Whatcha See is Whatcha Get - Set your DVR's!

As if you needed more motivation to set your DVR's for Turner Classic Movies' airing of DARKTOWN STRUTTERS at 1 AM Central Time on the morning of Saturday the 19th, here's a little taste.

Trina Parks stumbles onto the villain's underground lair, where he has some VERY prominent citizens held hostage in cells. Apparently The Dramatics stopped off at Louisville Cross' restaurant for a meal in between gigs.....

Enjoy!

Revisited: SO FINE (1981), ...ALL THE MARBLES (1981), DARKTOWN STRUTTERS (1975)

The question "Why the Hell isn't THIS on DVD yet?" has recently been rendered moot for two of THE HORN SECTION's most wanted.


SO FINE (1981) is now available through the Warner Home Archive. This was Andrew Bergman's initial effort as director, and his followup script to the hilarious 1979 classic THE IN-LAWS. Here is the original review, from way back in May 2006.


But this isn't the Warner Archive's only good deed: also available is another 1981 cult classic, ...ALL THE MARBLES, starring Peter Falk. Here is the original review for this one, and here is a sample film clip of what the DVD world has been missing...until now.


Two down, 37 (and counting) to go. Unfortunately, there's still no DVD release slated for 1975's DARKTOWN STRUTTERS, the forerunner to spoofs like I'M GONNA GIT YOU SUCKA, UNDERCOVER BROTHER and the recently released BLACK DYNAMITE.
Original review is here.


But there is a "Set your DVR's" alert: Turner Classic Movies will be airing DARKTOWN STRUTTERS at 2 A.M. Eastern Time on Saturday, December 19th as part of the TCM Underground series! So set your DVR's for this rarely broadcast slice of insanity, watch your butt when these ladies strut, and stay tuned for review # 40:

The Horn Section Salutes: Edward Woodward (1930-2009)

Admittedly, I've been lazy lately, to the point of being about a week after the fact with this one, but I just couldn't let the passing of the one and only Equalizer go without comment. Last week, actor Edward Woodward, best known to us 1980's children as Robert McCall, a.k.a. THE EQUALIZER, but also the star of the terrific films BREAKER MORANT and THE WICKER MAN (1973; not the shitty Nicolas Cage remake) among many other impressive credits, died at the age of 79.

My tribute will focus on THE EQUALIZER, which was simultaneously a blast from the past and a breath of fresh air when it premiered on CBS in the fall of 1985. By that time, it was practically a rule that any "aged" and presumably, unattractive leading man in a crime drama required a "young sidekick" to keep the attention of the ladies. Think HARDCASTLE AND McCORMACK, and the latter day BARNABY JONES among others. William Conrad was trusted to carry CANNON by himself in the early 1970's, but a decade later it was decided that he required Joe Penny's help to rope in the young female viewers for JAKE AND THE FATMAN.

THE EQUALIZER went against this, with the title character played by the overweight, 5'9", toupeed and then 55 year old Woodward. While he often called in favors from various old contacts, he worked alone with no sidekick. The Equalizer, a.k.a. Robert McCall, had resigned from a long career in intelligence, no longer able to stomach some of the things he'd done as an operative and seeking a form of redemption via selflessly helping the helpless. "Got a problem? Odds against you? Call the Equalizer" read his daily newspaper ad.

It was the ultimate testament to Woodward's superior acting ability that this stocky, less than physically imposing, polite Brit in late middle age was thoroughly convincing as such a resourceful badass. Wisely the producers revealed only a little of McCall's past at a time, keeping him properly mysterious while slowly letting viewers get to know him. At least, on this side of the pond. For those old enough to remember it, THE EQUALIZER at times seemed like a plausible sequel to Woodward's British series CALLAN, in which Woodward's title character worked as an operative.

I have yet to get around to posting a full review of THE EQUALIZER: THE COMPLETE FIRST SEASON, but I'll highlight a couple of standouts for you to Netflix in your own spare time:

"China Rain" (9/25/85): A young and very appealing Lauren Tom is a maid whose son is mistaken for a millionaire's and kidnapped. McCall calls in a few old markers, enlists the help of a few old friends from the agency (including, for the first time, frequent guest star Keith Szarabajka as "Mickey") and, unbeknownst to them, NYPD's finest in outwitting the kidnappers.

