FRIDAY THE 13TH: THE SERIES--THE FINAL SEASON -- DVD Review by Porfle

 

Originally posted on 9/17/09

 

Perfect for Halloween viewing, FRIDAY THE 13TH: THE SERIES--THE FINAL SEASON is another outstanding collection of stories that delve headlong into darkest fantasy and full-blown Gothic horror, from one of the finest series of its kind ever made for television.

Richly evocative of the 80s-90s era in horror, yet steeped in the moody aura of the classic fright films of the past, each episode from the 1989-1990 season is like an atmospheric mini-movie replete with hideous monsters, evil spirits, malevolent magic, and everyday people taking a walk on the dark side.

As usual, beautiful redhead Micki Foster (Robey) is still trying to track down the cursed items that were sold from the curiosity shop she's inherited from her evil Uncle Lewis (R.G. Armstrong), who died after his deal with Old Scratch fell through. She's aided by her uncle's former antique dealer, Jack Marshak (Chris Wiggins), whose knowledge of arcane lore and the dark arts is invaluable. Micki's cousin Ryan (John D. LeMay) is half-owner of the shop, but his character is done away with during the season premiere and replaced by Steven Monarque as Johnny Ventura, a wide-eyed novice in the world of the supernatural.

The cursed antiques, which can be anything from a coin to a child's toy to a haunted television set, wield an evil influence over their owners and are usually used for deadly revenge or personal gain. Either way, they tend to kill people in extremely horrible ways, which is bad for our heroes, but great for us horror fans.

The season gets off to blood-curdling start with a two-parter called "The Prophecies." Jack finds himself in a small French village whose convent is the home of a revered nun, Sister Adele (Marie-France Lambert). Her childhood vision of the Holy Mother has made the village a mecca for people seeking to be healed of their afflictions. But this haven of holiness finds itself under attack from fallen angel Asteroth (Fritz Weaver in full Fritz Weaver mode), who, armed with a cursed copy of the Satanic Bible, is determined to fulfill a series of prophecies that will enable Lucifer to walk the earth.

The story loses steam during the second part as Weaver's one-note character begins to grate on the nerves, but the first half of this tale contains some of the scariest stuff ever done for television. When Jack is awakened at 3:33 a.m. by groaning, distorted church bells, the effect is chilling. Then we see Sister Adele attacked by a possessed nun while in prayer, a scene that should unsettle anyone who was ever scared by THE EXORCIST. Soon after, a sequence in which a ward full of mental patients attack the convent's staff and slaughter them in unholy ways is pure bedlam, and very strong stuff. Topping it all off is the bizarre and unexpected fate of Ryan, which is one of the strangest main character departures ever.

"Night Prey" is an old-fashioned wing-flapping, cross-shunning vampire tale which ends with some nice messy disintegrations. In "The Charnel Pit", Micki is sucked into the past via an old painting and falls into the hands of none other than the Marquis de Sade. "The Tree of Life" is the story of a modern sect of Druid priestesses who grow new recruits in their own fertility clinic and then sacrifice the parents to a tree god.

A cursed wheelchair enables a paralyzed girl to get revenge on the boys who tried to rape her in "Crippled Inside", which boasts one of the most amazing stunts I've ever seen--a stuntwoman goes down a flight of stairs in a wheelchair, backwards! Other episodes deal with a headless biker, a television that serves as a conduit for angry ghosts, an evil jack-in-the-box, and a man who uses a cursed leash to (as the episode summary puts it) "merge his dog and his wife into one super-devoted companion." Cool!

As Micki, Robey does her usual great job of being a big-haired babe while bringing depth and conviction to her role. Chris Wiggins as the ever wise and stalwart Jack grounds the show with his dignified presence and experience, no matter how far-out the plots may get. New castmember Steven Monarque's character of Johnny Ventura, first introduced in season two, gives the viewer a fresh, unjaded perspective through which to witness all the weirdness that Micki and Jack have become accustomed to.

Production values are high and the feature-level direction and writing are consistently good. The show doesn't skimp on the horror factor, either--there are lots of awesome old-school makeup effects such as the impressive full-body costume and cable-controlled head for the main creature in "Demon Hunter", and the horrific acid-dissolving victim (like something out of Cronenberg's THE FLY) in "Crippled Inside." In "Stick it in Your Ear", guest star Wayne Best's repulsively organic hearing aid, which allows him to read minds, causes him to break out in some wonderfully disgusting and squishy air-bladder makeup. The show's use of CGI is still hinky-looking as ever, but for the most part the effects are first-rate.

This five-disc set from CBS/Paramount contains all 19 third-season episodes, most with the original network promos. The 1.33:1 picture and Dolby Digital English mono sound are good although the show's cinematography always tended toward the murky side. (A heavy-handed racial episode, "Hate On Your Dial", is shot largely in beautiful black-and-white and is probably the best the show has ever looked.) The episodes often have that melancholy, autumnal atmosphere that is somehow common to many Canadian horror productions of the era, which contributes in large measure to the show's effective mood.

I was very impressed by this series' first season, and FRIDAY THE 13TH: THE SERIES--THE FINAL SEASON continues in the same high quality vein to the very end. Horror fans in search of the real deal can't go wrong with these satisfying, finely-wrought tales of terror.


Read our review of "Friday the 13th: The First Season"

 

FRIDAY THE 13TH: THE SERIES--THE FINAL SEASON -- DVD Review by Porfle

FRIDAY THE 13TH - THE SERIES: THE FIRST SEASON -- DVD Review by Porfle

Originally posted on 11/5/12

 

Here's the original prologue that used to begin each episode of "Friday the 13th - The Series":  "Lewis Vendredi made a deal with the devil to sell cursed antiques. But he broke the pact, and it cost him his soul. Now, his niece Micki, and her cousin Ryan have inherited the store... and with it, the curse. Now they must get everything back and the real terror begins."

For some reason this prologue is omitted from the 6-disc DVD set FRIDAY THE 13TH - THE SERIES: THE FIRST SEASON, but I figured it would be a good way to start my synopsis.  In the first episode, veteran character actor R.G. Armstrong plays Uncle Lewis, whose sudden relocation to Hell leaves Micki and Ryan as proprietors of his antique store, Curious Goods.  Lewis' former partner, a sage old sorceror named Jack, shows up and warns the two that all the cursed items that have been sold from the store will cause untold death and destruction if they don't track them all down and lock them in the vault downstairs. 

After witnessing some supernatural shenanigans firsthand, it doesn't take long for our heroes to get over their initial "yeah, right" attitude and dedicate themselves to this monumental task.

The main characters are likable and fun.  First, there's Robey ("Louise" when she's at home) as Micki, the fiery redhead who's lots of fun to look at.  Micki sacrifices her upcoming marriage to some Mr. Perfect-type to become a cursed antique tracker-downer, because she knows people will die if she doesn't.  Then there's her cousin Ryan (John D. LeMay), who comes off as a bit of a doofus at first--in fact, I thought he was going to be the bumbling comedy-relief until his character began to develop considerably as the season went on. 

Not unlike Mulder and Scully, or Steed and Mrs. Peel, Micki and Ryan have a lighthearted relationship that can also have its serious and dramatic moments.  At times, their characters are given a surprising amount of depth and often suffer sizeable personal tragedies.  Rounding things off is Chris Wiggins as their mentor, Jack, whose wisdom and knowledge of the black arts are indispensible. 

