What classics did you see last week? (6th Sept to 12th Sept)

“Marshall” Distributed by Open Road Films, 118 Minutes, Rated PG-13, Released October 13, 2017:

When actor Chadwick Boseman died at the age of 43 on August 28, the entertainment world was stunned--not only by the visceral, jaw-dropping suddenness of his passing, but by the revelation that the popular actor had been battling Stage 4 colon cancer for the past four years. That Boseman had been diagnosed in 2016 meant that he’d created some of his most iconic characterizations while he was simultaneously fighting a condition known to be an especially formidable opponent.

Boseman’s was a popularity which cut across demographic distinctions. Much like his acknowledged role model and onetime educational sponsor Denzel Washington, Chadwick Boseman seemed a guy almost anyone, and virtually everyone, would’ve liked to have as a friend.

Quiet and self-effacing even during promotional appearances, approachable although inclined to privacy, Boseman lived and worked with a quiet dignity which belied his enormous popularity. Admired by many and adored by some, virtually nobody in either his personal or professional life seemed to have an unkind word to say about him.

That Boseman inhabited so many iconic roles during his brief career speaks to his enormous talent as an actor. Every film fan will surely have a character or movie to remember him by. The astonishing numbers alone suggest that many fans will likely point to his role in“Black Panther” as his definitive characterization. Considered among the very best pictures in the blockbuster Marvel film franchise, the 2018 movie earned some $1.34 billion in box office dollars and was named as one of the best films of 2018 by both the National Board of Review and the American Film Institute.

“Marshall” is a movie you’d think would’ve done better at the box office. Released to only 821 theaters on October 13, 2017 with little advertising and almost no advance publicity, the picture slowly increased its circulation because of good reviews and word-of-mouth rather than advertising. Still, “Marshall” eventually ended its theatrical run with earnings of only a little over $10 million in ticket revenues. And that’s a real shame, because “Marshall” really is a good movie—not as great as it should’ve been, possibly, considering the talent and subject matter involved. But still awfully darned good.

“Marshall” tells the story of one of the early cases in the legendary career of jurist Thurgood Marshall, who later served for twenty-four years as an Associate Justice of the US Supreme Court--the first Supreme Court Justice of African ancestry. In the picture the year is 1940, and Marshall is a young attorney employed by the NAACP—more accurately the only attorney employed by the NAACP. That he’s stretched thin is an understatement: Marshall is sent by the national association to any location where there’s a threat to, or a violation of, any individual’s civil rights.

In Bridgeport, Connecticut, the African-American chauffeur (Sterling K. Brown) of an afflusent Caucasian family is accused of rape by the wife of his employer (Kate Hudson). The accusation and legal case attracts enormous attention in the nation’s newspapers. And as a safeguard against the violation of the chauffeur’s rights or a possible miscarriage of justice, the NAACP dispatches the young Marshall (Chadwick Boseman) to Bridgeport to ensure a fair trial for the man.

In order to effectively represent the accused man, Marshall needs to be admitted to the Connecticut bar. He’s able to gain admission to the bar through some behind-the-scenes maneuvering, but is forbidden by the presiding judge (James Cromwell) to speak in the courtroom during the trial.

So Marshall needs to enlist the services of a reluctant local attorney (Josh Gad) as the chauffeur’s lead council while he remains in the background, advising and guiding the inexperienced younger lawyer through the intricacies of the chauffeur’s civil rights and criminal defense. That the young local attorney Marshall selects to be his partner in the case happens to be of Orthodox Jewish heritage compounds the subtle racial intolerance of the town...and possibly the jurists.

“Marshall” is as visually slick and appealing a piece of entertainment as any since “The Untouchables” in 1987, and in much the same way—attractive people outfitted in the most stylish retro-chic wardrobes opposing the forces of evil at any cost. The biggest difference between “Marshall” and “The Untouchables” is that in “Marshall” the bad guys are bigots instead of bootleggers, and the good guys are enforcing the Fourteenth Amendment instead of the Eighteenth.

In “Marshall,” the costuming by Ruth E. Carter, the production design by Richard Hoover, the art direction by Jeff Schoen, and the set direction by Kara Lindstrom are all of Academy Award-quality (although the picture’s solitary nomination was for the song “Stand Up for Something,” played over the closing credits). The screenplay written by the father and son team of Jacob Koskoff and Michael Koskoff is superb also, and so is the sure-handed direction of Reginald Hudlin--one-half, with older brother Warrington, of the Hudlin Brothers writing/directing/producing team responsible for “House Party” in 1990 and “The Great White Hype” in 1996.

