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Friday, September 22, 2017

Dinomite Chat With Kathy "Holly" Coleman of 'Land of the Lost' is Fanboy Dream Come True


A telephone conversation with Kathy Coleman, who is best known for portraying spunky teen tomboy Holly Marshall in the classic '70s live-action Krofft Saturday morning Jurassic Camp series "Land of the Lost," fulfilled a decades old fantasy.

Loving (and reviewing) recent Coleman autobiography "Run, Holly, Run" (title courtesy of co-star/'70s teen idol/surrogate big brother Wesley Eure) prompted reaching out to her. She awesomely immediately responded, and we gabbed the next day.

As readers of both "Run" and the sadly unavailable first Coleman (who prefers going by Kathleen) autobiography "Lost Girl" know, this natural talent is a survivor of a psychotically abusive ex-husband and decades of other horrific traumas. This on top of the celebrity curse of constant approaches by fans who feel entitled to invade her personal and emotional space reasonably make her a little guarded. However, her love of people and desire to delight them counters this by both making her very open about her life and a charming conversationalist.

The aforementioned candidness included Coleman stating regarding "Run" that she wanted that book to "open the curtains to the windows of my soul."

The "righteous dudette" moment that most Unreal TV celebrity interviews contain came after Colemen once more discussed how her life literally was an open book. This prompted showing a little reciprocity in sharing that a "Lost" episode with a wholesome element of sexuality regarding both Coleman and Eure was a favorite for that reason. Eure was shirtless and wearing cutoffs, and Coleman was wearing a Daisy Duke outfit complete with her own cutoffs.

Coleman awesomely replied with a story of common occurrences at fan events. She shared that she and Eure sit side-by-side and that a man walked up and said "I had a crush on you." Coleman then started talking to the man only to have him reply that he was speaking to Eure.

The next part of the story was a variation in that Eure would bat his eyes in response to other fans confessing to a crush only to have them state that they were talking to Coleman. Both stars having such a nice attitude regarding every aspect of that reinforces that what you see on screen reflects real life.

Portrait of the Artist as a Child Star

The accounts in "Run" on the early career of Coleman prompted asking about those years specifically and the life of a child star in general.

Coleman politely asserted that her mom was a stereotypical stage mother but that she "never forced me into the business; never took advantage of me."

The provided perspective was a variation of "Goldilocks" in the form of three siblings sitting in front of a television. One sibling was eating and not paying much attention to the program; the other one was watching the program, and the third one was dancing. "I [Coleman] was the kid who was dancing when I was watching TV."

Coleman added that she wanted to entertain people and that friends of her mother who saw both her zeal to perform and her talent encouraged a variation of "The Beverly Hillbillies" in urging the family to move from Massachusetts to Hollywood to allow Coleman to let her star fully shine. Folks who are familiar with "Lost" know part of the story of how that worked out.

This portion of the discussion included Coleman repeating a few times that her circumstances would have been roughly the same if she had worked delivering papers. This youngest in a family of 10 kids noted that whichever of those offspring worked contributed to the family to the extent feasible considering the employment.

Discussing whether Coleman ever engaged in obnoxious behavior based on her celebrity status earned the reply that her mother saw to that her daughter never got star treatment.

Hilarity ensued when Coleman shared that watching other kids in the business trying to cope a 'tude prompted her to try doing the same. She then laughed and stated that she was not as good at it. She noted that "to be a bitch is not natural for me" and added that she enjoyed making people happy.

Minor Consideration

A section in "Run" in which Coleman diplomatically discusses outreach by an unnamed group provided a personally golden opportunity to get the perspective of a former child star regarding an organization with which this site has a brief history. Anyone with any familiarity with the non-profit child star advocacy and support group A Minor Consideration could have deduced that that was the entity to which Coleman referred in "Run."

Online research years ago created a personal sense that Consideration (founded and run by former child star Paul Petersen of the 'Donna Reed Show' sitcom) was a bit heavy-handed; a subsequent interview with Petersen enhanced that vibe but did not create any desire to grind any axes. The chance to ask a former child star who seemed to receive unsolicited attention from that organization was a golden opportunity to obtain insight into the workings of what Unreal TV considers (and that Petersen agrees) is "the anti-Scientology."

Coleman began by saying that "I [Coleman] had my own experience with him [Petersen]." She added that she was "all for" the group if a current or former child star needed it. Her personal perspective regarding the challenges that members of that group faced was "I don't want to sit around saying poor pitiful me, show business did this to me."

This led to Coleman making the apt comparison to Alcoholics Anonymous in stating that not everyone realized that every person with a drinking problem needed to attend meetings of that group. She added that addressing her personal challenges related to drinking did not require hearing the experiences of other people who were facing comparable challenges.

Eure the Best

Coleman stating that she and Eure are "more like a real brother and sister than people can even understand." My referring to a hilarious story in "Run" in which Coleman tells of a fully clothed Eure jumping into the sleeping bag of an equally dressed Coleman and saying "Dad's gone" during a filming of a "Lost" episode elicited the exciting news that "Wesley still loves to tease me."

An example of this love extending to co-star Phillip Paley, who played the ape-boy like Cha-ka on "Lost" was learning that this trio had no objections when they had to share a hotel room while appearing at a fan event. Coleman stated that they would have a great time that included epic slumber parties.

Fans v. Fanatics 

An early exchange in the conversation with Coleman illustrated her aforementioned valid caution regarding people who approach her. I told her that I interviewed Eure years ago after he replied when I sent him my review of the then-recent complete-series DVD release (complete with lunch box!) of "Lost." I also asked that she please tell Eure that he and I had spoken merely thinking that Eure might say "Hey, I remember that guy."

Coleman very nicely replied without a touch of anger that fans wrongly assumed both that they knew celebrities based on watching their shows but that that experience did not provide that intimacy. She added "it is an obligation to give back" and that she enjoyed doing so.

I did not take any offense and assured Coleman that I fully understood her persepcctive and appreciated the time that both she and Eure gave me and then tried to assure her that I was not a stray kitten who took being given a one-time saucer of milk as an invitation to move in. I emphasized that I never would have knowingly put Eure on the spot.

This led to discussing fans (such as your not-so-humble reviewer) as opposed to fanatics. The response of Coleman to being asked about her weirdest fan was "in the years that I have been involved in this whole thing most people only have good wishes."

Coleman added that fans have shared some of the most wonderful stories; the best of these involved kids whom the show inspired to be archaeologists and scientists.

One amusing bad experience was the tale of a man who aggressively requested an interview and squandered the minute allocated for that exchange to ask Coleman if his shirt made him look fat and then showed her his ginormous stomach.

Here and Now

The final section of "Run" discussing the making of a modern documentary on getting the band back together prompted asking Coleman about the complications associated with that project. She provided little reason to hope that that film would be released. The better news was that Eure had simultaneously filmed the group on his smart phone and MAY release that footage.

Coleman perfectly brought things full circle in sharing that her reasons for writing her autobiographies were fans approaching her with misperceptions regarding a movie star having an easy life. Coleman shared that (as her books showed) her life was far from that of the public image of Hollywood royalty and specifically that "my life has not been any easier because of my career."

She added that she had not appeared in any movie until recently filming one. This project is the 2017 indie production "Fault" on the underground world of betting on professional tennis. Coleman stated that she did not know whether that film would premiere theatrically or on television.

Thanks for the Memories

As mentioned above, the chance to converse with Coleman was a treat in itself; learning both that she is as caring as her public persona and is not a "I only want to discuss my current projects" type.










Thursday, September 21, 2017

'Sign Painters' DVD: Documenting the Art of Outdoor Advertising


The quartet of documentaries that Film Movement is separately releasing on September 26, 2017 is very true to the spirit of the international indie films that comprise the bulk of the Movement catalog. The common elements Movement films are that they provide insightful perspectives in manners that emphasize art over commerce. 

The range of subjects in the September 26 non-fiction films also reflects the broad scope of Movement films. "Bite Size" examines childhood obesity from the perspectives of four teens battling that condition; "Documented" is the even more fascinating story of  Pulitizer Prize winning journalist/undocumented American immigrant Jose Antonio Vargas. "In Country" shows that battle re-enactments are not just for Civil War buffs by telling the tales of folks who relive Vietnam War events.