The thing that makes this unlikely trio of do-gooders so endearing is that they aren't professionals--they risk their lives in every episode out of concern for others.  (All together now:  "Awwwww...")

To me, the series has that distinctive look of 80s low-budget Canadian cinema, like RABID or one of the SCANNERS movies.  I've heard complaints about the picture quality, and indeed much of the photography is somewhat muted and murky.  But this is true mainly of the earlier episodes, and as the season progresses so does the look of the series (although the video FX are consistently fake-looking).  The same can also be said for the stories themselves, which start out a little on the hokey side and then keep getting better and better. 

For example, episode 4, "Cup of Time", is delightfully cheesy.  Familiar B-movie babe Hilary Shepherd plays a rock star whose youthful appearance depends on a teacup that emits leafy tendrils which suck the lifeforce from anyone who drinks from it.  We see decadent punk rocker-types standing in line for one of her concerts, but when we hear her sing it's so typically 80s spandex-glitter-pop awful you'll wonder why these fans aren't lobbing molotov cocktails at her. 

Another "more cheese, please" episode is "Shadow Boxer", in which a pair of evil boxing gloves helps a down-and-out palooka by enabling his bobbin' and weavin' shadow to run around beating people to death.

Things really start getting good when David Cronenberg steps in to direct "Faith Healer", starring SCANNERS alumnus Robert Silverman as a man with a horrible disease looking for someone with the power to cure it.  That someone, unfortunately, gets his power from a cursed glove that must be recharged by, you guessed it, sucking the lifeforce from some hapless victim.  Along the way Cronenberg gets to indulge his fondness for "body horror" with some grisly makeup effects.

"Scarecrow" is a nifty Halloween-tinged episode that plays like a creepy low-budget movie, with a wonderfully sinister, eye-rolling performance by Patricia Phillips as a woman who eliminates her smalltown enemies with the help of a scythe-wielding scarecrow.  In one scene, the scarecrow lops off some poor old lady's head and we actually see it bobbling on the floor, her face still contorted in terror.  Pretty cool for a TV show!  Like many other episodes, "Scarecrow" is like a mini version of the cheap 80s horror flicks that many of us remember so fondly.

"Vanity's Mirror" is a delightful anti-Carrie story about a really vile high school geek-girl who uses her cursed item, an antique gold compact that makes any female irresistible to men, to lure various tormentors to horrible, gory deaths.  Eventually, she steals her beautiful sister's boyfriend from her and orders him to beat and then string up the hapless lass before whisking her away to the prom!  Awesome.

I could go on about how good various episodes are, but for me, the two-part "Quilt of Hathor" is the highlight.  Amidst a stark, snowy setting, we meet an ultra-strict religious community known as the Penetites who eschew technology and live much like they did back in the old Salem witchhunt days.  Scott Paulin (THE RIGHT STUFF) plays their leader, Reverend Josiah, who is, by law, required to take a wife.  But his prospective brides keep dying off thanks to a homely woman who has the hots for him and possesses a quilt which allows her to kill people by dreaming their violent deaths. 

Micki and Ryan go undercover with the Penetites and try to recover the quilt, but in the process Ryan falls in love with Reverend Josiah's daughter and ends up in a death duel with the jealous geek-boy to whom she's betrothed.  The set-up for this fight looks just like something out of the wackier side of STAR TREK--I almost expected to hear someone say "One thousand quatloos on the newcomer!"  During this richly atmospheric double-episode, several people suffer an unpleasant demise before the suspenseful finale.

Besides those already mentioned, some other interesting guest stars pop up here and there.  The first episode features the DAWN OF THE DEAD remake's Sarah Polley as a little girl.  In "Cup of Time" we also get to see what Lisa Jakub (Randy Quaid's daughter in INDEPENDENCE DAY) looked like as a wee tyke.  One of the victims of anti-Carrie in "Vanity's Mirror" is an older Zack Ward, who was A CHRISTMAS STORY's memorable bully Scut Farkus.  Ray Walston plays a renowned comic book artist in "Tales of the Undead." 

Other notable guest stars include Carrie Snodgress, Cliff Gorman, Gary Frank, Val Avery, David Proval, and Michael Constantine (as Ryan's estranged father in the emotional episode "Pipe Dream.")  Oh, and R.G. Armstrong's "Uncle Lewis" character may have died in the first episode, but that's hardly the last we see of his evil, cackling mug.

Back in the 80s when FRIDAY THE 13TH: THE SERIES was new, I never watched it because of its association with the Jason movies, which I've always regarded as junk.  But thanks to this season one DVD collection, I've discovered it to be a highly worthwhile horror series that's loads of fun to watch.


Read our review of "Friday the 13th: The Final Season"

FRIDAY THE 13TH - THE SERIES: THE FIRST SEASON -- DVD Review by Porfle

SUSPENSE: THE ULTIMATE COLLECTION -- DVD Review by Porfle

 

Originally posted on 5/7/09

 

I'm fascinated by the early days of television, and you can't get much earlier, or more fascinating, than SUSPENSE: THE ULTIMATE COLLECTION.  

This is Jurassic TV, a primitive-looking, melodramatic thriller anthology that premiered in 1949 and lasted for 260 live, half-hour episodes until 1954. Ninety of those episodes have been unearthed and are now available in this 12-disc set which spans the series' entire run. 

As in any anthology series, the quality of the writing varies--in fact, some of the stories are clunkers. But for the most part, these episodes are consistantly exciting and imaginative, and live up to the series' title with stories that quickly establish a suspenseful situation and then keep us on edge till the end. 

Several stories are adapted from the works of authors such as Robert Louis Stevenson and Edgar Allan Poe. Rod Serling's contribution, the eerie "Nightmare at Ground Zero", is a tense and unsettling atom-bomb tale that really stretches the limits of live television. 

Knowing that these teleplays were performed live gives them the immediacy of theater combined with the intimacy of television. You can imagine the actors and crew rushing into their next set-ups during a slow dissolve, and sometimes you can hear them doing it, too. 

Gaffes by these skilled actors are few, while the occasional technical blooper is unavoidable. In "The Comic Strip Murder", a piece of equipment can be seen moving past a high-rise balcony like a UFO. In "The Parcel", a stock clip of a crowd enjoying a ballgame runs out before the director can cut to Ray Walston, Royal Dano, and Conrad Janis sitting in a bleacher mock-up. Cues are missed, boom mike shadows flit across walls, focusing is done on the fly, and sometimes you can even spot an errant crew member where he shouldn't be. But mistakes like this are part of the appeal of watching live television, and the fact that there are so few of them in this smoothly produced and directed (mostly by Robert Stevens) series is impressive. 

Most of the stories are grounded in reality, with the occasional foray into the supernatural. The very first episode in this collection, "A Night at the Inn" with Boris Karloff, is an unabashedly nutball tale of a gang of thieves stalked by knife-wielding, turban-wearing Indians for stealing a sacred idol's jeweled eye, until the indignant idol itself shows up to reclaim it. Another episode, "Black Passage", features none other than Stella Adler as a hot-blooded Latin vampire and a very young William Prince as the unwary suitor of her equally bloodthirsty daughter. 