“Marshall” is one of three biographical pictures Chadwick Boseman appeared in during his twelve year career in motion pictures--2013’s “42,” in which the actor starred as baseball legend Jackie Robinson, and 2014’s “Get On Up,” in which he appeared as singer James Brown, are the others (2008’s “The Express,” in which Boseman at the very beginning of his career had a small role as football great Floyd Little, is a distant fourth). And “Marshall” is one “based on a true story” picture which genuinely delivers on its promise. The dialogue in the film’s extensive courtroom scenes are quoted from actual legal transcripts, and most of the details in the story are accurate.

Possibly that’s the reason “Marshall” didn’t do as well at the box office as it might have: The individual represented by Friedman and Marshall, as in the actual case, is a deeply flawed, morally ambiguous, and genuinely unsympathetic individual. The accused chauffeur lies to his attorneys early on. And when he finally admits to the truth he appears almost as guilty to his lawyers as the prosecution believes him to be, making their defense even more difficult. In other words, despite the audience’s hopes and possibly their expectations, “Marshall” is not a feel-good movie.

Smooth, smokin’, and subtle, Chadwick Boseman as Thurgood Marshall stands in stark contrast to the stately and dignified elder statesman we see in historical photos and black and white newsreel footage of the late Justice. The actor breathes life into the icon, and Boseman’s Marshall is calm, cool, and in control every step of the way. Marshall’s no saint--he occasionally enjoys twisting the tail of his protege, and he’s not above stretching the law to prove a point (as an undergraduate at Pennsylvania’s Lincoln University, Thurgood Marshall was suspended twice for pranks and hazing).

As the earnest young Sam Friedman, the Bridgeport attorney Boseman’s Marshall guides with his expertise, Josh Gad in “Marshall” is almost on even ground with Boseman. Viewers might even be forgiven for arguing the fine points of which actor plays the actual leading role--technically Thurgood Marshall has little actual influence over the results of the drama besides acting essentially as Friedman’s guardian angel. The title character is not even present when the verdict is delivered.

“Marshall” serves as a lesson that viewers don’t necessarily need to turn to science fiction or comic book adaptations to learn compelling lessons in moral strength or incorruptibility of character—it’s all present here, and it’s mostly all true. In real life, justice is served not from the barrel of a Tommy gun or an intergalactic plasma beam, but from brains, books, and ideas.  And real and lasting progress is often measured in inches, and years.

An epilogue to the picture correctly notes that Thurgood Marshall prevailed in 29 of the 32 cases he argued before the Supreme Court before his appointment to actual membership in the high court. Any of the cases and situations Marshall fought for during his storied career could’ve been turned into movies well worth seeing. And it’s interesting to speculate that the role of Thurgood Marshall, who served on the Supreme Court from 1967 until 1991 and lived to the age of 84, is one characterization Boseman might’ve returned to periodically throughout a longer and more prolific career.

When actor James Dean died in 1955 under circumstances which were vastly different from Boseman’s quiet passing, the young actor had completed only three motion picture roles. But Dean is still revered to this day by multitudes of film fans. During a movie career which lasted a little over twelve years, Chadwick Boseman completed only fifteen pictures, four as the character T’Challa in Marvel’s “Black Panther” and its related “Avengers” series. In his most recent role at the time of his death, as “Stormin’ Norm” Holloway in the flashback sequences in Spike Lee’s “Da 5 Bloods,” Boseman’s character is almost beatific...and will certainly be remembered during the Academy Awards in 2021.

But as the flesh and blood, life-sized, warts and all Thurgood Marshall in the 2017 motion picture biography, Chadwick Boseman gives us a portrait of a genuine American hero beginning to build his heritage as a vanguard of all the qualities which truly make America great. Years before Black Lives Matter, years before #MeToo, Thurgood Marshall built a towering legacy based on the uniquely American belief that all lives are sacred, and that every life matters. And as a performer, in one way or another Chadwick Boseman reminded us of that same ideal with every role he played.

In his twelve years and fifteen pictures, Chadwick Boseman created a legacy as an actor which will ensure his being remembered among the legends of cinema. Injuries heal and broken hearts mend. And in the fullness of time, the genuine loss to motion picture fans is in speculating what rarefied heights Boseman might’ve reached had he been able to live the long life his multitudes of followers expected.

“Marshall” is rated PG-13 for mature thematic content, sexuality, violence, and some strong language.