The 2014 film "Sign Painters," which documents the lives of specialized commercial artists, is our topic du jour. The film opening with a montage of the "good stuff" that beautifies commercial districts provides the first sense that we are in for something good.

The broad brush approach to the topic encompasses the history of this art, the artisans who create the images that we see virtually everywhere we turn, and the impact of automation on this craft. These viewpoints additionally prompt greater appreciation of illicit cousin graffiti.

The following YouTube clip of the theatrical trailer for "Sign" introduces the aforementioned topics and provides a glimpse of the artistry behind presenting them.


The history aspect is relevant today in that the early days of distinguishing the manufacturers of products (e.g., flour) 150 years ago that gives birth to sign painting is a significant leap forward in the grocery industry in the same manner that the Amazon acquisition of Whole Foods is the start of a new manner in which the public obtains the consumibles with which to stuff its gullets.

Hearing veteran and rookie artisans discuss their craft surprisingly is much more interesting than watching paint dry. They all love their work, are a wonderfully supportive community, and have great stories. The tale of a 20-something woman whose career begins with the mother of a high school friend encouraging this budding artist by hiring this teen to paint a sign for her business encompasses most of the awesome aspects of the film.

This former high schooler is a novice sign painter struggling with one of her first professional assignments when a man on a bicycle rides up to offer advice, and pedals off into the sunset on achieving his mission.

Another memorable story is a kind and gentle account of the commerce of art. A veteran painter uses a direct comparison of his work to the (not much less expensive) products of two competitors to simultaneously show that you get what you pay for and that quality does not cost much more.

Demonstrating the impact of technology on the sign painting industry is another example of the film meeting the documentary ideal of equally educating and entertaining. The veterans discussing a lack of concern regarding the introduction of basic computers in the '80s hits home for many folks sharing early confidence regarding the inability of a machine to do his or her job. This subject then addresses how technical advances and a general desire to reduce expenses is behind sign painting being a dying art. An equally distressing aspect of this is showing how buying a sign with vinyl letters illustrates that you get what you pay for.

The bigger picture is that the aforementioned opening montage demonstrates the historic significance of sign painting. The name of a business or a product remains on the brick walls of many older buildings across the country sometimes decades after the proprietorship or company making the advertised good is no more.

Anyone with questions or comments regarding "Signs" is encouraged either to email me or to connect on Twitter via @tvdvdguy.









Shot' Theatrical: Noah Wylie Compelling Take on Gun Violence


"ER" and "Falling Skies" star (and Thacher School alum) Noah Wylie puts his celeb status to good use in the indie drama "Shot," which hits theaters on September 22, 2017. Wylie, who also is a producer, plays sound engineer/gun violence victim Mark Newman.

The literally opening images of "Shot" are of an Old West shootout that creates an impression of watching the wrong film. The context is provided roughly a minute later on learning that under-the-gun (pun intended) Mark is working on a Western. The symbolism that begins with focusing on this genre that glorifies gun use continues with Mark enthusiastically promising to enhance the impact of the sound of the gun shots.

We next see Mark eating lunch with his estranged wife Phoebe; their major points of conflict include Mark wanting to take her espresso machine.

A completely random bullet hitting Mark as the pair leaves the restaurant sets the stage for an "ER" style dramatization. We see Mark bleeding out on the sidewalk, the frantic efforts to get an ambulance, the rush on the gurney to the operating room, the surgery, and the period following the surgery.

"Shot" parallels this with the sympathetic story of the shooter. Miguel is a bullied teen who valid angst extends well beyond being physically pummeled. He accidentally shoots Mark while holding a gun that he wants so he can have an upper hand over his bullies. A largely split-screen presentation shows a panicked Miguel dispose of the gun and work his way home as Mark deals with the consequences of being on the other end of the inadvertently fired weapon.

The audience sees Mark struggle with the emotional and the physical impact of his greatly altered life while Miguel has just as much trouble contending with his guilt.

A side aspect of this is the Mark/Phoebe relationship. Having one foot out the door when the once significant person in your life has an enormous setback requires the tough choice of whether to keep walking, stick around fully out of a sense of guilt, or rekindle the relationship based either on realizing that losing that person for good would be rough or on the experience making the victim a better person.

The understandable desire for revenge that Mark experiences climaxes when he and Miguel come face-to-face. Much of the power of these scenes relates to the inability of each character to fully understand the perspective of the other. However, they at least get to see the face of the person who is responsible for a large change in their life.

The impact of "Shot" continues to the very end with scrolled statistics on gun violence in the U.S. and information about addressing that issue.

Anyone with questions or comments regarding "Shot" is encouraged either to email me or to connect on Twitter via @tvdvdguy,



Wednesday, September 20, 2017

'Long Live Freedom' DVD: Patty Duke Show Style Farce on Italian Politics


The Icarus Films September 26, 2017 DVD release of the 2013 Italian policom Long Live Freedom (nee "Viva la Liberta") provides additional hope that this New York based distributor of "innovative and provocative" documentaries will continue increasing its catalog of equally stimulating fictional  European films to a level that equals the documentary catalog.

This tale of an Italian senator/opposition party secretary under siege having his twin brother with "issues" of his own is a fantabulous mash-up of "The Patty Duke Show" and the Peter Sellers movie "Being There" in which the wisdom of the fool whom Sellers plays makes him a respected adviser. On a broader level, the absurd view of the inner workings of national politics evokes strong feelings of the Emmy-laden Julia Louis Dreyfus sitcom "Veep."

The accolades this time are especially well-deserved and plentiful. They include a 2015 CinEuphoria Top 10 of the Year award for writer/director Roberto Ando and a 2103 Italian National Syndicate of Film Journalists award for the screenplay of the film. The cases in which "Freedom" is nominated is cause more to assert "they waz robbed" than that it is a honor to be nominated.

The following YouTube clip of the theatrical trailer for "Freedom" highlights the Italian charm of this delightfully quirky film. It further reinforces that the movie could be made word-for-word and shot-for-shot in the United States and still make sense.


Italian film royalty Toni Servillo outdoes himself in his dual roles of Sen. Emrico Oliveri and Oliveri identical twin Giovanni Ernani. This performance begins in the opening scenes that show Oliveri initially tripping up his companions by stopping to tie his shoes en route to an obviously important event; this soon leads to a "you should have gone before we left the house" moment just before Oliveri is set to address the party loyalists whom he has let down.

This leads to Oliveri abruptly deciding to disappear for a while without providing even his close aides advance notice. The search for him leads to Ernani, who spontaneously and unexpectedly begins impersonating his brother. The twist is that this recent "guest" of a psychiatric institution does a better job than his brother. This largely relates to a talent for telling the press and the public alike what they want to hear. This culminates at a rally at which Ernani directly addresses a seemingly random audience member and accurately expresses the hopes and dreams of that Millennial.

The bigger picture is that Ernani effectively takes the controls of a party that is about to crash and burn in an upcoming election and thrusts it back to what may be new highs. In other words, the opposition no longer merely is "not the other guy."

Meanwhile, Oliveri is hiding out in the French home of his former girlfriend, her well-known film director husband, and their young daughter. Although remaining incognito requires not venturing out, Oliveri slowly increases his outside activity as he proportionately involves himself in the lives of his hosts. He further gets several reminders of the joys of a private life free from the intense scrutiny and related pressure of being a prominent politician. This includes a taste of what might have been for him.

A scene in which Ernani (posing as Oliveri) meets with the president of the Republic both is the most important in the film and the most wonderfully bizarre. An aide understandably is nervous that the president will discover the ruse, the president knows that Oliveri is much different than the man whom he knows, and Ernani reverts to his true nature in an incredibly entertaining manner that showcases the versatility of Servillo.

Ando does not disappoint regarding the ending of the film; everyone is a little wiser than he or she is at the beginning and ends up where he or she belongs. Meanwhile, the general populace remains blissfully unaware regarding the extent to which the power brokers deceive them.

Anyone with questions or comments regarding "Freedom" is strongly encouraged either to email me or to connect on Twitter via @tvdvdguy.








Tuesday, September 19, 2017

'Jesus' DVD: Dystopian Tale of Feral Youth Powerful Because True


The September 19, 2017 DVD release of "Jesus" further solidifies the leadership of Breaking Glass Pictures regarding art over commence festival and mainstream theatrical releases and DVDs of edgy with a message indie fare. The 2016 Chilean film by "Dog Flesh" director Fernando Guzzoni tells the ripped-from-the-headlines tale of the titular 18 year-old slacker whose daily routine of sex. drugs, rock-and-roll (with heavy doses of violence) abruptly changes on his participation in a brutal gang attack. This release follows an incredible festival run (including the Toronto International Film Festival) and a very recent general theatrical release.