Hardboiled crime drama rubs shoulders with frequent doses of Hitchcock-style mystery and creepiness, along with the type of macabre irony often found in EC comics. Richard Boone gives a super cool performance as a homicide cop closing in on a medical examiner whose guilt has been inadvertently captured on film in "Photo Finish." In "My Old Man's Badge", Barry Nelson plays a beat cop who singlehandedly takes on a drug-smuggling ring to avenge his father's murder, and in "Dead Fall", he's framed for passing industrial secrets to the Commies. 

On the darker side, "Dr. Violet" gives us Hume Cronyn as the proprietor of a carnival murder museum who takes a chillingly active part in his exhibits, while "Dead Ernest" generates suspense by showing us a catatonic man mistakenly pronounced dead and lying on a morgue slab awaiting the embalmer. 

One of the main pleasures of watching this collection is its incredible array of familiar faces, from past, present and future stars to the great character actors, often doing brilliant work. Ray Walston (billed as "Wallston" in one episode) and Royal Dano appear several times. Leslie Nielsen, just beginning his career as a dramatic actor which would later give way to comedy, stars in "The Brush Off" with future "Superman" star George Reeves. Boris Karloff shows up more than once and Bela Lugosi gives a delightfully florid performance in an adaptation of Poe's "The Cask of Amantillado." 

Other notable names include Paul Newman, Otto Kruger, Kim Hunter, Anne Francis, Lee Marvin, Harold J. Stone, Conrad Janis, Eileen Heckart, Walter Matthau, Eddie Albert, Lloyd Bridges, Mike Kellin, Ward Bond, James Whitmore, Vic Morrow, Jackie Cooper, Brian Keith, Darren McGavin, Franchot Tone, Jack Klugman, Tom Drake, Gene Lyons, Cloris Leachman, Mildred Natwick, Lilli Palmer, Eva Marie Saint, Richard Kiley, Joan Blondell, Jack Palance, Eva Gabor, Peter Mark Richman, Jayne Meadows, Robert Webber, and many more. Several of them make multiple appearances. 

These episodes are kinescopes, meaning that a monitor was filmed during the live performances so that copies of each episode could be sent to various network affiliates (this was before videotape or cable). This gives the show a somewhat murky picture and sound quality that is unavoidable; otherwise, however, I think these DVDs look very good. 

The 12 discs are contained in six attractive slimline cases which were originally released in three seperate sets, and contain all 90 episodes of the show that are known to exist. The final episode, "The Funmaster" with Keenan Wynn, is the only non-live entry and was aired in 1958, four years after the show's demise, presumably in an effort to revive it. 

The musical score for "Suspense" is performed almost entirely on Hammond organ (with the occasional piano, tubular bells, etc.) in the style of the early soap operas, and sounds similar to the music in Herk Harvey's CARNIVAL OF SOULS. As a bonus, almost every episode contains the original commercials for the show's sponsor, Auto-Lite automotive products, featuring dulcet-toned announcer Rex Marshall and a delightfully corny assortment of cartoons and animated clips.

SUSPENSE: THE ULTIMATE COLLECTION is over 43 hours of pure, unadulterated nostalgia that I found irresistibly entertaining. Whether you're a fan of early TV, or simply curious about what the medium looked like before it began to earn nicknames like "vast wasteland" and "boob tube", this time capsule from television's infancy should give you just the sort of buzz you're looking for. Buy it at 

 

 

SUSPENSE: THE ULTIMATE COLLECTION -- DVD Review by Porfle

GENESIS II -- DVD Review by Porfle

Originally posted on 10/26/09

 

 

Talk about a trip down memory lane...I don't think I've seen GENESIS II since it first aired way back in 1973. In those days we Trekkers went coo-coo whenever anything Gene Roddenberry-related was shown. After all, the original "Star Trek" was it--there were no movies, no spin-offs, no new episodes, nothing like the Trek glut that would come later. So the occasional failed pilot film from the Great Bird of the Galaxy would be aired, and we in our fervent Trek-fueled deliriums would wail: "Why? Why won't those idiots at the networks pick these up and make TV shows out of them? Why won't they ever learn?" Now, however, after a decades-long cooling off period and with considerably more hindsight, I can watch a Roddenberry pilot film like this and think, "Oh...so that's why."

Not to say, however, that watching GENESIS II isn't lots of fun in a nostalgic sort of way, because it is. For those of you who have never seen it--and who probably think it's the sequel to some movie called GENESIS--it's about a scientist (one of those handsome, action-guy scientists with a cool moustache, that is--not the boring, real kind) named Dylan Hunt (Alex Cord) who offers himself as the guinea pig in his own experiment in suspended animation which, if successful, will someday allow humans to travel great distances in space. But something goes wrong, and Hunt's pressurized chamber deep within Carlsbad Caverns gets buried during an earthquake. Dylan Hunt's experiment is a success, all right--he sleeps for 154 years, until he's discovered by people from the future.

They're a boring bunch, these members of the Pax group--a collection of pacifist, unisex intellectuals dedicated to restoring culture and civilization to a world ravaged by nuclear war. All, that is, except for the alluring and exciting Lyra-a (Mariette Hartley at her most alluring and exciting), who nurses Hunt back to health and then informs him that Pax is really an evil organization out to subjugate the weak and take over the world. She helps him escape Pax's Carlsbad Caverns headquarters and takes him via underground shuttle to her own city that's populated by genetically-superior mutants.

Yes, Lyra-a is half-mutant (Roddenberry always liked having a character who was half-something), meaning that she has two hearts and thus two navels. My main memory of GENESIS II from my younger days is Mariette Hartley casually stripping down to her undies to reveal her double navelage to Hunt (which was Roddenberry's revenge for not being allowed to show navels on "Star Trek") and announcing, "I'm a mutant." Hey, I was going through puberty--that sort of thing tended to stick in my mind.

Lyra-a's city bears a striking resemblance to the University of California campus (because the movie was filmed there) and is filled with snooty chicks and perfectly-coiffed guys who look like dungeon masters in a gay S&M club. ("Star Trek" alumnus Bill Theiss must've been watching ROCKY HORROR PICTURE SHOW when he designed their campy costumes.) These butch dudes are none too subtle--their preferred method of keeping slaves in line is a rod (known as a "stim" because it stimulates pleasure and pain nerve centers) that springs erect (hello!) when activated (yeah, baby!)

Anyway, Dylan discovers that Lyra-a's people, the Tyranians (tyrants--get it?) are really the bad guys after all, and, along with some wimpy-looking Pax commandos, passes out a bunch of stolen stims to the slaves (who, for some reason, all have mall-hair) and leads a revolt. In a thrilling action sequence, the revolting slaves run around tackling mutants and poking them with their stims. Fist-pump!

Poor Liam Dunn pops up as one of the sniveling slaves in one scene, looking as though Mr. Hilltop from YOUNG FRANKENSTEIN has taken a really wrong turn somewhere. As for these Pax characters whose adventures we were supposed to want to follow every week, they're rather unlikable and I didn't have the slightest desire to hang out with them. (I'd never say that about the crew of the Enterprise. Except for Chekov.) They don't even believe in having recreational sex, for Pete's sake. Oh, I'm sure that, given half a season or so, Dylan would've eventually warmed up the dormant libido of cute little Harper-Smythe (Lynne Marta) with his manly 20th-century charms.