“Thunderball” Distributed by United Artists and MGM, 130 Minutes, Not Rated, Released December 21, 1965:

With two dozen movies over 58 years, the James Bond franchise with the possible exception of Godzilla is the longest continual series of films in motion picture history. And with over $7 billion in cumulative box office receipts, it’s also among the most profitable--in sixth place, actually, behind the Marvel Cinematic Universe, the Star Wars saga, the Wizarding World of Harry Potter, the Marvel Avengers, and Spider-Man.

The countdown goes on (and on and on) for the premiere of the 25th film in the franchise--the pandemic-delayed “No Time to Die,” actor Daniel Craig’s reported final appearance bearing the 007 standard. But while we wait, some viewers might enjoy a glance backward, and another look at one or two of the British superagent’s earlier movie appearances. A good place to begin is with the 1965 blockbuster, “Thunderball.”

In “Thunderball,” while British MI6 troubleshooter James Bond is at a health facility undergoing convalescent treatment for injuries sustained during an assignment, the global terrorist organization SPECTRE manages to hijack a NATO aircraft and its payload of two nuclear warheads. When the terrorists threaten to use the stolen weapons to destroy major cities in England and the United States, the resourceful Bond is recalled to duty and sent on their trail.

The fourth James Bond adventure is among the very best of the series, with an intelligent, timely, and fast-moving plot, exciting action sequences, exotic locations in England, Paris, and the Bahamas, and Academy Award-winning special visual effects by John Stears. The 007 craze of the 1960s reached an apogee with this picture, the last installment of the series in which the gadgets served the plot instead of the other way around.

United Artists’ major Christmastime release of 1965, “Thunderball” also features one of Scottish-born actor Sean Connery’s very best career performances. Having become a major global superstar because of the James Bond role, Connery was by the time of “Thunderball” yearning for assignments in more ambitious pictures, and feeling constrained by the Bond series...not because of money or boredom, but because the 007 productions almost invariably exceeded their shooting schedules and prevented the actor from accepting outside assignments.

Still, in “Thunderball” Connery at age thirty-five genuinely hit his professional stride as a performer, with the easy confidence to inhabit the role fully, the acting chops to invest the part with heroism, emotion, and occasional caustic humor, and the showmanship to share with the audience the film’s enormous sense of adventure, romance, and plain old fun. Reportedly “Thunderball” was Connery’s favorite film in the series...and it’s easy to see why.

“Dr. No” and “From Russia With Love” director Terence Young, usually credited as Connery’s role model for his characterization as Bond, returned to the 007 series with “Thunderball” after a one-film hiatus (1964’s “Goldfinger” was directed by Guy Hamilton). This was Young’s final film in the franchise...although he was reportedly offered, but declined, opportunities to direct 1981’s “For Your Eyes Only” and 1983’s “Never Say Never Again.” The film’s frequent (and effective) underwater sequences were directed by former “Creature from the Black Lagoon” Ricou Browning, also the creator of the 1964-67 television series “Flipper.”

“Thunderball” features an international cast, with effective supporting performances by Italian actor Adolfo Celi as SPECTRE strongman Emilio Largo, French actress Claudine Auger as Largo’s mistress (and eventual Bond ally) Domino Derval, Italian-American actress Luciana Paluzzi as formidable SPECTRE assassin Fiona Volpe, and American actor Rik Van Nutter as Bond’s perennial CIA sidekick Felix Leiter. Also on hand to contribute their usual support are series stalwarts Bernard Lee, a distinguished Irish-born actor, as MI6 chief “M,” Canadian actress Lois Maxwell as the redoubtable Miss Moneypenny, and the Welsh actor Desmond Llewelyn as MI6 gadget guru “Q.” Their scenes, as always, are a special delight.

James Bond’s traditional arch-enemy Ernst Stavro Blofeld, the head of the terrorist organization SPECTRE (an acronym for Special Executive for Counterintelligence, Terrorism, Revenge and Extortion) made his very first series appearance in “Thunderball.” While Blofeld’s face is never revealed in the picture, his ethereal, otherworldly voice is supplied by Scottish actor Anthony Dawson, who also played the villainous Professor Dent in 1962’s “Dr. No.” The voice of Italian-accented Adolfo Celi is dubbed by prolific British character actor Robert Rietty, while the French-accented Claudine Auger is dubbed by German voice artist Nikki van der Zyl.

“Thunderball” was also the first film in the original series to have been based on a project written directly for the screen instead of adapted from one of author Ian Fleming’s novels...a fact which eventually resulted in some considerable legal contention. Originally meant to be the first film in the series, author Fleming in 1958 with his friend Ivar Bryce, Irish writer Kevin McClory, and experienced screenwriter Jack Whittingham formulated a screen treatment for a possible 007 picture with the proposed title “Longitude 78 West.”

