John Bedford Lloyd) and also some rather stupid drug dealers that Tim hangs out with. The plot is almost ludicrously convoluted and it’s tempting to assume that the film is meant to be a parody of the noir genre but then you remember that the film is not only based on a Norman Mailer movie but that it was directed by Mailer himself. Mailer, who was the type of public intellectual who we really don’t have anymore, was blessed with a brilliant mind and cursed with a lack of self-awareness. There’s little doubt that we are meant to take this entire mess of a film very seriously.
And the film’s theme isn’t hard to pick up on. By investigating the murders, Tim faces his own troubled past and finally comes to understand why tough guys, like his father, don’t hesitate to take action. Tough guys don’t dance around what they want or need. That’s a pretty common theme when it comes to Mailer. Tim Madden is not quite an autobiographical character but he is, by the end of the story, meant to represent the type of hard-living intellectual that Mailer always presented himself as being. Unfortunately, Ryan O’Neal wasn’t exactly an actor who projected a good deal of intelligence. And, despite his lengthy criminal record off-screen, O’Neal’s screen presence was somewhat docile. That served him well in films like Love Story and Barry Lyndon. It serves him less well in a film like this. It’s easy to imagine O’Neal’s Tim getting manipulated and, in those scenes where he’s supposed to be a chump, O’Neal is credible enough in the role. It’s far more difficult to buy the idea of Tim actually doing something about it.
Indeed, it’s hard not to feel that co-star Wings Hauser would have been far more credible in the lead role. But then, who would play Luther Regency? Hauser gives such a wonderfully unhinged and out-there performance as Luther that it’s impossible to imagine anyone else in the role. Maybe Hauser could have played both Tim and Luther. Now that would have made for a classic film!
Tough Guys Don’t Dance is weird enough to be watchable. The dialogue is both raunchy and thoroughly humorless, which makes it interesting to listen to, if nothing else. The moments that are meant to be funny are so obvious (like casting noted atheist Penn Jillette as a fundamentalist) that it’s obvious that the moment that feel like clever satire were actually all a happy accident. As far as Norman Mailer films go, this one is not as boring as Wild 90 but it also can’t match the unhinged lunacy of a frustrated Rip Torn spontaneously attacking Mailer with a hammer at the end of the unscripted Maidstone. It’s a success d’estime. Mailer flew too close to the sun but the crash into the ocean was oddly entertaining.
4 Shots From 4 Films is just what it says it is, 4 shots from 4 of our favorite films. As opposed to the reviews and recaps that we usually post, 4 Shots From 4 Films lets the visuals do the talking!
Today, it’s time for….
4 Shots From 4 Wings Hauser Films
Vice Squad (1982, dir by Gary Sherman, DP: John Alcott)
A Soldier’s Story (1984, dir by Norman Jewison, DP: Russell Boyd)
Tough Guys Don’t Dance (1987, dir by Norman Mailer, DP: Mike Moyer)
The Siege of Firebase Gloria (1989, dir by Brian Trenchard-Smith, DP: Kevin Lind)
Through the Shattered Lens 