This tale of feral boys struggling with the consequences of mindless violence being fun until someone loses a great deal of blood should seem familiar to folks who have seen the (Unreal TV reviewed) Breaking film "Sins of Our Youth." This one starring Lucas Till of the "X-Men" franchise and the "MacGyver" reboot has Las Vegas teens learn a tough lesson regarding reckless use of firearms. This similarity of films from different nations and settings illustrates the universal problems of letting teen boys run wild.

The fateful night in question in "Jesus" occurs in the wake of this excitable boy (who repeatedly engages in artistic X-rated sex along the Kinsey Scale) and his band greatly altering their consciousness after losing a competition. A "rabbit" running across this band of wolves in a dark cemetery leads to that innocent being horribly beaten and abused in ways that reflect that his most vicious assailants are having trouble accepting their true natures.

Greater symbolism exists regarding Jesus participating in this attack in the wake of telling (mostly absent) dad Hector a story designed to garner sympathy to get money for new eyeglasses and a new cellphone.

Jesus learning the morning after the wilding that the incident essentially is front page news leads to his confiding to his special friend (and more?) with benefits that Jesus is considering calling the police but properly placing most of the blame on the ringleader of the group.

The aftermath of this includes said leader coming after Jesus to "persuade" him to not snitch and Jesus looking to Hector for help.

The depth of the real-life material provides Guzzoni plenty of fodder. Throwing in the name of the main character who is facing dying for his sins and having a father who is struggling with the extent to which he is willing to protect his son brings the story into Biblical territory; this is not to mention the serious betrayal by a close and trusted friend even though the Bible does not indicate that Jesus and Judas engage in the same "sinful" behavior as our lead and his buddy.

The conclusion regarding all this is slightly surprising and a little ambiguous. We know what happens and why but not the motive. We further do not learn the ultimate outcome.

As both "Jesus" and "Sins" indicate, teen boys are wild beasts whom decades of films have shown us are likely to run wild if not provided proper supervision/love and related restraint. Accepting that there are no "bad boys" is tough, believing that these wild ones can at least learn to not indulge their every anti-social desire is easier. This also reduces the collateral damage to innocents, who suffer harm ranging from death to damaged or stolen personal property.

The even larger picture is that these themes reflect the Breaking philosophy of tackling provocative topics in a responsible well-presented manner.

The primary special feature is a 30-minute Q&A with Guzzoni at a Lincoln Center screening of "Jesus." A total of five-minutes of interviews in another feature provides a condensed version of his statements regarding the film and the thoughts of Jesus portrayor Nicolas Duran.




Sunday, September 17, 2017

'Three' DVD: When One Night Ménage Becomes Trois' Company


The recent TLA Releasing DVD set of the gay-oriented Dekko streaming service series "Three" provides food-for-thought for both hetero and homosexual couples who have gone from a honeymoon period to a daily routine. Folks with relevant experience know that this tale of a committed gay couple inviting a third into their home (and bed) is not drama-free because a threeway always leaves someone feeling left out.

The drama begins on the evening before the time-frame of the first episode of "Three." A distraught Dylan is pouring his heart and soul out to neighbor/aging queen Elliott about the horrendous behavior of Dylan partner of five years Patrick at the 40th birthday party of Patrick the night before. It ultimately comes out that the misdeeds of Patrick include chasing hot young things at the party to the extent of expressing a desire to build a nest of t-shirts to make a home for one of the young men in the guest room of the home of Dylan and Patrick.

A subsequent tough "morning after" talk reveals that Patrick still loves Dylan but wants to find a third man to join them for sex; a reluctant Dylan agreeing leads to a hilarious scene in which our boys go online to search of an interested man.

The preparation for the new friend provides additional humor, and the morning after that evening largely is drama-free.

The real problem begins when a very enthusiastic Dylan invites 23 year-old Jason over for an evening of socializing and whatever else might happen. Seeing this trio in bed together the next morning provides a strong sense of "whatever else."

Dylan and Patrick meeting multiple physical and emotional needs of Jason makes him a permanent presence in every room of their home in the same manner that feeding a stray cat makes him your new pet; this creates angst for Dylan, who both is unhappy with arrangement and wonders if Patrick is preparing to trade him in for a newer and sportier model.

Things come to a head in a surprisingly low-key manner in the final episode of the season; Dylan confronts both Jason and Patrick in a manner that requires that all three examine what (if anything) needs to change for them to achieve a reasonable level of happiness.

On a deeper level, "Three" reflects a few truths about gay men that is particularly true of the generations that predate the current era of widespread marriage equality and much less prejudice against boys who like other boys. The obstacles to being fully out and to having a traditional relationship is behind many such men mostly having casual encounters during their 20s. Finding "the one" and settling down is a big and desired change that does not always prevent wanting to once again spice things up a little.

The more general truth that boys generally will be boys also plays a role in that a third wheel intimately befriending a gay couple may turn that interloper into a homewrecker. The member of the couple who considers taking things in a direction that runs that risk must ask himself if embarking on what likely is short-term pleasure worth the risk of losing "the one" and likely ending up like a stereotypical lonely old queen.

Anyone with questions or comments regarding "Three" is encouraged to email me; you alternatively can connect on Twitter via @tvdvdguy.


Friday, September 15, 2017

'MGM: When the Lion Roars' DVD: Epic Documentary on a Former Junk Dealer and His Empire


The Warner Archive August 29, 2017 2-disc DVD release of the 1992 made-for-cable three-part six-hour docuseries "MGM:When The Lion Roars" is the most meta item in the lemon-free Archive catalog. On a larger level, this 1992 Emmy winner for Outstanding Informational Series is cinephile porn that is must-own for ANYONE who even sort of likes Archive releases.

The meta element relates to host/narrator Patrick Stewart sharing in Part I (titled "The Lion's Roar") of "Lion" that movie-chain owner Marcus Loew financially backs essentially real-life "son" of a "Sanford and Son" "empire." Loew supports Louis B. Mayer deserting the family scrap-metal business to enter the movie business to provide Loew a steady stream of quality movies for his theaters. A big part of this plan is the commitment of Mayer to produce one full-length good-quality feature film a week.

A SPOILER is that this series ends with Ted Turner purchasing MGM primarily to acquire the film library that includes the oh-so-many classics that "Lion" lauds. A primary motivation of Turner is to acquire material for his cable networks ala Loew backing the studio decades earlier to have something to project on his screens. The metaness continues with subsequent events leading to DVD releases of MGM films heavily contributing to the ability of Archive to remain in business.

The final bit of commentary on this subject is that Turner buying MGM to air its films and cartoons on his networks blindingly outshines The Learning Channel providing "Here Comes Honey Boo Boo" a home and American Movie Classics filling its schedule with weekly television series. This is not to mention the complete lack of music on Music Television.

Another general theme that pervades "Lion" is the emphasis of Mayer on making films that provide escape from macro and micro woes; this is exactly in line with the Unreal TV philosophy that fictional series that range from the sublime to the awesomely ridiculous have infinitely more value than reality shows. A personal "Lion" meta element of this is you not-so-humble reviewer often turning to the (former Warner division) Rhino Video DVDs of the daddy of all '60s fantasycoms "My Favorite Martian" during a particularly stressful summer.

The aforementioned Roaring '20s history in Part I of "Lion" largely focuses on the role of 20-something boy genius/former Mr. Norma Shearer Irving Thalberg, who literally is with Mayer from day one. While Mayer is the expert at spotting talent (including Great Garbo) and keeping every MGM employee (some that you recognize and some that you hardly even heard of) in line, Thalbnerg is the logistics geek who largely is responsible for maintaining the aforementioned ambitious production schedule. He further can be considered the inventor of the modern focus group.

This episode additionally provides a fairly comprehensive history of the early days of the Hollywood system. We get the story behind the original "Ben Hur" and other silent classics, as well as learning that the impact of talkies on actors extends beyond ruining the careers of stars who demonstrate that they are to be seen and not heard.