When that project eventually fell through, Fleming adapted the screenplay into the 1961 Bond novel “Thunderball,” resulting in a plagiarism complaint filed against Fleming by McClory and Whittingham. The case was settled out of court in 1963, with Whittingham accepting a cash payment, McClory awarded the literary and screen rights to the screenplay, and Fleming retaining the legal rights to the novel, with the proviso that all future copies of the book contain the copyright note “based on a screen treatment by Kevin McClory, Jack Whittingham, and the author.”

This settlement cleared the way for the vastly inferior 1983 remake of the film entitled “Never Say Never Again,” again starring Connery. Although Fleming, McClory, and Whittingham receive onscreen credit for the “Thunderball” story, the picture’s screenplay is credited to writers John Hopkins and Richard Maibaum. Maibaum also toiled on twelve other films in the 007 franchise, beginning with “Dr. No” in 1962 and ending with “License to Kill” in 1989.

Memorable gadgets aiding Bond “in the field” in this outing include his customized and retrofitted Aston Martin DB-5 automobile, repaired, restored, and refurbished after its demolition in “Goldfinger,” a fountain pen-sized Very pistol, a pill-sized homing device (“Well obviously...you swallow it,” snaps Q), a wristwatch concealing a Geiger counter, a harmonica-sized scuba tank, and the real-life Bell Aircraft Corporation Rocket Belt and Jet Pack, used to great effect in the picture’s splashy opening sequence.

The scene in which Bond is trapped in a covered pool with a host of killer sharks was accomplished by keeping a clear plexiglass barrier between actor Sean Connery and the sharks. During filming, one of the sharks managed to elude the plexiglass barrier into Connery’s section of the pool, resulting in considerable behind-the-scenes grouching afterward from the actor. The shot with the shark swimming past the maskless Connery made it into the film, and the expression of alarm on Bond’s face is persuasive indeed.

“Thunderball” became by far the most profitable motion picture of 1966. Filmed on a then-lavish budget of $9 million (about $74.5 million today), the film earned some $141.2 million in global box office receipts during its original theatrical release--$63.6 million of that total, or 58 million individual tickets sold, in the United States alone. Adjusted for inflation, that’s about $1.162 billion in global ticket sales.

By 1965, the James Bond series of film adventures had become the flagship of a global mania for spy-related entertainment, with dozens of imitators, competitors, parodies, and copycats. As an in-joke, the briefing scene about 40 minutes into “Thunderball” was originally written to feature cameo appearances by, among others, Michael Caine as Harry Palmer, James Coburn as “Our Man Flint,” Robert Vaughn and David McCallum of TV’s “The Man from U.N.C.L.E.,” and Patrick McGoohan from British TV’s “Danger Man” (known in the US as “Secret Agent”). But when contract negotiations and copyright issues proved nightmarish, the notion was abandoned.

"Thunderball" is not rated by the MPAA but is PG in nature for adult situations, action sequences, some violence, suggestive humor, and mild sexuality.

Troubled Water (2008)

7/10

Norwegian film about a man recently released from prison for the wrongful death of a child. The boy's mother sees him working as a church organist and keeps an eye on him. When she sees him with a young boy, she naturally becomes worried. Is he making amends in a new life or still a grave danger?

Sunday 6
DRAK PACK (1980) “Color Me Dredful” 40TH ANNIVERSARY Hanna-Barbera Saturday Morning series about a trio of Classic Monster descendants (led by a redeemed Dracula voiced by Alan Openheimer) outwitting mastermind Dr. Dred (voice by Hans Conreid) and his O.G.R.E (Organization of General Rotten Enterprises). My only memory of this series was a 1981 VHS recording- sadly long since destroyed (…). I didn’t see the series until I bought a bootleg from a convention (the weekend I left Duquesne University). Those discs don’t work anymore, so I’m watching this on Youtube.