You'll get a few giggles at an era in which a 3 character code was topnotch computer security, but director Richard Compton (MACON COUNTY LINE) really captures the seediness of the city at night and establishes McCall and many of his relationships with just the right dollops of humor and mystery. IMO a better introduction to the series than the actual pilot.

"Breakpoint" (3/5/86): Many people's favorite episode of the entire series, this was the very first television appearance for MONK himself, Tony Shalhoub (as the lead terrorist) and also featured a young Patricia Clarkson. McCall's many years of experience come in handier than ever here as he is part of a wedding party taken hostage in a high rise building by terrorists who have no idea of his background.

McCall anticipates every single move meant to keep the hostages nervous and on edge, for example, he knows that they'll give part of the original group a false sense of security early on, then take that very group hostage. He also knows that he'll have to wait for the right moment to strike, even though it means gritting his teeth through the torture of a fellow hostage close to him and the possibility that some will not survive. A terrific episode that predates DIE HARD by two years and also shows yet again the resourcefulness of McCall, who can even find a useful weapon in the men's restroom.

Once you see these two, really, the entire first season is well worth checking out. The show started to slip in Season 3, when Woodward suffered heart attack and was off-screen too much, and shortly after the scripts started to sag in the fourth and final season. Still, Woodward's presence makes almost any episode worthwhile.

He tried again on U.S. television a year after THE EQUALIZER's demise, but unfortunately OVER MY DEAD BODY proved to be a terrible vehicle, barely lasted a season, and was quickly forgotten.

Still, Edward Woodward's signature role on U.S. television is still fondly remembered a quarter century later, and well worth Netflixing a disc or two to check out. R.I.P. Robert McCall.

The long promised 40th film review is forthcoming. Pinky swear!

Scribbling in Superior Fashion

First off, my apologies for being overwhelmed with non-blog activity lately. Many reviews and other goodies are in the works. My friend Rudy Russo says you're gonna love it--and you can trust him! In the meantime, I am pleased to be the recipient of another award for blogging. Superior blogging, at that!

Toby over at 50 Westerns From the 1950's has awarded yours truly with the "Superior Scribbler" for blogging. Whether I got the award mainly for the "Why the Hell isn't this on DVD yet?" review series, or the ongoing tribute to the greatest actor who ever lived, Forrest Tucker, I am honored to humbly accept this recognition.

Toby's blog is well worth checking out if you like those old-school westerns like I do. In keeping with the spirit of the award, and the rules as well, a link to this post explains the Superior Scribbler in great detail, and I have 5 Superior Scribblers to hand out myself. Without further ado, my Superior Scribblers out there in blogland:

Snake Oil -- I've been a huge fan ever since the print version in the early 1990's, and Brother Randall's guide to Kooky Kristian Kulture still makes me laugh out loud. If Robert Tilton or Benny Hinn ever got a giggle out of you, this blog's for you!

Johnny Larue's Crane Shot continues to provide terrific film and TV reviews, and video links. And a special gold star for Marty for his ongoing episode guide for The Misadventures of Sheriff Lobo, a series sadly neglected otherwise.

Atrocious Gramma --Randy shares my fascination with Quincy, M.E., and most recently provided a great breakdown of the very first episode! For you fans of the Klug Man, this is a must.

Retrospace -- All kinds of pop culture here. Whether it's an essay on why disco died, or another top 100 list of the greatest horror films ever made, you'll find it here.

Congrats to the winners! Back to trying to finish some new reviews of my own for you....

This Week on DVD: The Lola Falana Show (1976)

Instead of looking at what's not out on DVD yet, this week I'd like to acknowledge the 1976 LOLA FALANA SHOW, which just received its release on a 2 disc set from Video Service Corporation.

It's probably just as cheesy as most 1970's variety shows (WALK HARD: THE DEWEY COX STORY pegged the typical variety show from that decade *perfectly*) but the gorgeous Ms. Falana has been out of the public eye for well over a decade now, and it should be fun to revisit her show today. Enjoy the clip above; other guest stars included in the set are Dick Van Dyke and Redd Foxx.