Percy Rodriguez is okay as their leader, and naturally Majel Barrett gets shoehorned in as a council member. You'll also recognize familiar character actor Titos Vandis as another good guy. The only really cool Pax dude is the great Ted Cassidy as "Isiah", and he looks embarrassed in the goofy wig and toga he's forced to run around in. As for Alex Cord, I'd forgotten what a dull actor he was. Thank goodness Mariette Hartley is still as hot as I remembered--I felt a little envious of her chamber slaves.

The Carlsbad Caverns headquarters of Pax looks pretty neat but has kind of an Irwin Allen vibe, although that underground shuttle is just plain awesome. There are some nice exteriors, too. But most of the interior sets are drab, and so is the photography by Trek vet Jerry Finnerman. John Llewellyn Moxey's direction is similarly uninspired.

Kind of like Homer Simpson banging on his TV and shouting "BE MORE FUNNY!!!", I can remember watching this back in the 70s and trying to will it to be better. The concept seemed pretty good, or at least it seemed like a way to make vaguely "Star Trek"-type stories on Earth instead of in space. The different countries which had evolved into strange, unknown civilizations since the big war would be kind of like alien planets...the sleek sub-shuttle that spanned all the continents of the world was sort of like the Enterprise...the Pax organization was a little like Starfleet...the sleep-dart guns were similar to phasers.

That is, if you really, really used your imagination. But wouldn't it be nice if Gene Roddenberry had used his imagination, so we wouldn't have to? That is, instead of coming up with something that was not only a bland rehash of "Star Trek", but pretty much a rip-off of "Buck Rogers", too? BANG BANG BANG--BE MORE GOOD!!!

Deep down, I knew that no matter how much I banged on my TV set, GENESIS II wouldn't be anywhere near as good as "Star Trek" even if it ever did became a series, which I also knew wasn't gonna happen any more than either SPECTRE or QUESTOR were going to become a series. "Is this it?" I thought at the time. "Was 'Star Trek' the whole load? No more goodies from the Bird?"

To make things worse, the film ends with the Pax leaders forcing action-guy Dylan Hunt to promise that, from now on, he'll never hurt or kill anyone. Somewhere along the line, Gene Roddenberry got the idea that totally non-militaristic and non-violent heroes would be irresistible to the viewing public. He even tried to retroactively convince us, and Paramount, that "Star Trek" had always been this way and that the upcoming movies should reflect this wonderfully pacifistic attitude. I don't know about you, but a bunch of non-violent wimps running around not hurting the bad guys isn't exactly my idea of action-packed thrills. (Harve Bennett and Nick Meyer didn't think so, either.) Besides, Captain Kirk used to beat the hell out of any green, scaly sucka who looked at him wrong!

The DVD is part of the Warner Archives Collection, in which films that would normally languish in their vaults are dusted off and burned to disc sans restoration. This means that the (1.33:1) picture and (mono) sound quality are about on the level of a late-night viewing on your local TV station. But since your local TV station shows infomercials now instead of movies like this, these no-frills DVDs are a nice way to be able to see obscure titles.

As a one-shot TV-movie that we were never in any danger of revisiting every week anyway, this attempt by Gene Roddenberry to get another sci-fi series on the air is still a novel experience for the old-school Trek fan or the young Trek-curious, and it's better than the follow-up, PLANET EARTH, with John Saxon. Less forgiving viewers will be tempted to rip into it MST3K-style. And even if you have fond, hazy memories of GENESIS II, don't be surprised if it disappoints.

 

 

GENESIS II -- DVD Review by Porfle

Dr. Smith At His Grooviest! ("Lost In Space: The Promised Planet", 1968) (video)

Dr. Smith is captured by teenage aliens called "Youngers"...

...who turn him into a Space Hippy!

He really gets into the groove! It's a freak-out!

Originally posted on 4/23/19
I neither own nor claim any rights to this material.  Just having some fun with it.  Thanks for watching!

Dr. Smith At His Grooviest! ("Lost In Space: The Promised Planet", 1968) (video)

THE BEST OF CAROL BURNETT: 50TH ANNIVERSARY EDITION -- DVD Review by Porfle

Originally posted on 8/5/19

 

If you were watching CBS one night 50 years ago, chances are you saw the premiere of "The Carol Burnett Show." And if you were like me, you loved it and her, even though you probably didn't suspect that it would go on for another eleven years (1967-1978) and that 50 years later you'd be able to watch it all over again on DVD.

Time-Life's 21-disc boxed DVD set THE BEST OF CAROL BURNETT: 50TH ANNIVERSARY EDITION allows us to do just that, with 60 episodes on 21 discs that also contain a wealth of bonus features, along with two illustrated menu booklets and a collectible memory book offering a colorful text history of the show.

The box contains three separate volumes, the first being THE BEST OF THE CAROL BURNETT SHOW (10 discs). This one gives us a chance to relive that first fateful episode and then takes us on a trip through the rest of the series with selected highlight episodes.

The early Carol is a delight as she has her first question-and-answer session with the live audience to open the show--which would become a revered tradition (as would her patented "Tarzan yell")--and wins them over with her easy charm, humility, and bubbling sense of humor and fun. 

Already an experienced performer (she'd just come off "The Garry Moore Show", where I first became a fan as a kid), we get to see her initial awkwardness work in her favor as she gradually becomes a more and more seasoned performer, as do beloved cast regulars Harvey Korman, Vicki Lawrence, and Lyle Waggoner. (Frequent guest Tim Conway would later join as well.)

Her audience rapport and sense of fun in the skits and musical numbers to follow establish Carol's ability to relate to viewers on a personal level with no barrier between them.  She also proves willing to improvise and ad-lib her way through the skits, giving the show an enjoyably casual atmosphere where anything can happen.

The skits themselves are a hit-and-miss affair, some screamingly funny while others either don't quite click or are absolute clunkers.  But there are just so many of them that we're always entertained, especially when we get to see favorite continuing characters such as Mr. Tudball and Mrs. Wiggins, The Old Folks, Carol and Sis (lookalike Vicki Lawrence often played Carol's younger sister), and the blackmailing Girl Scout.

There's also the insufferably nagging wife, the soap opera spoof "As The Stomach Turns", Tim Conway's "The Oldest Man", and of course "The Family", with Carol and Harvey as Eunice and Ed Harper and Vicki Lawrence really coming into her own as Eunice's grouchy and eternally disapproving Mama in some of the show's most brilliant and memorable scenes.

In addition to the continuing segments are a wealth of commercial spoofs, Broadway and movie tributes, and other one-shot skits that range from yawners to side-splitters. Most of them are delightfully lowbrow, willfully unsophisticated, and packed with silly fun.  Not only that, but the cast delight in making each other burst into helpless laughter, especially when Tim and Harvey get together. 

Like most variety shows of the time, there's also a resident dance troup who perform semi-weekly song and dance numbers that viewers who appreciate such things will no doubt enjoy. As for me, these are excuses to exercise my chapter-skip button, something I wish I'd had when I was a kid and wanted to get back to the comedy.