THE PHANTOM OF THE OPERA (1925) 95TH ANNIVERSARY The silent film classic of Gaston Leroux’s novel, and Lon Chaney’s most famous role. This was my first full-length silent film. I knew of the story from a 1987 animated film, and pictures of Chaney in his make-up. My first viewing was in November 1988 on the Arts & Entertainment channel (Judging by the intro, I believe it was a Paul Killiam print). The promo opening- with the unmasking, and the chandelier crash- freaked me enough to cause me to miss a good portion of the first half (although I did see the ballerina sequence) until I started watching it (from Erik’s post-unmasking angst scene) to the end (which was different ending that I expected; the 1987 cartoon gave Erik a suicidal ending. Little did I know the original ending of the film was actually in that vein, albeit it was a broken heart). Then the next day I saw a good amount of the first half and skipped between Erik taking Christine and the kidnapping. It left enough of a major impression for me that I even tried to do a little class play of it at my 3rd grade class (less said about that the better…). After that, my only sources for the 1925 version were Public Domain VHS with no music. This changed when I got the Rick Wakeman version with Christopher Lee introduction (he even voices the Man with the Lantern). I was excited to see for the first time the Bal Masque in its 2-strip Technicolor glory (even of it was in blurry LP). Okay, the music was a little off-putting with songs, but I got used to it. My first DVD (in union with BRAM STOKER’S DRACULA) was an Image version with music by Gabriel Thibaudeau. This one had singing too, but only for the Opera scenes. My college actually did a presentation of this version (alas in a poor print with Spanish subtitles burned in) with Gabriel Thibaudeau performing the music. However, all of these versions were the 1929/1930 cut. I didn’t see the 1925 version until 2003, when Milestone Video released its 2-disc set, which featured the original version as well as a Kevin Brownlow Thames-Photoplay version with Carl Davis score (as well as surviving soundtrack of the part-talkie reissue). For this anniversary (as well as the 90th anniversary of the sound reissue with Mary Philbin and Norman Kerry), I watched several versions (or more like three versions with different soundtracks). A construction of sorts of the sound reissue (watching the Milestone DVD 1929 soundtrack, the audio-only pieces, the surviving footage from a BFI Blu-Ray), the 1925 version (BFI BluRay), the Carl Davis scored version (ditto), the Rick Wakeman version (Video Treasures VHS), and the Thirebau version (Image DVD).
Monday 7

The following are of a VHS recording from September 7 1985.
-THE BUGS BUNNY LOONEY TUNES COMEDY HOUR With CBS ending THE BUGS BUNNY ROAD RUNNER SHOW, the Looney Tunes came to ABC (later to become THE BUGS BUNNY AND TWEETY SHOW). “Robin Hood Daffy”, Bewitched Bunny”, “Fast and Furryous” (the first Road Runner cartoon), “Pop I’m Pop” (the first Sylvester Jr. cartoon), “A Scent of the Matterhorn”, and “Knighty Knight Bugs.”

-THE EWOKS/DROIDS ADVENTURE HOUR (1985) “The Cries of the Trees” & “The White Witch” 35TH ANNIVERSARY. The first STAR WARS series after the original Trilogy was this Nelvana animated series. EWOKS shows the adventures of Wicket and his tribe, while DROIDS handles the early adventures of C-3PO (Anthony ) and R2D2. I was more interested in the Droids then the Ewoks.

-THE SUPER POWERS TEAM: GALACTIC GUARDIANS (1985) “The Space Seed” The final SUPERFRIENDS season does a major overhaul of the series. Gone are the team’s title (now it’s the Super Powers team), the Wonder Twins and the Alex Toth designs (as well as voice actor Olan Soule). Now we have Gerry Lopez designs on the characters (and the Hall of Justice). This episode introduces NEW TEEN TITANS character Cyborg (voiced by Ernie Hudson), who helps the team defeat Lex Luthor (his final appearance), and later Darkseid. Re-aquainting myself to the franchise by watching it on Cartoon Network in 1996, I realized this was probably the best of the series. Too bad it didn’t last.

-13 GHOSTS OF SCOOBY DOO (1985) “To All the Ghouls I’ve Loved Before” 35TH ANNIVERSARY. Like SUPERFRIENDS, the Scooby Doo franchise also undergone change. Gone are the mysteries and the original designs. Now the Scooby gang (Scooby, Shaggy, a redesigned Daphne, and Scrappy) deal with real ghosts from the Chest of Demons, with the aid of con-artist Flim Flam and Vincent Van Ghoul (voiced by Vincent Price). More than Scrappy, Flim-Flam has gained notoriety by the Scooby fans, as well as the change in the series, which takes a more self-effacing tone. Aside from the first episode, I didn’t get to see the full series until the USA Netwrok’s CARTOON EXPRESS series in 1990. The VHS recording only covered the introductory scenes. The remainder was watched on Warner DVD.
Commercials include Bonkers Gum, Masters of the Universe, Rainbow Brite, Hugga-Bunch, etc.