Much of this comes from the horses' mouths in the form of MGM staffers and stars of the era in archival interviews and sessions filmed for "Lion." The most notable of theses is First Lady of the American Theater Helen Hayes.

The two-part "The Lion Reigns Supreme" starts with the '30s and largely focuses on the MGM stars of the era while giving the behind-the-scenes folks their due. The talking heads this time include "Tarzan" franchise star Maureen O'Sullivan, (Unreal TV reviewed) "Andy Hardy" franchise star Mickey Rooney, and (Unreal TV reviewed) "Dr. Kildare" film franchise star Lew Ayres discussing their roles in those series.

We further get former child stars Rooney, Jackie Cooper, and Freddie Bartholomew discussing their individual films and the overall role that Mayer expects his youngest contract players to perform. This includes never asking for a raise, always showing up for Sunday afternoon parties at Chez Mayer, and earning their keep.

The best wisdom in the entire series comes from the mouths of these former babes; Cooper discusses not taking his acting seriously until becoming 14 and seeing older boy Rooney showing that kids can perform well; a clip of Rooney that follows validates the statement of Cooper. Rooney shares that "I once lost $2 at the track; I spent $3 million trying to win it back."

The story of Judy Garland dominates the coverage of child stars; her "boys" (especially Rooney) express their love for her; the adults contribute the poignancy in segments that include Garland stating in her 20s that her only regret was not having a childhood.

This review being so long without even mentioning the suspicious deaths, celebrity rumaway bride, and other scandals in "Lion" or the segments on "The Wizard of Oz" and other epic MGM classics of the '30 provide a context for having to mostly limit coverage of Part III of "Lion" to the Turner acquisition. A thoroughly inadequate recap of the studio from the '40s to the '80s is that Vincent Minnelli and others take musicals off the stage into the real world, WWII greatly influences MGM and its actors alike, MGM adapts to the competition from television, seemingly endless power struggles, etc.

Anyone with questions or comments regarding "Lion" is strongly encouraged either to email me or to connect on Twiiter via @tvdvdguy.









Thursday, September 14, 2017

'Sylvia Scarlett' DVD: Hepburn-Grant Comic Victor/Victoria Melodrama Merits an A


Warner Archive once more shows that everything old is new again regarding the August 22, 2017 DVD release of the 1935 George Cukor comic melodrama "Sylvia Scarlett." This first collaboration between Cukor, Katherine Hepburn, and Cary Grant is a mash-up of "Boys Don't Cry" and (the Unreal TV reviewed) "Victor/Victoria." Hepburn plays the cross-dressing titular daughter of embezzler Henry Scarlett (Edmund "Santa" Gwenn), and Grant plays to type as suave jewel thief Jimmy Monkley.

The broad picture (neither pun intended) this time is that "Scarlett" reflects its time in that it shows the fading influence of silent movies, which reflect the influence of live-stage productions. The opening scene in the small Marseilles apartment of Henry and Scarlett has an especially strong stage performance vibe, but the makeup is not as heavy as in early talkies and the emoting only borders the intensity of silents and very early talkies.

Our story begins with Sylvia and recently widowed Henry fleeing France for England to evade the arrest of Henry for "borrowing" funds from his employer. They meet Monkley on a ship to England while Sylvia is disguises as Sylvester Scarlett to as part of her great escape.

The Scarletts soon joining forces with an oblivious Monkley leads to a hilarious early attempt at a grift by Sylvester; their next scheme going better leads to them going "on the road" with new partner-in-crime Maude.

Hilarity (including an early screen girl-on-girl kiss) fully ensues on the troupe befriending noble in title alone artist Michael Fane, who takes an immediate liking to Sylvester and subsequently gives a damn about Sylvia. Loose woman Lily being in the picture complicates the latter relationship.

Much of the "melo" in the dramatic aspects of the film relate to Henry having addictions that make life rough for both him and his offspring. Lily contributes to this element in a pivotal scene that drives the final third of the film. Cukor saves the best hilarity for last regarding this development. We get the treats of Sylvia facing a form of deliverance and also going full Hepburn in defying a traffic cop only to find herself a guest of the king.

The final scenes provide a very satisfying conclusion in this film from the early era of the Hays Code. Everyone gets what he or she deserves, and the required number of feet remain on the ground when unmarried men and women find themselves alone in intimate surroundings.

Archive enhances all this with the apt short and cartoon that seem to be a staple of their DVD releases of Golden Age films.

The 1935 Travel Talk documentary "Los Angeles: The Wonder City of the West," which presumably played with "Scarlett" in theaters, is highly amusing to folks who are not fully hung up on political correctness and who recognize the era in which these films are made. This movie focuses on the influence of Mexico on the City of Angels. Scenes of a Mexican neighborhood in which every man apparently wears a sombrero is adequately amusing from the aforementioned perspective. A highly insensitive shot of a chihuahua sitting in a piece of Mexican pottery is hilarious from the perspective of someone in 2017 watching this 82 year-old film.

The 1935 "Happy Harmonies" (rather than "Silly Symphonies," "Merrie Meoldies," or "Looney Tunes")  cartoon "Alias St. Nick" presumably also accompanied "Scarlett" on the silver screen. This one that has a family of mice attacking a cat who is posing as a pseudo Santa is hilarious from the perspective of someone who has watched 1,000s of violent cartoons without so much as throwing a punch in his life. Mice turning holiday gifts into weapons and a cat ending up with firecrackers in the back of his pants is funny no matter what the killjoys assert.

Anyone with questions or comments regarding "Scarlett" is strongly encouraged to email me; you alternatively can connect on Twitter via @tvdvdguy.






'Freebie and the Bean' Blu-ray: That '70s Cop Buddy Movie


Warner Archive proves that it respects the Silver Age of Hollywood as much as the earlier Golden Age regarding the August 8, 2017 Blu-ray release of the 1974 copcom "Freebie and the Bean." This one has James Caan as the ambitious rule-bending San Francisco police detective Freebie and Alan Arkin as his more sedate Mexican-born partner Bean.

The big picture (once again, no pun intended) this time is that "Freebie" is a perfect example of the gritty smash-em-up '70s police television and film dramas with heavy doses of humor. Indirect acknowledgement of this comes in a scene in which Bean compares Freebie to bigot Archie Bunker of the game-changing '70s sitcom "All in the Family."

"Freebie" further demonstrates a 70s-style candidness regarding homosexuality as to a clearly gay character. Our heroes interrogate a boy who likes other boys while he is taking a bubble bath but do not mistreat him any more than any other lowlife who crosses their path.

The following YouTube clip of the Archive promo. for "Freebie" aptly features one of the car chases for which the film is known.


The standard formula this time is that the compulsive determination of our partners to bring down crime boss Red Meyers leads to them arresting him on a massively trumped up charge. This leads to a bargain in which the powers-that-be agree to hold and prosecute Meyers for his actual offenses if our titular detectives can keep him alive despite a contract on his life until the police can track down the known witness who can provide a figurative smoking gun regarding their nemesis.

Serving as bodyguards and otherwise fulfilling their obligation to protect and to serve provides our boys in plainclothes plenty of opportunities for car chases with copious fatalities of the finest from Detroit. The best one has our boys crashing in on homeowners; the most wonderfully cynical chase ends with a truckload of Scotch tipping over and the upstanding citizens of San Francisco rushing to grab that cargo.

Of course, there are the obligatory gun fights. The most creative of these occurs between two glass elevators as they descend several floors.

The '70sliciousness of "Freebie" extends to featuring two leading ladies of the small screen of the era. Loretta Swit of "M*A*S*H" plays the wife of Myers, and Valerie Harper of "The Mary Tyler Moore Show" and the spin-off "Rhoda" is Mrs. Bean. Harper shines in a scene in which she offers a series of absurd excuses when confronted with evidence of infidelity; this is akin to a real-life case of a hotel bellman claiming to need to attend Saturday-night funerals of his grandmother on at least three occasions.

"Freebie" continues following the successful formula of its genre right to the end; the climax centers around a large event and involves copious amounts of flying bullets and Buicks. It additionally includes many more twists and genuine surprises than its brethren. The PERFECT conclusion to all this mayhem provides an spectacular payoff.

The epilogue to this '70s police tale is that they don't make 'em like that anymore and that Archive deserves a citation from the chief for making 'em available,

Anyone with questions or comments regarding "Freebie" is strongly encouraged to email me; you also can connect on Twitter via @tvdvdguy.