And have no fear, I'll be back to bringing attention to those lost classics still missing from DVD shortly....number 40 is next!

Wrongo Starr, R.I.P. The Horn Section Salutes.....Henry Gibson (1935-2009)

Henry Gibson, the great comic character actor best known for his work on LAUGH-IN, passed away Monday one week short of his 74th birthday.

You'll also remember him as the leader of the Illinois Nazi party in THE BLUES BROTHERS, but here at the Horn Section we salute him as F TROOP's most famous guest star, Private Leonard W. "Wrongo" Starr. The first season episode "Wrongo Starr and the Lady in Black" was hilarious enough to warrant a return trip for Henry in season two, creatively titled "The Return of Wrongo Starr".

Gibson worked with many of the greats during his 45 year (!) career. He was Charlie Horse in the Three Stooges' theatrical swan song, THE OUTLAWS IS COMING! (1965). He was Clifford Stool in the very funny and very underrated teleflick EVIL ROY SLADE (1972). He reunited with over a half-dozen LAUGH-IN co-stars on GET CHRISTIE LOVE!, played Napoleon on BEWITCHED (Dick Sargent not Dick York era) and most recently capped it all off with a series of guest appearances on BOSTON LEGAL as Judge Clark Brown.

The clip I've chosen to highlight today is Henry Gibson simply playing himself in the side-splitting KENTUCKY FRIED MOVIE (1977), the debut film for AIRPLANE!/NAKED GUN auteurs Zucker, Abrahams and Zucker. Join Henry as he urges us to fight our nation's number one killer, Death.

R.I.P. Henry. And a "Set your DVR's" note: Henry and The Three Stooges are coming up on TCM as THE OUTLAWS IS COMING airs Saturday, September 19th at 6:30 P.M. Central Time.

Film Review: GEORGIA, GEORGIA (1972)

Why the Hell isn't this on DVD yet? -- Number 39

GEORGIA, GEORGIA (1972 Kelly-Jordan Enterprises/Cinerama) Starring Diana Sands, Minnie Gentry, Dirk Benedict, Roger Furman, Terry Whitmore. Directed by Stig Bjorkman. Screenplay by Maya Angelou.

Despite her stature as a two-time Tony nominee and marquee stage star for a decade, Diana Sands had to wait until 1972 to receive top billing in a feature film. The gifted actress was arguably Broadway's biggest African-American star during the 1960's but was repeatedly denied a silver screen breakthrough. When the time came to film her biggest Broadway hit, THE OWL AND THE PUSSYCAT, Hollywood turned to Barbra Streisand. When she gave a marvelously layered performance in Hal Ashby's THE LANDLORD, Lee Grant received the Oscar nomination that Sands deserved. Finally, Sands was cast as the lead in Kelly-Jordan Enterprises' first foray into film, GEORGIA, GEORGIA.

Sands' title character is a pop music diva arriving in Stockholm for the latest stop on her world tour with her inner circle, hired maid and surrogate mother Minnie Gentry and homosexual business manager Roger Furman. During her stopover, black Vietnam deserter Terry Whitmore angles for a private audience with Sands to convince her to bring attention to the plight of his fellow expatriate defectors, but the apolitical prima donna shows no interest. Whitmore next tries to reach her through the more sympathetic Gentry, who sees an opportunity to play matchmaker. Meanwhile, impotent white photographer Benedict (also a Vietnam veteran) is assigned to capture Sands on film for a magazine article and ends up capturing the ice queen's heart.

Maya Angelou's debut screenplay is nothing if not ambitious. She explores the loneliness of a single, successful woman at the top; the effect of the Vietnam experience on its shell-shocked vets and the plight of deserters who are permanently seperated from their homes and families; the sicknesses of racism and obsession with racial purity; and the often poor choices that larger than life stars make for their inner circle (i.e. Elvis, Selena, Michael). Stockholm is just about the last setting you would expect for a penetrating drama on racial issues, and the setting is just one of several curveballs Angelou has in store. Sands is largely unsympathetic: spoiled, condescending, self-important, shallow and abusive to her hired help. For her part, the older Gentry is far from a comforting mother figure; damaged by her experiences with racism, she seethes inside with hatred towards Caucasians and her smiles are often chilling, rarely reassuring. The script is perhaps too ambitious: for example, when Furman asks Sands why she keeps Gentry around, the question warrants more than a one line explanation ("to remind me of what I escaped").