TALE SPIN (1990) “Plunder and Lightning” 30TH ANNIVERSARY this year. The DISNEY AFTERNOON- scheduling four Disney animated series into a two-hour slot- began with the introduction of this series, based on THE JUNGLE BOOK (A clawless Baloo, Louie, and Shere Khan), redesigned into a 1940s Serial-type adventure (with CHEERS’ Rebecca). Some have considered this to be the best of the DA franchise. Perhaps, although I got to admit, some of its weird (dimensional and mature) material made my 11-year-old self feel funny. It was my first experience with Baloo (I would not see THE JUNGLE BOOK until its VHS release later in May 1991), although ironically I had seen Ed Gilbert and R J Williams play father-and-son bears before from an NBC series called KISSYFUR. My first introduction was watching the final third of the pilot “Plunder and Lightning” (right when Don Karnage reveals his mastermind scheme) that September 1990. For this Anniversary, I viewed an Internet presentation of the Uncut Pilot (with the excised song “Home is Where the Heart is”).

Tuesday 8
MOBILE SUIT GUNDAM WING (1995) “Duo, the God of Death Back Again” 25TH ANNIVERSARY Duo Maxwell tries to destroy OZ’s weaponry but like Heero eventually decides to play along and get captured (albeit in a more painful manner). This episode also introduces Hilde, Duo’s future girlfriend. Japanese with English Subtitles. Bandai DVD.

THE SLAYERS (1995) “WARNING! Eris’ Wrath!” 25TH ANNIVERSARY The Big Bad finally shows himself, the Demon God Zanafar possessing the Copy Rezo. Japanese with English Subtitles. Sculptor Software DVD.

THE ADVENTURES OF SHERLOCK HOLMES (1985) “The Norwood Builder” 35TH ANNIVERSARY. MPI Home Video DVD.

IVANHOE (1997) “Episode Six” 200TH ANNIVERSARY The final episode of this Serial has Ivanhoe rescue Rebecca from deGilbert, Richard and John reconciling (thanks to a putdown by their mother, memorably played by Sian Philips), and Ivanhoe reconciling with Cedric and Rowena. This pretty much ends my Bicentennial viewing of Walter Scott’s novel, having watched the 1913 version, the 1952 MGM version, the 1982 TV version, and the two BBC TV Serials of 1970 and 1997. Arts & Entertainment Video DVD.

Wednesday 9
FREAKAZOID (1995) “Dance of Doom/Handman” 25TH ANNIVERSARY WB’s third Animated comedy series- about a computer geek who transforms into an culture-saavy superhero- didn’t find its audience but it has a cult following. Although I missed the episodes in its first three months, I came to like the series around the end of 1995. Bootleg DVD.

SHE-RA: PRINCESS OF POWER (1985) “Into Etheria,” “Beast Island,” “SheRa Unchained”, and “Reunions” 25TH ANNIVERSARY Filmation’s Animated spin-off of HE-MAN AND THE MASTERS OF THE UNIVERSE. These are the first four parts of the ‘Sword of SheRa” storyline (condensed together into a film HE-MAN AND SHE-RA: THE SECRET OF THE SWORD), watched on September 9-12. BCI DVD.

DADDY LONG LEGS (1990) “A Ruthless Order” 30TH ANNIVERSARY Judy’s plans to spend a summer with her friends are squashed by DLL’s demands that she spend the time at a farm instead. This finally convinces Judy to cut off her ties with DLL and make her own life. Japanese with English Subtitles. Bootleg DVD.

BEETLEJUICE (1990) “Dragster of Doom” 30TH ANNIVERSARY this month. The second season opener (premiered September 8, 1990) introduces Doomie, the duo’s pet-car with a Jekyll and Hyde personality (downplayed in later episodes). I remember the sight gag of Beetlejuice heading to the lab to find a brain- comedically shirking all the Normal brains until he finds the Abnormal one. Shout Factory DVD.

DEAD OF NIGHT (1945) 75TH ANNIVERSARY The granddaddy of Horror anthology, set at a farmhouse as several guests discuss ghost stories. William Everson’s CLASSICS OF THE HORROR FILM’s noting the film with its images introduced me to it. Later I saw bits and pieces, usually the final part with its ending (probably one of the first films to have a closing credit actually on the scenes). This is my first full watching. Kino Lorber BluRay.

SHAKESPEARE’S AN AGE OF KINGS (1960) “Henry VI Part 2 The Fall of the Protector” 60TH ANNIVERSARY this week. HENRY VI PART 2 is covered, with the fall of Goucester and the machinations of Richard Duke of York (played by Jack May, whom I recognized as Igor from COUNT DUCKULA!). BBC/2 Entertainment DVD.