Monday, September 11, 2017

'A Boatload of Wild Irishmen' DVD: Mother of All Documentaries on Father of Genre


The recent Icarus Films DVD release of the 2010 Irish documentary "A Boatload of Wild Irishmen" is tailor-made for the Icarus mission statement of distributing "innovative and provocative documentary films." This movie about "Nanook of the North" auteur Robert Flaherty awesomely analyzes the good, the bad, and the ugly about this undisputed father of documentary films. An especially intriguing look at Flaherty contracting Tundra Fever while filming "Nanook" offers legitimate evidence that non-fiction film is not the only offspring that Flaherty sires out of wedlock.

Although "Irishmen" does not directly address this contrast, the emphasis of the film on the technique of Flaherty using actors to depict actual events and customs differs from the cinema verite form of documentary that simply points the camera at the subject or subjects and typically lacks any narration.

"Irishmen" nicely establishes its theme in the opening moments with footage of the titular rowdies from the 1934 Flaherty documentary "Man of Aran." The footage shows the men out in a small boat during a storm. The narration for "Irishman" states that this a Flaherty-staged scene that effectively disregards the peril of the men for that sake of of "Aran." This incident in turn is the first of many examples of Flaherty staging "reality" to show that movies that depict everyday life can be as exciting (or more so) than fictional films.

Other early segments in "Irishmen" discuss the early life of Irish-American Flaherty and how he comes to make the truly game-changing "Nanook." Learning of the extent to which "Nanook" distorts reality is fascinating.

The skilled examination of the equally notable manner in which Flaherty manipulates life for the sake of his art must alter how any viewer looks at documentaries in the future. A related aspect of the film shows that the element of studios blatantly sacrificing art for the sake of commerce dates back several decades.

The Icarus release of "Irishmen" awesomely coincides with the Icarus 2-DVD set of the (Unreal TV reviewed) documentary "To Tell the Truth." The scope of truth includes a comprehensive exam of the issue of whether a film that tells the truth also can be propaganda. This question is particularly prevalent regarding the look at the Flaherty 1948 film "The Louisiana Story."

Flaherty makes "Story" under a contract with Standard Oil, which openly admits to funding the film to promote its business. The propaganda elements of that film extend well beyond the footage of a cute Bayou boy exploring a swamp with open amazement to Oil requiring that Flaherty include absurd narration with images that include mermaids and werewolves.

The elements of staging and propaganda merge regarding "Story" when failed efforts to fake a rig disaster result in rushing to take advantage of a real accident. "Irishmen" goes one step further in including footage of a cinematographer for "Story" depicting the need to go old school in capturing those images.

All of the reveals regarding the process of making "sausage" are wrapped in a loving tribute to Flaherty. As cliched as this term is, we see the lasting legacy of Flaherty. His actors become stars among their people, his films still regularly screen, and documentarians who come after him use his art as a means to equally educate and entertain while simultaneously enhancing their own commerce.

The Icarus extras include the usually provided awesome written essay on the film subject. The bonus features include the final filmed interview with documantarian Richard Leacock and reminiscences by the boy from "Story" and others familiar with the work of Flaherty.

Anyone with questions or comments regarding "Irishmen" is encouraged to email me; you also can connect on Twitter via @tvdvdguy.








'Wrestling Jerusalem' Theatrical: One-Man Show Provides 17 Perspectives on Israeli-Palestinian Conflict


The subject of the film version of the unique one-man show "Wrestling Jerusalem" of writer-actor Aaron Davidman makes the Leonard Nimoy Thalia Symphony Space the ideal place for  the  September 12, 2017 New York premiere of this movie. This production, which runs in New York through September 17 ahead of a larger rollout,  having 17 characters whom Davidman brings to life offer perspectives on the seemingly eternal Israeli-Palestinian conflict make good use of a venue named for a Jewish actor associated with a franchise that is well known for tackling tough social issues and equally challenging moral dilemmas; Davidman truly boldly goes where no man has gone before.

The following theatrical trailer for  "Jerusalem" demonstrates the scope and quality of the film; the passion of Davidman is equally clear and infectious.

video


Davidman channeling the literal and inner voices of Jews and Arabs, young and old, male and female, etc. alone is exceptional; recognizing that there is your side, the view of the other guy, and the truth is award worthy. A related concept is that propaganda that supports your position still is propaganda.

On a more general level, "Jerusalem" includes a primer on Jewish culture and prayers. This is particularly relevant to one whose response to a sign in a synagogue that prohibited opening the door when the ark was open was to ask if faces would melt.

Davidman shifts the action between stage, dressing room, and a desert setting that presumably is in Israel. An early scene in which he is on stage and begins his monologue with "A rabbi walks into a bar ..." is a rare moment of humor in this highly digestible fast-paced and insightful film.

This film by an obviously Jewish man surprisingly portrays several instances of heavy-handed tactics by the Israeli military that include daily harassment of a man who simply needs to commute back-and-forth from the West Bank to work. On the other hand, Davidman criticizes the Palestinians for not taking a deal that he describes as the best that they can expect.

On a more neutral note, Davidman notes that the Israeli military provides advance notice of bombings that have potential for civilian casualties. This reflects the acknowledged sad fact that some targets that must be taken out often are near things such as schools and hospitals.

Davidman additionally has several literal man in the mirror arguments with himself in which he debates both sides. This reflects (pun intended) the mixed feelings of many people. Jewish people have an understandable desire for a homeland in the face of centuries of other groups not treating them so well; at the same time, one can understand the Palestinians wanting what they consider to be their fair share of the region and recognition of their rights.

Davidman earnestly putting several human faces on the conflict further moves things from the abstract to the concrete. Hearing the thoughts of the only Jewish person on a bus going to the West Bank or the story of a young boy who is a victim of the conflict achieves the goal of enhancing the desire of the audience for a sustainable peace.

Anyone with questions or comments regarding "Jerusalem" is encouraged either to email me or to connect on Twitter via @tvdvdguy.






Saturday, September 9, 2017

'The Apology' DVD: Doc on Japanese Comfort Girls Seeking Justice


The Icarus Films September 5, 2017 DVD release of the 2016 documentary "The Apology" is a perfect example of the "innovative and provocative" non-fiction films that comprise most of the Icarus catalog; this one focusing on the 25 year-old struggle of the "grandmas" to receive an apology and reparations for their tenure as involuntary "comfort girls" during WWII provides the frequent element of social commentary in Icarus DVDs.

A synopsis of the issue is that the atrocities of the Japanese army during WWII include literally and figuratively grabbing teen girls as young as 13 off the streets of Japan and occupied countries and forcing them into service as sex slaves for Japanese soldiers.

The following YouTube clip of the "Apology" theatrical trailer perfectly conveys the themes and the tone of the film.


A valid desire  for justice prompts these woman (who currently are in their late '80s and early '90s) to begin holding very public weekly protests in 1982; these demonstrations are intended to get the Japanese government to formally apologize to the women and to award them reparations. "Apology" devoting a significant amount of time to the 2,000th demonstration a few years ago illustrates the fortitude of both sides.

Documentarian Tiffany Hsiung focusing on three of the grandmas, who include Grandma Cao in China, puts a very human face on the subject. Grandma Gil in South Korea tells of her angst relating of never telling her husband about that portion of her life before she dies; she also discusses being born and abducted in North Korea but ending up in South Korea and unable to reunite with her family.

Grandma Adela in the Philippines recounts her sudden abduction, She additionally provides a tour of the (now-dilapidated) building that is the site of her imprisonment. Hearing her tell the story of being 14 and confined in a dark room where soldiers would enter and rape her is horrific.

We further see these very fierce (in the good sense) women and their fellow rape survivors push their physical and mental limits to attend the demonstrations and other events that support their cause. This occurring in the face of counter-protesters heaping toxic verbal abuse that no senior ever should have to hear.

The film ends on the same mixed notes of  hope and sadness that reflect both the subject and the tone of "Apology." One hopes that the remaining Grandmas get some peace in the few years that they have left.







Friday, September 8, 2017

'Pitching Tents' DVD: 2017 Teencom About '80s-era Prince of Pennsylvania Coming of Age

The Monarch Home Entertainment August 22, 2017 DVD release of the 2017 Meritage Pictures teencom "Pitching Tents" further solidifies this Tennessee-based home-video company as a good source of indie coming-of-age films. This entertaining film is right at home with the (reviewed) "The Outcasts," and similar angst-with-laughs teen fare from Monarch.