I love the mischievous air that pervades the show, with the cast often playing on-air pranks on each other. One episode occurred during a musicians' strike so everyone has to hum the show's incidental music. 

Carol's all-star guests are a stellar line-up of actors, singers, and comedians who represent some of the best and most popular names in the entertainment industry at the time. These include Rita Hayworth, Bernadette Peters, Soupy Sales, Ella Fitzgerald, Sid Caesar, Andy Griffith, Mel Torme', Imogene Coca, Martha Raye, George Gobel, Ken Berry, Cass Elliot, Diahann Carroll, Nanette Fabray, Ray Charles, Carl Reiner, Roddy McDowall, The Jackson 5, Steve Lawrence, Dinah Shore, Ben Vereen, Neil Sedaka, Rock Hudson, and Carol's favorite guest, Jim "Gomer Pyle" Nabors.

The second 10-disc volume in the set, THE BEST OF THE CAROL BURNETT SHOW: 11 YEARS, TOGETHER AGAIN, is another wonderful collection of 27 shows from Carol's 11-season run on CBS. This time guests include Lucille Ball, Bob Newhart, Don Rickles, Eddie Albert, Nancy Wilson, Chita Rivera, Burt Reynolds (who performs an amazing stunt gag), Don Adams, Lesley Ann Warren, Flip Wilson, Vicki Carr, Carol Channing, Ruth Buzzi, Jack Jones, Lily Tomlin, The Pointer Sisters, Dick Van Dyke, Sammy Davis, Jr., Madeline Kahn, Stiller & Meara, Eydie Gorme, and Hal Linden.

The third volume, THE CAROL BURNETT SHOW: THE FINAL SHOW, is Carol's sentimental swan song, which, in addition to the live-audience performances, also features taped reprises of some of the show's highlights over the years.

Mr. Tudball and Mrs. Wiggins appear for the last time as they prepare to move to a new office, while the final "Family" segment shows Mama disrupting Eunice's much-needed session with her therapist.

There are outtakes, TV and movie parodies, and appearances by such guests as Liza Minelli, Perry Como, Bob Hope, and several more. The sudden appearance of a surprise guest, Jimmy Stewart, gives Carol one of her biggest thrills of the show's entire run.

After a tearful goodbye rendition of the show's theme song performed by Carol's beloved "Charwoman" character, she's surprised by a procession of past well-known friends of the show including Harvey Korman, who had left the show sometime before.

Bonus features consist of a cast-reunion featurette, "The End of 11 Years: Saying So Long" and an interview with Carol.

Several of the other discs in the collection also include bonus features too numerous to mention.  These include all manner of outtakes, cast and guest interviews, and a variety of informative featurettes of interest to fans of the show.

Not all of the episodes are complete--some have shorter-than-average running times, but the deletions are probably limited to some of the show's less exciting dance numbers. Pictorially, the shows are in very good condition.

THE BEST OF CAROL BURNETT: 50TH ANNIVERSARY EDITION is a gold mine of entertainment for fans of the show and a great introduction for those who've never seen it before. And as good as the skits and musical numbers are, it's those times when Carol just stands there visiting with the audience in her friendly and totally unassuming way that really make this set a joy to watch. It reminded me of why I've loved her for the last fifty years.


TECH SPECS:

Type: DVD (21 Discs)
Running Time: 58 hours, 51 min.
Rating: N/A
Genre: TV DVD
Aspect Ratio: 1.33:1 (4:3)
Audio: Stereo

THE BEST OF CAROL BURNETT: 50TH ANNIVERSARY EDITION -- DVD Review by Porfle

CRIMINAL MINDS: THE FOURTH SEASON -- DVD review by porfle

 

Originally posted on 8/29/09

 

The faces on the DVD cover won't mean much to first-time viewers, but it doesn't take long for us to get to know each member of this FBI profiling team (or "behavior analysis unit" as they're called) very well.

CRIMINAL MINDS: THE FOURTH SEASON hits the ground running with one of the most riveting and lightning-paced hours of television that I've ever seen. "Mayhem" is the conclusion of last season's cliffhanger, and it begins with unit chief Aaron 'Hotch' Hotchner (Thomas Gibson) and a female associate about to get into their vehicle when it explodes. Both survive, but since they've been investigating terrorists who explode one bomb and then set off a second one to kill any police and paramedics who arrive on the scene soon after, no one will move in to render aid to the dying female agent. When Hotch finally does get her to the nearest emergency room, he finds that he may have unwittingly played right into the terrorists' scheme to blow up the hospital.

This episode nicely fulfills the show's potential and demonstrates how exciting and suspenseful it can be, with sharp direction, camerawork, and editing and solid performances. Hotch, deftly played by Gibson, quickly emerges as my favorite character--he's stiff, serious, dry, almost humorless. He doesn't wisecrack. But he's intensely professional, with an innate compassion that drives him to hunt down killers. This devotion to his job has cost him his marriage, and in his most affecting moments Hotch can be seen in his office, wistfully viewing video of his young son on his computer.

"Masterpiece", directed by Paul Michael Glaser ("Starsky and Hutch") is another outstanding episode, this time showcasing Joe Mantegna's "David Rossi" character. Rossi is a veteran profiler who has become a celebrity via his best-selling books and lectures on the subject. Here, he goes one on one in the interrogation room with a narcissistic mastermind, played by Jason Alexander, who has kidnapped a daycare worker and four children and placed them in a death trap that will kill them all in a few hours. Not only does this give both Mantegna and Alexander a chance to show their stuff, but it also demonstrates how good the writing on this show can be, with a surprise turnaround in the final minutes that is stunning.

Although there's a resemblance here to CSI and similar shows, CRIMINAL MINDS concentrates less on forensics and more on the BAU's explorations into the inner workings of the perpetrators minds. Often this forces them to confront their own darkest thoughts and fears. In "The Instincts" and its follow-up "Memoriam", the team's geeky resident genius Dr. Spencer Reid (Matthew Gray Gubler) encounters a child abduction case in his hometown that dredges up suppressed memories of bloody murder from his own childhood that may even involve his own father. Jane Lynch (A MIGHTY WIND, BEST IN SHOW) is great as Reid's schizophrenic mother, who stops taking her meds so that she can achieve a brief window of mental clarity that will help her recall forgotten details of the past.

Each of the other cast members gets the spotlight in various episodes, and they're all up to the task. Shemar Moore's ex-cop Derek Morgan is the show's action guy but there's a lot of substance to his character as well. In "Brothers In Arms", Morgan takes it personally when a serial shooter starts gunning down cops in the performance of their duty. A.J. Cook is Jennifer "J.J." Jareau, the team's liason with the public and other agencies, who gives birth early in the season and gains a different perspective on her job. In the excellent bio-terror thriller "Amplification", a deranged scientist unleashes a deadly new strain of anthrax on the public and J.J. struggles with the urge to break secrecy protocol and warn her husband to flee the city with their child.

Bringing some light into the dark mood of the series is Kirsten Vangsness as Penelope Garcia, happily basking in her computer world as she serves as the nerve center for the team. In episodes such as "House on Fire", the tale of a mass-murdering arsonist, and "To Hell...and Back", the gut-wrenching season finale, Garcia is forced to venture out into the field with the rest of the team and is horrified by what she sees.