Thursday 10
TENCHI MUYO TV (1995) “No Need for Ryoko!” 25TH ANNIVERSARY With his grandfather in a coma and Ayeka captured, Tenchi must now face Kagato, brandishing his Juraian powers via the Tenchi ken (slightly redesigned). To get to Kagato, he needs the help of Nagi and a secretly wounded Ryoko. This episode ups the drama as Ryoko tries to persuade Tenchi to leave with him, with Tenchi showing interest before turning it down (either out of responsibility or a greater love for Ayeka is uncertain). I saw this on Cartoon Network, which edited out Ryoko’s blood in key scenes (which I learned from viewing the uncut clip on the ending of TENCHI MUYO IN LOVE 2 in January 2001). Japanese with English Subtitles. Pioneer DVD.

THE FRESH PRINCE OF BEL-AIR (1990) “The Fresh Prince Project” 30TH ANNIVERSARY Will Smith’s popular teen comedy debuted this day 30 years ago. I saw clips of the pilot on syndication, not seeing the full episode until I got the DVD early this decade. I noted how extended the opening credits were (due to setting up the story). Warner DVD.

PETER PAN AND THE PIRATES (1990) “Living Pictures” 30TH ANNIVERSARY September 1990 also debuted this animated series based on James M. Barrie’s play PETER PAN (or as the credits refer, its original novelization title PETER AND WENDY; a note to the series’ reverence). It was certainly a different version from the Pans I’ve seen (Peter wearing brown instead of green, Hook’s dark design, Tinker Bell’s talking, although her “Silly Little Ass” gets censored with a sound effect), highlighted by the voice performances of Jason Marsden (in his first animated series as an original character) and Tim Curry (who stole the show as Captain Hook). This episode (Hook puts Peter & gang into a story fantasy manipulated by his own writing) was the first broadcast on my Fox station (regardless what the Internet says). YouTube.

TALE SPIN (1990) “From Here to Machinery” 30TH ANNIVERSARY. The first solo episode broadcast on my Fox channel (as well being the first to air on Fox, not having a previous broadcast on the Disney Channel). Disney DVD.

Friday 11
GARGOYLES (1995) “The Mirror” 25TH ANNIVERSARY This episode introduces Puck the faerie (in terms of his real form…) who causes the Gargoyles and Angela all manner of trickery and metamorphosis. I just realized this episode uses the World Trade Center. Check the date of its premiere… Disney DVD.

PETER PAN AND THE PIRATES (1990) “The Coldest Cut of All” 30TH ANNIVERSARY Peter’s pride gets him in trouble with the Ice King. Evidently planned to be the first episode (the opening credits show different scenes), this was actually aired as the second (if my memory is correct) on my Fox station. Hook only has a cameo here. Maximum Entertainment PAL DVD.

TALE SPIN (1990) “It Came from Beneath the Sea Duck” 30TH ANNIVERSARY this year. Disney DVD.

9/11: 102 MINUTES THAT CHANGED AMERICA (2008) A collection of actual amateur video footage of the Terrorist disaster. Perhaps most harrowing is NYU student Catherine Dries’ emotional coverage of the second crash. A perennial viewed on this day every year. A VHS recording from the History Channel in 2011.

Saturday 12
TALE SPIN (1990) “Time Waits for No Bear” 30TH ANNIVERSARY this year. Baloo and Kit try to make a delivery of stolen goods. This episode kinda feels like a post-pilot first episode (it was the second to be broadcast on the Disney Channel back in March 1990). One of the few times the theme instrumental is used in the actual episode (I’ve noticed the Disney Afternoon cartoons never really did that). Disney DVD.

GET OUT AND GET UNDER (1920) 100TH ANNIVERSARY Harold Lloyd comedy. New Line Cinema DVD.

SCOOBY DOO, WHERE ARE YOU (1970) “Nowhere to Hyde” 50TH ANNIVERSARY The second season begins with some changes. The Intro is altered with a new singer for the title tune as well as different scenes added to the opening. Heather North takes over the voice of Daphne, which she will play up to 13 GHOSTS OF SCOOBY DOO. Perhaps taking a hint from JOSIE AND THE PUSSYCATS, it was decided that the show will include song-montages during the chase sequences, in this case “Recipe For My Love” when Scooby rescues Shaggy (this episode really puts some emphasis on the bromance). Warner DVD.