Despite filming in his native Sweden and coming off the challenging experience of directing non-professionals exclusively in his prior feature (I LOVE, YOU LOVE) Bjorkman is the wrong director for this film, far more comfortable with his locale than with the issues Angelou raises. Budget limitations are distractingly obvious, the pacing is uneven and the editing is consistently choppy.

Most damaging is Bjorkman's complete failure to establish the title character as an international superstar named "the most popular American singer in Europe" as we're told in the first few minutes. The director seems most intent with deglamorizing the songbird, and the sexy, enticing Diana Sands of THE LANDLORD and DOCTORS' WIVES is only occasionally in evidence here. Typical is the botched opening. Angelou's rousing "Bird of Paradise" plays over Sands' arrival at the airport. Instead of letting the uplifting song play and following Sands as she triumphantly enters Stockholm, Bjorkman cuts away after less than a minute and whisks us to an awkwardly staged press conference. The necessary strong introduction to Sands' Georgia Martin never materializes, and her concert is also badly mishandled: poorly attended and featuring a lukewarm finale instead of the must-see spectacle we anticipate from "the goose that lays golden eggs". The failure to dub Sands is also unfortunate; she's a fantastic actress but a mediocre singer, and lacks the vocal range needed for the show-stopper that is sorely needed.

As a result of the numerous missteps, it's impossible to buy Georgia Martin as a Diana Ross or Eartha Kitt on the world stage and Angelou's story is robbed of much of its power. In the end GEORGIA, GEORGIA seems more about Gentry and her consumption by hate than its title character.

Despite not having the budget or director for its intentions to be fully realized, GEORGIA, GEORGIA is still worth seeing for Angelou's imperfect but still intriguing debut screenplay and for the underappreciated performers in front of the camera. Minnie Gentry is best known today as Terrence Howard's grandmother, but she had four decades of stage experience before making her film debut here at age 57. She's very good overall, convincingly portraying Alberta's loosening grip on reality. A young Dirk Benedict also makes a solid film debut, and Roger Furman, well known as a stage director and playwright who founded Harlem's New Heritage Repertory Theatre, makes his only feature film appearance and nicely avoids the stereotypes as Sands' gay manager.

So...why isn't this on DVD yet?

Poor direction and budget constraints that are too obvious keep the film from reaching its full potential. The subject matter is in some ways dated and the film is crudely edited.

GEORGIA, GEORGIA is very obscure; surprisingly, this received only a brief VHS release in 1983 at the height of Dirk Benedict's A-TEAM fame, then disappeared.

The stars are primarily known for stage (Sands, Gentry, Furman) or television (Benedict) rather than for their respective film careers. Only Sands ever played a lead on the big screen, and only one other one at that (the misfire HONEYBABY, HONEYBABY).

Why it should be on DVD:

Maya Angelou fans would certainly be interested in her debut screenplay; she also wrote the songs "Bird of Paradise" and "I Can Bring down Rain".

There's precious little of Diana Sands available as it is: amazingly only A RAISIN IN THE SUN, WILLIE DYNAMITE and (sadly) HONEYBABY, HONEYBABY are on DVD. GEORGIA, GEORGIA is far from a perfect showcase for the late star, but its by far the better of her two starring vehicles. Even in a less than ideal role and hampered by the film's flaws, Sands is still very convincing off the concert stage and well worth watching.

Dated, perhaps, but certainly not irrelevant: the dysfunctional inner circle of the superstar seems as timely as ever in the wake of Michael Jackson's death, and Gentry's hair-raising comments about Sands "dishonoring her race" are sadly still echoed in news stories in America today. Also of note: the appearance by real life Vietnam deserter Terry Whitmore, who by this time had already been the subject of a documentary (TERRY WHITMORE, FOR EXAMPLE).

TiVo alert: Diana Sands' theatrical swan song WILLIE DYNAMITE will air on Turner Classic Movies' TCM Underground at 2:30 A.M. on September 26th. With Roscoe "Gordon" Orman as the titular pimp(!).