The following YouTube clip of the "Tents" theatrical trailer highlights all the fun and adolescent challenges in this delight.


Considering both the amusing strong slacker vibe in "Tents" and the IMDb synopsis of the film perfectly describing it, it is apt to borrow that summary for this review. That overviews describes "Tents" in the following manner. "In a working-class town in 1984, a high school senior's future creates a tug-of-war between his no-nonsense father and his crackpot guidance counselor until an encounter with a goddess helps him uncover his true destiny."

The central adolescent is everyteen Danny (Michael Grant of "The Secret Life of the American Teenager"). We meet him in his final weeks of his senior year in the aforementioned blue-collar community in which employment at the local steel plant is the highest aspiration for most residents. Danny loves to sketch and is good at it but sees his destiny as joining his aforementioned parent at the plant.

The aforementioned guidance counselor (comedian Jim Norton) Mr. Mulligan enters the picture when this nasty as he wants to be school department employee learns that keeping his job likely requires getting more students accepted at college. This prompts Mulligan to call a contact at a local institution of higher education on behalf of Danny.

Danny receives the news that college is an option and that his father used his clout and made a sacrifice to get Danny a coveted job at the plant on the day before an annual rite of passage for seniors. "Trout Camp" is a blowout wilderness weekend full of drinking, smoking pot, and (hopefully) sex. Part of the mythos of the weekend is "goddess camp" full of beautiful women who apparently greatly desire wild intercourse with nervous inexperienced painfully horny high school boys.

The always entertaining Booboo Stewart of the "Twilight" and "Descendants" franchises plays Danny's charming pot-loving buddy Todd, who is responsible for a 20-something drug dealer crashing the party.

A disruption the first night of the weekend sends the group scattering in a manner in which Danny gets lost in the woods only to find himself in the company of the aforementioned deity. That provides the peace and serenity that he needs to decide whether his destiny lies at the plant, at college, or as an artist.

Some of the ensuing hilarity relates to Dad and Mulligan separately going into the woods in search of Danny. Gleefully burned out older brother Pete largely comes along for the ride.

The textbook coming-of-age ending has Danny initially being a dutiful son but ultimately ending up where he belongs and with Dad coming to terms with that.

All of these themes are very reminiscent of the 1988 Keanu Reeves indie film "The Prince of Pennsylvania." Like Danny, Reeves' Rupert is facing following his father into a life of rough blue-collar work in the Keystone State. The final scene of this one is one of the best of any film.

"Tents" additionally rocks a bodacious alternative soundtrack that includes "Senses Working Overtime" by XTC. The film directly addresses these tunes in a scene that has a buddy of Danny challenging a girl who still likes Rick Springfield in an era in which much more creative stuff is being released. Excitement over a Sony Discman CD player adds related retro fun.

On a larger level, "Tents" is a nice reminder of going to the video store in 1984 to select movies for a Saturday night film festival. The typical schedule was starting with light fare such as "Tents," following with a cool classic such as "Chinatown," and ending the night with something in between in the form of a comedy with some substance or a neo-noir of the era.

Anyone with questions or comments regarding "Tents" is encouraged to email me; you alternatively can connect on Twitter via @tvdvdguy.








Wednesday, September 6, 2017

'Lucifer' S2 DVD: Supernatural Versions of 'Bones' and 'The Sopranos'


The Warner Archive August 22, 2017 Blu-ray release of "Lucifer" S2 provides a good chance to catch on this Fox supernatural procedural before the October 2, 2017 S3 broadcast premiere. The Unreal TV review of the Archive BD release of S1 provides a good deal of the lore of the series.

The temptation (which there is no reason to resist) regarding the "Lucifer" home-video releases is to buy them in Blu-ray. The enhanced video quality of that format is perfect for the sun and the neon of Los Angeles in the series. The better sound increases the impact of the mood music and the actual soundtrack that is heavy on club music but includes a couple of '80s ballads.

The first bit of catching up involves spoiling the S1 cliffhanger. Biological brother/fellow celestial being Amenadiel tells the titular former ruler of Hell/ current L.A. night club owner /civilian police consultant at the end of the inaugural season that Hell escapee Mom is in the neighborhood and that Dad (a.k.a. God) wants Lucifer to bag her and send her home.

The S2 premiere finds Lucifer suspecting that his mother is the culprit in the murder with a demonic element of a stand-in for a television star, whose personal life is less pure than her career-necessary wholesome image. The dark humor and general perversion that is a trademark of this series is particularly strong in this outing.

Former "Battlestar Galactica" toaster fatale Tricia Helfer is perfectly cast as Mrs. God, who now walks the earth in the meat suit of adulterous ruthless attorney Charlotte Richards so that this literal mother of all mothers can be close to her boys. The manner in which Lucifer manages to keep Mom around without incurring the full wrath of God is very apt for the show and illustrates the pitfalls of making a deal with the devil.

As cast and crew explain at the roughly 30-minute 2016 Comic-Con panel that Archive includes as a BD extra, bringing in Charlotte facilitates further developing family issues and provides another player for the interchangeable teaming up of (mostly unlikely friendship) characters. This includes Charlotte seducing Det. Dan "Douche" Espinoza, who is the ex-husband/colleague of former sex comedy star/current homicide detective/Lucifer love interest Chloe Decker.

The most unlikely (and hilarious) pairing has Decker and her young daughter Trixie moving into a new apartment (that of course has a tie to a murder case) with gleefully sadistic demon/bounty hunter/Lucifer confidante Maze. Particularly memorable moments have an oblivious Trixie enjoying a sex toy of Maze and reaping the bounty of the aggressive approach of Maze toward trick-or-treating. Maze further does her best to get Chloe to loosen up emotionally and physically.

We further get Lucifer hijacking a once-again oblivious Trixie into assisting with a homicide investigation, Much of the humor in this one involves exposing the civilized facade regarding the behavior of parents, faculty, and staff alike at an exclusive private school.

Executive producer Jerry Bruckheimer honors his "CSI" roots in introducing quirky former car thief Ella as a forensic tech. The odd behavior of this lab rat does not extend to wearing Carmen Miranda hats or staging elaborate (and messy) re-enactments.

Lucifer fully revealing his true self to resident shrink Dr. Linda Martin further enhances the "Sopranos" vibe of this show that revolves around the dark side of family and has the clan head regularly spill his guts to a therapist. Dr. Linda moving into a deeper circle of Hell facilitates involving her in various schemes that are intended to serve the greater good and makes her the somewhat unlikely friend of Maze.  The most interesting scheme returns Lucifer to his former kingdom for a noble purpose.

S2 additionally focuses more on story arcs than S1; these include a quest for a powerful weapon that theoretically can make at least some characters very happy, a particularly demented killer who uses a very special poison, and a series of events tied to the 16 year-old murder of the father of Chloe.

As is typical for "Lucifer" and other modern television dramas, the final few episodes lead to an episode that serves equally well as a season ender and a series finale in the event of the show being sent to cancellation hell. Charlotte is facing a serious threat to her continued existence on earth, her boys are fighting, and Chloe is close to learning that she literally is riding with the devil. This culminates in a a uber-dramatic image.

The BD extras extend beyond the Con panel to include a behind-the-scenes look at the season, a gag reel, and deleted scenes.

Anyone with questions or comments regarding "Lucifer" is encouraged to email me; you alternatively can connect on Twitter via @tvdvdguy.







'The Sea Chase' Blu-ray: John Wayne's German Freighter Runs for the WWII Border


The Warner Archive July 11, 2017 Blu-ray release of the 1955 John Wayne drama "The Sea Chase" offers an interesting and progressive view of the WWII German military. Wayne stars as disgraced German naval captain Karl Ehrlich, who is experiencing the humiliating demotion of commanding a rusty tramp steamer in Australia when the aforementioned conflict commences.

The following YouTube clip of the SPOILER HEAVY theatrical trailer for "Chase" achieves the goal of showing the '50slicious excitement and drama of the film.