When this show gets cranked up to full-blast, it goes like gangbusters. "Catching Out", directed by actor Charles Haid, contains a climactic fight sequence atop a moving freight train. "Normal" guest-stars Mitch Pileggi of "The X-Files" as a harried family man whose mounting frustrations transform him into a highway killer known as "The Road Warrior." This episode features a breathtaking crash stunt early on and ends with a high-speed chase.

In addition to the show's kinetic qualities, much of the drama is psychological in nature and we're frequently subjected to some pretty bizarre images and ideas. Jason Alexander returns to direct "Transformation", in which young men on spring break are being raped and murdered by an assailant whose gender is mysteriously undetermined. "Cold Comfort" deals with necrophilia complete with live embalmings, and features a great guest cast including Cybill Shepherd, Michael Biehn, Lolita Davidovitch, and Vondie Curtis Hall.

I particularly enjoyed seeing none other than Wil Wheaton (ST:TNG's "Ensign Crusher") as a total loon who owns a secluded motel and lures couples to their doom in deviously-designed death traps. This episode begins with one of the show's most awesome stunts--an 18-wheeler jack-knifing into a parked car. "Omnivore", guest-starring C. Thomas Howell, has one of the series' most evil serial killers who, among other atrocities, massacres the passengers of a city bus.

Of course, the series has its occasional clunker--for example, "Demonology", a turgid tale of a priest who performs lethal exorcisms, is tiresome and overwrought. It does, however, feature a welcome guest appearance by Bruce Davison (sporting some great hair) and offers series regular Paget Brewster a chance to shine as agent Emily Prentiss.

The DVD set contains seven discs in four slim-line cases with a cardboard sleeve. The 16 x 9 image and English 5.1 and stereo sound are good. Both the episodes and bonus features are closed-captioned. Extras include eleven brief behind-the-scenes featurettes called "Working the Scene", deleted scenes, profiles of each character, and a gag reel.

CRIMINAL MINDS is an interesting blend of modern and more traditional TV storytelling techniques. It's got all the flash and pizzazz that's expected of today's shows, but much of the melodrama and pathos beneath the veneer are pure old-school. As far as the subject matter goes, however, the show doesn't pull any punches and is often about as shocking and horrific as a show like this can get. With a top-notch cast, fine production values, and intriguing stories, CRIMINAL MINDS: THE FOURTH SEASON is well worth spending some quality time with.
 

CRIMINAL MINDS: THE FOURTH SEASON -- DVD review by porfle

HOTEL: THE FIRST SEASON -- DVD review by porfle

 

Originally posted on 7/8/09

 

If you watched TV during the 80s, you pretty much knew what to expect when you saw Aaron Spelling's name in the credits. And with shows like "The Love Boat" and "Fantasy Island" having paid off so handsomely for the superstar producer, it's not surprising that he would take the same multi-guest star, multi-subplot formula and shove it into the setting of a bustling five-star hotel. As the taxicabs full of guests start pulling up out front, you almost expect Tattoo to ask, "Who's going to be staying with us next, Boss?"

Loosely based on Arthur Hailey's 1965 novel, "Hotel" premiered in 1983 and ran for 115 episodes. CBS/Paramount's new 6-disc set HOTEL: THE FIRST SEASON gives us the initial 22 episodes including the feature-length pilot, which sets the old formula in motion with all the usual elements: an ostentatious setting, in this case San Francisco's luxurious Saint Gregory Hotel; a regular cast of employees to interact with the guests; and a revolving-door parade of familiar up-and-comers, has-beens, character actors, and TV show drones to populate the various subplots which play themselves out with varying levels of interest. Through it all, the composers hired to slather music over all this schmaltz work the hell out of Henry Mancini's unctuous theme.

Much of the action occurs within the spacious lobby set, which is as delightfully gaudy and tacky as the show itself. James Brolin, as handsome hotel manager Peter McDermott, is the focal point for most of the dramatic events and is responsible for maintaining order and keeping everybody happy. Much better later in life as an older character actor, the young Brolin is rather unremarkable yet capable, and is a likable and comforting presence.

The same can be said of Connie Sellecca as his go-getter assistant Christine Francis. Nathan Cook is Billy Griffin, the hotel's security man who has a special understanding of the criminal mind since he's an ex-con himself. The beautiful Shari Belafonte is receptionist Julie Gillette, and the pleasantly bland Shea Farrell is Mark Danning, the hotel's guest relations director or something. Michael Spound and Heidi Bohay play Dave and Megan Kendall, a bellhop and desk clerk who are married but can never seem to find time in their busy day to spend together. This boring and mostly useless couple supplies the show with some of its more lame attempts at intentional humor, although the dramatic scenes are where the real laughs come from.

One of the highlights of the pilot episode is the casting of Hollywood legend Bette Davis as Mrs. Trent, the widow of the novel's hotel owner Warren Trent. Looking quite frail by this time, Bette still manages to give a strong, skilled performance. Sudden illness, however, would lead to her being replaced by another seasoned actress, Anne Baxter, as Mrs. Trent's half-sister Victoria Cabot. In Davis' absence, Baxter does her best to supply the Old Hollywood gloss that Spelling is aiming for with this series.

Indeed, much of what goes on in the St. Gregory would make fine fodder for the standard "women's pictures" that Hollywood used to churn out back in the 50s and 60s. Standing in for Rock Hudson and Jane Wyman in the premiere episode are Pernell Roberts and Shirley Jones as a recently divorced man and a woman toying with the notion of leaving her unfaithful husband. They meet-cute in the hotel bar and have one of those tender, tentative, and seemingly doomed September romances replete with hokey dialogue, tender gazes, walks in the park, and waves of maudlin music. Ross Hunter would be proud.

As you might guess, plenty of choice dialogue goes on elsewhere in the hotel. After Christine complains of a guest making amorous suggestions, Peter assures her: "Listen, I've had my share of female guests hitting on me...along with the males. Goes with the territory." In another scene, Anne Baxter shares champagne with old flame Stewart Granger along with the following exchange:

"I'd say our memories held up...rather well."
"If not our hearts."
"To recollections?"
"To expectations."

If it sounds as though I didn't enjoy watching "Hotel" very much, let me stress that I find Aaron Spelling's attempts to transfer the splendor of Old Hollywood into the super-cheesy world of 70s and 80s television to be perversely entertaining. And speaking of cheese, you haven't lived until you've seen the episode with Heather Locklear as a career beauty pageant contestant constantly being prodded by her mother, Connie Stevens, who feeds vicariously off her success. During a rehearsal session, we find that Heather's "talent" is--get this--a jolly fitness dance, complete with leg warmers.

But that's not all, because during her dance, we notice that she begins to change into a different person in the wide shots. That's right, in classic FLASHDANCE style, a stand-in does the actual dancing, boogeying her steel buns off while Heather shimmies her shoulders slightly or waves her arms to and fro in the closeups. They don't even try to hide the fact that there's a different person with totally different hair (not to mention totally different face!) in the wide shots. And to top it off, "Hollywood Squares" host Peter Marshall plays a lecherous contest judge with whom Heather must have sex in order to assure his vote. X gets the square! It's just too good to be true.