JOSIE AND THE PUSSYCATS (1970) “The Nemo’s a No-No Affair” 50TH ANNIVERSARY Inspired by Filmations’ ARCHIE series, Hanna-Barbera did its own adaptation from that comic franchise, in this case JOSIE. The cast- Josie, Alan, Valerie (the first African-American character on a TV Animated series), Melody, the Cabot siblings Alexander & Alexandra, and Sebastian cat (minus the magic abilities)- are here hopping the globe and accidentally crossing paths with would-be world-beaters and masterminds (in this debut episode, the descendant of Captain Nemo), usually climaxing with a musical chase sequence. Just as Hanna-Barbera will repeat the ‘Scooby Doo’ formula of teenagers & ghosts, they will also repeat the ‘band adventure’ formula time and again (AMAZING CHAN AND THE CHAN CLAN, BUTCH CASSIDY AND THE SUNDANCE KIDS, JABBERJAW). Warner DVD.

PETER PAN AND THE PIRATES (1990) “The River of Night” 30TH ANNIVERSARY this week. Unlike early stereotypical portraits of Native Americans, PIRATES gives a more respectful tone, adding a new character Hard-to-Hit (voiced by Aaron Lohr) to aid Peter and Tiger Lily (voice by Cree Summer) on a journey to find a mystical Golden Arrow. Interesting to hear the two voices of Max from A GOOFY MOVIE (Marsden speaking, Lohr singing) interacting together. Maximum Entertainment PAL DVD.

The Sad Horse (1959)--I love a good boy-and-his-dog movie; this isn't one of them. The title song seems a little off, and so is the rest of the movie. David Ladd (son of Alan) is 10-year-old Jackie,  whose mother has died and  who is permanently lame from a bout of polio. He loves fairy tales, so believes that his father's soon-to-be-wife may turn out to be an evil stepmother. His father decides to dump Jackie at his grandfather's ranch for the summer, to get him out of the way while he remarries. He arrives with his dog, Hansel, the only one he loves in the whole world (awww). His grandfather, Chill Wills, is given to uneven aphorisms and also tells Jackie to forget the fairy tales and deal with reality. A bitter soon-to-be-divorcee shows up at the ranch with her thoroughbred horse and unloads her marital troubles on Jackie; then her husband shows up and they bicker. Her horse is lethargic and depressed after recently losing its dog companion, so she wants to buy Hansel. The ending is supposed to be bittersweet, but it's surprisingly bitter. Ladd would also star in A Dog of Flanders; see that and skip this one. 

Foreign Correspondent (1940)--Reporter Johnny Jones is sent to Europe as a war correspondent on the strength of his ignorance of what's going on there
just before WWII. He gets caught up in some convoluted intrigue with assassination, kidnapping, and treason. This being 1940, there's one or two references to Hitler, but I guess they still couldn't actually mention the country in so many words. Not Hitchcock at his best, but still serviceable entertainment and propaganda. Joel McCrea makes a decent hero, and George Sanders is always a welcome presence. Laraine Day is one of Hitchcock's less
interesting female leads, and she isn't given much of interest to do here. Exciting climax, though.

42 (2013)--The late Chadwick Boseman starred in this biography "based on" (uh-oh) the life of baseball legend Jackie Robinson. Focusing mainly on the restraint Robinson had to practice while enduring the inevitable racism encountered on and off the field, it's a fairly conventional biography. Boseman gives a decent performance; Christopher Meloni is good as Leo Durocher (whose suspension was more interesting in real life than is depicted here; his relationship with the Hollywood actress--the aforementioned Laraine Day--apparently involved mutual bigamy). Harrison Ford, as Branch Rickey,  growls and harrumphs
his way through his performance with the intensity of Eugene Pallette in a dramatic role, and the uplifting music can get a bit overwhelming. But it's a good history lesson about racism, and a nice entry in the sadly abbreviated filmography of Mr. Boseman.

Cabaret (1972)--My choice for the Best Picture Oscar of 1972. A musical for people who say they don't like musicals. Instead of Judy Garland frolicking with Mickey Rooney and forgetting her troubles with a cheery song and a smile, this stars her daughter, Liza Minnelli, frolicking through 1931 Berlin and forgetting her troubles with alcohol, sex, twisted songs, and lots of creepy leers from a sinister cabaret host, Joel Grey. Commemorating Nazi culture of that era in all its glory--vulgarity, ignorance, poverty, brutality, anti-Semitism, and venereal disease, this is a history lesson that is still timely today, with some unforgettably sleazy, but compelling, song-and-dance numbers directed by Bob Fosse, a terrific performance by Liza Minnelli (who, I have to say, has a better voice here than Garland in many of her movies), and Joel Grey is a character out of a nightmarish Grimm fairy tale. There's a scene that seems like a twisted version of the "La Marseillaise" sing-along scene in Casablanca; while that scene can move a viewer to tears, the scene here gives the viewer chills. One of the few "feel-bad" musicals, it's also one of the best film musicals ever.