The proverbial rock and hard place in which Ehrlich finds himself is choosing between the consequences of staying in the enemy territory of Australia or taking his crew on the the long journey home only to have Ehrlich face internment. An additional complication comes via Ehrlich having a long and valued friendship with (now enemy) Royal Navy Commander Jeff Napier. The current conflict between these men extends beyond the war to Napier being engaged to Elsa Keller (Lana Turner), whom Ehrlich knows to be an extremely loose woman.

The interesting aspect about matinee idol Tab Hunter (who HATES being labelled) playing a crew member is that he is of German descent and is the product of a strict German upbringing. Additionally, the not-so-great acting of Hunter reflects his open admission that his early films are not his best work.

All this sets the stage for Ehrlich to set sail in his rusty ship that lacks the necessary fuel and provisions for the journey. His companions include an officer who is a very loyal Nazi and Elsa, whose activities on behalf of the Nazis require a rapid retreat.

The first stop for the ship is for provisions on a small island; that leads to literally cruel and unnecessary violence that opens rifts among the crew and enhances the resolve of a pursuing Napier to capture his former ally.

Desperate times on once again setting sail requires desperate measures that enhance the threat of mutiny. This relates to crew members learning that a means of escape is being closed off.

The next series of challenges and tragedies occur when Ehrlich sets anchor off the coast of an island and orders his already stressed crew to work several days from sun up to sundown chopping down trees to burn in the boiler of the ship. Elsa learning the story of the last visit of Ehrilch to the island is a major step toward the two being more than captain and unhappy passenger. This also is when Elsa starts becoming a big sister type to most of the crew and the special someone of a kindred spirit.

Suffice it to say that angry frustrated Germans using sharp tools for 18 hours a day in a shark-infested area provides several opportunities for mayhem; whether anyone gets the ax or becomes a chum is part of the drama of this portion of "Chase."

Much of the final portion of the film demonstrates both the role of propaganda during wartime and the related principle that image is more important than reality; the climatic concluding scenes provide further proof that Nazis are dicks.

Anyone with questions or comments regarding "Chase" is encouraged to email me; you alternatively can connect on Twitter via @tvdvdguy.



Tuesday, September 5, 2017

'Tea for Two' DVD: Doris Day and Gordon MacRae Play Judy and Mickey


The coolest thing about the Warner Archive July 11, 2017 DVD release of the 1950 Doris Day/Gordon MacRae musical comedy "Tea for Two" is that it is another example of Archive providing a lesson about the Golden Age of Hollywood. The next most cool thing is that (like most musicals in the Archive catalog) , "Tea" includes several well-known classic tunes. The soundtrack (which includes songs by a Georgeless Ira Gershwin) extends beyond the titular composition to include "I Only Have Eyes for You" and "No, No Nanette."

The notable (pun intended) elements of history and song converge regarding the premise of "Tea." Day plays Roaring 20s orphaned wealthy heiress Nanette Carter, who is blissfully unaware that beloved Uncle Max not heeding the signs of the Market Crash of 1929 has left her destitute. This ignorance is behind Nanette pledging $25,000 to stage the latest musical of producer boyfriend Larry Blair (longtime Day friend and future "Doris Day Show" star Billy DeWolfe. This prompts Max to take the extreme gamble (pun intended) of betting his niece the amount needed to fund the production that she cannot say "no" to every question for 48 hours and that she not tell anyone about that wager.

This update (which includes songs from the original) of the 1925 stage play "No, No Nanette" is the latest example of Archive showing how many Hollywood films of the first half of the 20th century creatively rework movies and plays. The (Unreal TV reviewed) Archive releases of the Norma Shearer and Joan Crawford versions of "Mrs. Cheyney" is a prime example of this.

The casting of DeWolfe warrants an additional historic note. This is a prime example of a closeted gay actor not very successfully playing it "straight" in films. He is very fey and has zero romantic chemistry with Day; fortunately, their spectacular comedic chemistry more than compensates for that.

MacRae comes in the picture as songwriter Jimmy Smith, who (along with a partner whom Gene Nelson plays) is providing the songs for the song-and-dance spectacular that Blair is staging.

Eve Arden also shines as Nanette secretary/spinster/surrogate big sister Pauline Hastings, who is charged with ensuring that her employer meets the requirements of the bet. This gives Arden countless opportunities for mildly bawdy wisecracks regarding the not-so-fair sex.

Warner provides more fun in including the following theatrical trailer that is incredibly delightful and clever while also showcasing highlights from the film.


Although hilarity ensues before the aforementioned wager, the real action begins when Day invites the entire cast and crew of the play to spend the weekend at her large country house. That has fussy Max contending with a gaggle of enthusiastic chorus boys and girls.

Of course, everything comes down to the wire but works out in the end. It further achieves the rare trick in 2017 of leaving the audience with smiles on their faces and the titular tine on their lips as the "The End" flashes across the screen.

The plethora of bonus features includes the apt 1950 Joe McDoakes comedy short "So You Want to Hold Your Husband" starring future George Jetson voice actor George O'Hanlon as a man whose marriage  goes from bliss to boredom in 10 short years. We also get the Tom and Jerry "Tee for Two" in which this pair have a hilariously violent golf game. The goodness continues with a Day and MacRae on a radio show and a lost overture.

Anyone with questions or comments regarding "Tea" is strongly encouraged to email me; you also can connect on Twitter via @tvdvguy.








Sunday, September 3, 2017

'The Dickumentary A Short History of the Penis' DVD: Exploring Phallicies of the Male Sexual Organ


Breaking Glass Pictures, which is the company behind the (Unreal TV reviewed) sensitive film about brotherly gay incest "Godless," once again goes where other home video distributors fear to tread in releasing "The Dickumentary: A Short History of the Penis" on DVD. This is at least the second time that Breaking delves into this area. The amusing (Unreal TV reviewed) breaking "cockumentary" "Unhung Hero" by comedian/actor Patrick Moote chronicles the efforts of Moote to enhance his endowment. Any review that allows phrases such as "fantastic four," "eight is enough," and "the chosen people" is a real treat for the fifth-grade boy in every man.

The most apt paraphrased expression regarding "History" is that 90 percent of men admit that this subject is very important to them, and the other 10 percent are liars. On a related note, offspring with an unusually open relationship with their male parent may want to consider giving this DVD as an completely unexpected Father's Day present next year.

Filmmaker Sofian Khan begins with the big bang to show how penises evolve from an always rigid tube that plays a role in rudimentary reproduction to the fleshy muscle that it is today, The scope of this biology lesson includes an up close look at the duck penis and a visit to a penis museum in Iceland. The founder of that exhibitionist space explains how a childhood hobby comes to expand to the large institution that is the center of this segment.

Khan moves on to the subject of circumcision. The topics this time include separate recent efforts in San Francisco and Germany to outlaw that practice. We also learn of the basis for the popularity of circumcision in South Korea; this includes footage of an elementary-school age boy who may as well hand over all of his lunch money right through graduating high school now.

The next portion of "History" addresses the issue of the extent to which size matters. The experts whom Khan consults include porn actresses who both provide solace to men on the lower end of the penis scale and give other male viewers reason to feel like porn stars. We additional see the process (including the end result) of a man who undergoes penis enlargement surgery.

Another segment focuses on New Yorker Jonah Falcon, who is very cocky (it had to be said) about his 13.5 penis that may be the largest one in the world. Independent web-based research regarding this reveals that bigger is not always better.

The analyses of the above topics nicely puts everything about a body part that receives undue attention in perspective. Your average man (and woman) forget about the basic biological function of the penis, and we learn that every man should feel fine about wherever he is on the bell-end curve. Of course, the reality is that guys at both extremes will continue to feel the way that they always have.

The DVD extras are deleted scenes and a "behind-the-scenes" feature.

Anyone with questions or comments regarding "History" is welcome either to email me or to connect on Twitter via @tvdvdguy.








Friday, September 1, 2017

"Riff-Raff' DVD: The Noiriest Noir


The ongoing series of reviews of vintage Warner Archive DVD release aptly picks the scorching 1947 noir film "Riff-Raff" for the hot and steamy weather that much of North America is experiencing. Pat O'Brien stars as awesomely named PI Dan Hammer, who almost certainly has a past behind his present as a well-connected (and liked) shamus/fixer who lives in his shabby one-room office in Panama.

"Riff" creatively opens in the interior of a cargo plane that is transporting two passengers from Peru to Panama; one of these men not heeding the standard airline instruction to stay in his seat with his belt fastened until the plane comes to a complete stop at the terminal sets the action in motion.