The lengthy guest roster for the first episode alone is enough to take a pop culture fan's breath away. Check it out: Morgan Fairchild, Lloyd Bochner, Jack Gilford, Shirley Jones, Pernell Roberts, Stephanie Faracy, Lainie Kazan, Bill Macy, Erin Moran, Alejandro Rey, notoriously awful former child star Lee Montgomery, and, last but not least, Mel Tormé. That's just one episode! Morgan Fairchild plays a hooker hired to devirginize a young high school boy and is then gang-raped by some of his classmates, giving her a chance to emote her head off while Brolin tries to persuade her to press charges. During a scene in which they're walking around discussing the matter, it suddenly occurred to me: "Oh my god...it's a montage!" Sure enough, the two are strolling on the beach, taking in Fisherman's Wharf, doing fun stuff, having a gay laugh or two...I almost expected them to start squirting hot dog mustard at each other.

A little "Love Boat"-style comedy relief comes in the form of Lainie Kazan as a wife who so horribly henpecks husband Bill Macy that he runs away and becomes a banjo player in a ragtime band. But as far as laughs are concerned, this can't come close to Erin Moran as an aspiring singer who gets her big break performing in the lounge with Mel Torme'. When he makes the momentous introduction and invites her to join him onstage after his awesome set, with the audience primed with anticipation, what timeless lyrical standard does she launch into? "Delta Dawn." I am not making that up.

The wide-open format even takes us into thriller territory as Connie Sellecca's Christine finds herself being terrorized by Richard Hatch as a crazed stalker with access to her suite. Robert "Mike Brady" Reed pops up as an enraged father whose daughter claims that a hotel-provided babysitter (Leigh McCloskey) has molested her. In the same episode, Dack Rambo and Michelle Phillips fulfill the show's daily minimum romance requirement as strangers who hit it off and have sex--after which she discovers that he's a priest. Oops! A comedy segment that's actually kind of funny has Dick Van Patten as a mild-mannered guest whom bellhop Dave mistakes for a famous hotel critic, thus ensuring that the delighted dweeb receives the royal treatment during every minute of his stay.

The guest line-ups for the rest of the episodes are smaller than in the premiere movie, but seeing who's going show up next is still one of the most fun things about "Hotel." Some of the likely and unlikely faces appearing in this set include Robert Vaughn (in drag, no less!), Shelley Winters, Lew Ayres, Sally Kellerman, Robert Stack, José Ferrer, Howard Duff, Jean Simmons, Elinor Donahue, Carol Lynley, Robert Hooks, Leigh Taylor-Young, Peggy Cass, Craig Stevens, Donald O'Connor, Eleanor Parker, Ron Ely, Hermione Gingold, Tom Smothers, Nanette Fabray, Vera Miles, Arte Johnson, George Lazenby, McLean Stevenson, Kay Lenz, Danielle Brisebois, Christoper Norris, Markie Post, Bradford Dillman, and Melissa Sue Anderson.

The list continues with Army Archerd (playing himself, as usual), Liberace (also as himself, God help us), Jane Wyatt, Lynn Redgrave, Patty McCormack, Paul Burke, Roy Thinnes, Steve Forrest, Hope Lange, Adrienne Barbeau, Margaret O'Brien, Donna Pescow, Vic Tayback, pint-sized femme fatale Charlene Tilton, John McIntyre, Jeanette Nolan, Tori Spelling (big surprise), Scott Baio, Diane Canova, Dina Merrill, Rebecca Balding, Cathy Lee Crosby, Bo Hopkins, WKRP's Jan Smithers, Eva Gabor, Louis Jourdan, and Englebert Humperdinck as singing sensation "Danny Maxwell." As you can see, this set is jam-packed with familiar faces for those of us interested in such things.

The set has no bonus features. Picture quality is generally good although the openings are a bit speckly as are a few other occasional spots. Not enough to bother me any, but nitpickier viewers may be annoyed.

While there are some storylines here and there that manage to generate actual dramatic interest (the one in which Jan Smithers shows up with a little boy and tells Peter that he's the father is an attention-getter), much of the melodrama on this show can't be taken seriously--it's such old-fashioned, over-the-top soap opera, played in such a deadly earnest manner, that it seems to dare you not to either laugh yourself silly or keel over in a stupor. Yet HOTEL: THE FIRST SEASON, with all its chintzy opulence, is so bald-faced straightforward in its intentions that it rates a luxury suite in the "So Bad It's Good" wing of the TV Land Hotel.
 

HOTEL: THE FIRST SEASON -- DVD review by porfle

CANNON: SEASON 2, VOLUME ONE -- DVD review by porfle

 

Originally posted on 5/29/09

 

If you're old enough to remember when "Cannon" first hit the airwaves, you'll know that Cannon's big schtick was that he was fat. That's right--in a world of bald detectives, old detectives, nerdy detectives, Hawaiian detectives, eccentric millionaire detectives, and even the occasional sexy detectives, Cannon was The Fat Detective. In fact, Sonny and Cher even did a spoof of the show once called "Detective Fat."

William Conrad's deep, booming voice had gained him fame on the radio as Marshall Matt Dillon in "Gunsmoke", but when the show migrated to television, Conrad was deemed--you guessed it--too fat to play the character. So in 1971, CBS finally made it up to Conrad by concocting a character specifically tailored for him. One whose most distinctive characteristic was the fact that he was--drumroll, please--fat. ("Jake and the Fatman", which just came right out and said it right there in the title, would come later.)

But was the show itself "phat"? This new 3-disc DVD set, CANNON: SEASON TWO, VOLUME ONE, provides ample evidence that it was indeed pretty good. Not great, mind you--the production values are a little iffy at times, and the overall look of the show is somewhat low-rent--but definitely not without its charms. The main one of these, of course, being the big guy himself.

William Conrad was an easygoing, engaging screen presence who could elevate a pedestrian script and make the most of whatever character moments he was given. His "Frank Cannon" is a tough but affable ex-cop who "tends toward the gut" (as John Wayne put it in THE COWBOYS) but doesn't let that stop him from being an action-oriented kind of guy. When the need arises, Cannon uses that extra weight to push bad guys around and can level a mean karate chop with those ham hands of his. He's handy with a gun, too, and rest assured there's lots of gunplay in this series. As a card-carrying private dick, he can also spout some of that hardboiled dialgue when needed, as in one scene in which a blue-haired Patrick O'Neal finds him difficult to bribe:

"What is it with you? Why are you so hard to do business with?"
"Maybe because we don't deal in the same coin."

Another element in the show's excitement factor is Cannon's beautiful Lincoln Continental Mark IV, which I like to call "the Fatmobile." Whenever a fleeing suspect is speeding away, Cannon hops into this awesome land-yacht and participates in that holiest of 70s cop-show cliches, the car chase. CANNON has a car chase in just about every other episode, because they can always be counted upon to liven up even the blandest script. One episode has three carloads of baddies chasing Cannon through the Los Angeles River and features some satisfying fender-bending action along the way. In another, we even see him chasing a backhoe in a pickup truck down a dirt road. This guy'll chase anything.

Plotwise, we find the standard procession of guest characters seeking Cannon's help for various reasons. Some are wrongly accused of murder, while others have more unusual needs for his services. The scripts are mostly pretty involving although light on any kind of real, hard-hitting drama. This was one of my dad's favorite shows, and the networks' goal back then was to offer this kind of familiar, easy-to-take programming to older viewers like him who just wanted to kick back with some boob-tube after work and didn't care for all the preachy "relevant" stuff currently being aimed at the young folks. Heck, I can relate to that.