Hasso, who is the other passenger, seeks out Hammer time on landing in Panama. This client, who is on a 24-hour mission similar (but more nefarious) to the one around which the (Unreal TV reviewed) Archive BD-released "Bad Day at Black Rock" centers, wants to hire Hammer to ensure that the journey is a round-trip one for Hasso.

The noirness of "Riff" increases when an oil company executive calls Hammer to summon him to his office while Hasso is still present. Hammer drops off Client #1 on his way to visit potential Client #2.

On arriving at the executive suite, Hammer learns that passenger who deplaned prematurely was carrying a map to a historically rich oil field. The dual mission that Hammer accepts is to locate Hasso and to recover the map. Anyone at all familiar with this genre knows that this task is going to be much more difficult than Hammer anticipates.

Not being a fool, Hammer rushes over to the hotel where he dropped Hasso only to find that someone has gotten there before him; the next actions by Hammer nicely convey his character (no pun intended).

The dame comes in the picture in the form of club singer Maxine (Anne Jeffreys of the "Topper" franchise and "General Hospital"), who has a mission of her own and who is as fast with quips as Hammer. Of course, love has a great deal to do with every action of Maxine.

The investigation further enhances the noir element  of this post-war film with the introduction of sinister German Molinar. Molinar also wants the map and shares the belief that Hammer is the key to obtaining it. This sets the stage for a scene for a creative time-lapse segment in which Molinar tries to prove that he has ways of making Hammer talk.

Much of the (once again) noir-style film relates to Hammer repeatedly helping Molinar make a fool out of himself. The best of this lot involves Hammer sidekick/driver Pop (played by Percy Kilbride fully channeling Pa Kettle). As an aside, seeing Pop and Hammer joke about gay marriage in the '40s is equally amusing and awesome.

The Hays Code is fully respected in that crime does not pay and the girl ends up with the right fella.

Anyone with questions or comments regarding "Riff" is encouraged to email me; you also can connect on Twitter via @tvdvdguy.




'We Will Riot' DVD: Young Lithuanian Lion Zabaraukas Tells Tale of Vilnius Beatmakers


[EDITOR'S NOTE: This review of the 2013 drama "We Will Riot" is the last article on the trilogy of movies by filmmaker/gay rights activist Romas Zabrauskas ahead of a mid-September interview with the auteur himself.]

The feature-length 2013 drama "We Will Riot" by young lion of the Lithuanian independent film world Romas Zabrauskas  is a good middle film between his (Unreal TV reviewed) 30-minute 2011 movie "Porno Melodrama" and his 2016 (also reviewed) feature "You Can't Escape Lithuania."

The following YouTube clip of the SPOILER-DRIPPING theatrical trailer for "Riot" highlights the intensity and related drama of the tale of the passion of the youth in a repressive society.


"Riot" centers around Luke, a 20-something black guy from New York whose birthday presents include learning that the white grandmother whom he grows up believing to be dead is alive and thriving in the Lithuanian capital of Vilnius. This prompts a confrontation with the black mother and his white father that leads to Luke traveling to Lithuania to better discover his roots.

The grandmother-grandchild reunion that is a only an plane trip away goes surprisingly well and even more unexpectedly leads to meeting with the fictional mayor of the real city. That municipal leader recruits "wannabe DJ" Luke to first create a city-owned night club for the youth of the city and then manage the joint.

This leads to a club-music infused montage in which Luke directs contractors and reviews plans with the mayor; an amusing scene from this portion of the film has Luke negotiating with Andy, an insecure gay Lithuanian who is promoting the local musicians The Beatmakers who are critical to the success of the venture. A mirror is highly symbolic (and equally prophetic) in this exchange.

The honeymoon period for Luke extends beyond his business succeeding in the eyes of the club kids and the city alike. He is enjoying a good relationship with white rebellious party girl/fag hag Marta. Marta is a twofer regarding Zabrauskas trademarks in that she is the girl to the two guys who are central characters and fills the role of that female in having an memorably insightful line. The observation this time is that Andy being gay precludes him from being prejudiced against Luke because that not-at-all ugly American is black.

This also is a period in which Luke encourages Andy to not suppress his sexuality despite the rampant government-sanctioned homophobia in Lithuania. Zabrauskas provides an awesome payoff regarding this in an equally sweet and amusing scene in which Andy reaches the point that he openly makes out with his adorable boyfriend.

As is often the case in relationships of all types, the honeymoon lasts roughly one year. Luke becomes a victim of his own success in that the club does so well that the city covertly and overtly acts to shut it down to make room for development that is inconsistent with the business that is responsible for revitalizing the area. Discovering the extent to which he is being duped is very painful for our hero.

All of this leads to the spectacular Zabrauskas trademark of a passionate speech that accompanies a surprising act of freedom of expression. In this case, the grand gesture is very apt for this film in which historic and current suppression is a major theme.

On a larger level, "Riot" shows once again that Zabrauskas is an actor's director. This reflects both that he is a peer of his main cast and that those (mostly Lithuanian) thespians share his passion regarding the prejudice and corruption in that country with a challenging past.

Anyone with questions or comments regarding "Riot" is encouraged either to email me or to connect on Twitter via @tvdvdguy.











"Porno Melodrama' DVD: Rising Star Lithuanian Auteur Romas Zabrauskas Shows Powers of Love and Money


[EDITOR'S NOTE: Unreal TV is running an interview with filmmaker/gay-rights activist Romas Zabarauskas in mid-September 2017.]

The intense passion of 27 year-old Lithuanian producer/director/writer/righteous dude Romas Zabrarauskas for getting his films made and his related vigorous campaigning for gay civil rights in his native country dramatically comes across in his films. As shown below, they are personal and intense.

The most notable example of the contagious passion of Zabarauskas for his work is his offering nude photos of himself as a premium in a crowdfunding campaign to raise money to make his third film "You Can't Escape Lithuania." Unreal TV reviewing this entertaining and insightful film is the beginning of a reviewer/filmmaker relationship with Zabarauskas that includes him providing DVD of his two previous films.

Zabarauskas shares regarding the aforementioned photos that he considers them a "cheeky" way to raise money. The blessing and the curse regarding these pics is that naked pictures of an attractive guy are always appealing but the subject this time is such a talent and a nice guy that you do not want to embarrass him. (An aside is that a high school teacher carelessly leaving naked desert photos of his then-girlfriend posing with pots and pans but future wife/fellow teacher on his desk is a favorite teen memory especially because that subject has the same smile on her face regardless of whether she is dressed.)

The 30-minute 2011 drama "Porno Melodrama" by Zabrauskas is light on the former but heavy on the latter; it centers around the conflicts of 20-something live-in boyfriends Jonas and Matas in Lithuania, which has a central govenment that denies equal rights for gay men.

The following YouTube clip of the "Porno" theatrical trailer reflects the aforementioned ratio of the titular elements and demonstrates both the intensity of the film and emphasis of art over commerce.


The "Porno" enters the picture in the form of the love of Jonas for Matas being so strong that he consents to making a stag film with former girlfriend Akvile to fund an escape from Lithuania to a more gay-friendly nation. Some of the ensuing melodrama relates to Matas being concerned that Jonas will like making the film a little too much and Jonas being unhappy that he must earn most of the household money while grad student Matas spends all day working on this thesis; an element of I expect dinner to be on the table when I come home from having straight sex in front of a camera all day enters the picture.

For her part, Akvile is experiencing drama regarding her current relationship with a man; she also has emotions related to Jonas leaving her for Matas. She also gets the best line in the film in stating that she admires gay men in Lithuania because they remain true to themselves despite doing so subjecting them to intense literal scorn and ridicule.

The shock-and-awe in the final scenes of "Porno" that are a Zabrauskas trademark amp up the titular drama. Akvile delivers an intense monologue to a captive audience in the background of everything about to go up in flames. This is comparable to a big gay surprise ending in "Lithuania" and a bringing down the house scene in the Zabrauskas feature  "We Will Riot."

The live-stage feel of "Porno" shows that Zabrauskas directs well and effectively communicates his vision. It further provides more senior European gay producer/director/writer Casper Andreas another reason to look over his shoulder.

Anyone with questions or comments regarding "Porno" or Zabrauskas is strongly encouraged to email me; you alternatively can connect on Twitter via @tvdvdguy.