The Quinn-tessential 70s-era Quinn Martin production, CANNON fulfills that requirement very well with the kind of scripts that could've been passed around amongst any number of TV flatfoots with only a few details changed (and probably were). What makes the show unique is the main character himself. William Conrad is supremely relaxed and confident in the role, and seems to enjoy playing it. (If you ever get to see some of the show's bloopers, they'll attest to his funny, lighthearted attitude during filming.) He likes interacting with his guest stars, whether tickling the ivories in a bar for Sheree North or sparring with Marj Dusay in the kitchen over whether or not to add milk to his omelet recipe. A gourmet with discerning tastes, Cannon is often seen whipping up fine cuisine or dining out with the likes of Jessica Walter.

In one episode, he spends so much time at the police station doggedly pouring over mug shots in search of a suspect that he actually has to skip a few meals. When at last he pinpoints the right picture, Cannon frantically grabs the phone away from a detective and delivers an urgent directive: "I need the numbers of all the delicatessens in the area that deliver!"

One of the show's best qualities is that it doesn't always take place in a grungy urban setting or some overused backlot. Cannon may be a variation of the standard gumshoe character, but he likes to get out and enjoy the wide-open spaces once in a while. In "The Predators" (with guest stars Phyllis Thaxter and fanboy heartthrob Pamela Franklin), we're treated to some breathtaking northern California settings. "Stakeout" finds Cannon soaring through the skies in a glider with Belinda Montgomery, while "Sky Above, Death Below" allows him to shoot a few bad guys on a scenic mountaintop. This goes a long way toward making up for the sometimes low-budget look of the show.

Other guest stars of interest include Michael Tolan, Severn Darden, Leslie Charleson, Richard Hatch, Ken Lynch, Lloyd Bochner, Scott Hylands, Jesse Vint, Robert Webber, Mike Farrell, Frank Maxwell, 50s genre icon Kenneth Tobey, Dana Elcar, Charles Cyphers, James A. Watson, Sandy Kenyon, Tracy Reed, George Maharis, Stefanie Powers, Jeanne Bates, Kathleen Freeman, Clue Gulager, Julie Adams, H.M. Wynant, Lois Nettleton, Bert Freed, William Daniels, Linden Chiles, Alex Rocco, Carl Betz, Andrew Duggan, Olan Soule, Katherine Justice, and even former Monkee, Mickey Dolenz.

John Parker's familiar "Cannon" theme leads us into the first twelve episodes of the second season in this set. The pictorial quality is good considering that the show never looked all that great to begin with. The sole bonus feature is an option to view episodes with the original pre-titles teasers, which are simply brief montages of upcoming scenes. If I remember correctly, these were originally a regular part of the show.

CANNON: SEASON TWO, VOLUME ONE isn't quite on par with the best that classic television has to offer, but it's still an above-average and fun example of the 70s detective show. Just the thing for when you feel like gorging on some tasty junk food for the brain.

CANNON: SEASON 2, VOLUME ONE -- DVD review by porfle

NCIS: THE SIXTH SEASON -- DVD review by porfle

Originally posted on 8/14/09

 

 

Thanks to the magic of DVD, I've been discovering some pretty awesome TV shows lately that I probably never would've run across otherwise. For one thing, I can no longer handle commercial breaks, especially since they're longer and more frequent than ever before. Also, I hate watching one episode a week--if I like a show, I want to be able to indulge myself in it until the wheels fall off. That's how it was with NCIS: THE SIXTH SEASON, a 6-disc, 25-episode set that I went through faster than Rosie O'Donnell with a box of Ring Dings.

My first impression of this series about a team of agents for the Naval Criminal Investigative Service was that it was going to be a dour, melodramatic show, but it's anything but. The stories rarely stop dead in their tracks to include "comedy relief" scenes as the wit and humor are usually well integrated with the serious stuff. Even though the subject matter is always grim, with an abundance of dead bodies in various states of graphic injury or decay, the interplay among the lead characters is almost non-stop lighthearted fun--sometimes even laugh-out-loud funny. Yet the stories still manage to maintain an aura of gravitas and believability that can veer headlong into raw, dead-serious drama at any moment.

Mark Harmon has probably his best role ever as Special Agent Leroy Jethro Gibbs, team leader and father figure for the family-like team of agents. He's a tough, no-nonsense, seemingly infallible agent who inspires utmost respect and even awe in his co-workers but, despite his gruff exterior, is always supportive of them. An ex-Marine, his history includes all sorts of shadowy Black Ops-type stuff and other mysterious events that sometimes bob to the surface during a case.

In the episode "Heartland", circumstances lead the team to Gibbs' hometown where they're delighted to actually find out details of his past including getting to meet his semi-estranged father, Jack (Ralph Waite). Stories like this play up Gibbs' human side, as does "Deliverance", an inner-city gang drama in which we find that he may be the father of a teenaged gangbanger who's stealing military assault weapons to sell on the street.

Character interaction is a major element of what makes NCIS tick. Special Agent Anthony DiNozzo (Michael Weatherly) is prom-king handsome but acts like a mischievous kid with a narcissistic streak. He loves movies, women, sucking up to his superiors, and himself. DiNozzo also enjoys picking on semi-dorky computer genius Timothy McGee (Sean Murray) and pointing out his geekier qualities at every opportunity.

Both men harbor unrequited romantic fantasies for their strikingly beautiful partner, Officer Ziva David (the strikingly beautiful Cote de Pablo), an Israeli whose war-ravaged upbringing has made her capable of taking care of herself in rough situations. DiNozzo is on hand to help Ziva learn to lighten up and do goofy stuff, like competing in an online air-guitar contest. A funny running gag is her ongoing effort to learn American colloquialisms (she refers to a turf war as a "Smurf war.")

The delightfully cute forensic scientist Abby Sciuto (Pauley Perrette) is a brilliant but extremely eccentric Goth chick who loves her work and can solve any problem as long as she's kept adequately supplied with super-sized containers of "Caf-Pow!" Any visit to Abby's lab is a treat as she giddily spouts more technobabble than half a season of "Star Trek: The Next Generation" while rattling off factoids about sexually-active molds or the difference between Satanic pentagrams and the hubcaps on a Buick Skylark. Rounding out the cast is the venerable David McCallum ("The Man from U.N.C.L.E.", THE GREAT ESCAPE) as Dr. Donald "Ducky" Mallard, the urbane and endlessly erudite medical examiner who's always up to his elbows in cadavers.

Season six gets off to a great start with a mini-story arc about the dispersal of Gibbs' regular team and their replacement with relative novices. At first, this decision seems unnecessarily arbitrary on the part of by-the-book NCIS Director Leon Vance (an intensely effective Rocky Carroll), but it's eventually revealed that Vance suspects one of the three new agents of treason and is hoping that Gibbs will be able to sort out the culprit. Liza Lapira as Special Agent Michelle Lee and Jonathan LaPaglia as Special Agent Brent Langer are very good in this suspenseful storyline which covers several episodes before coming to a nail-biting surprise conclusion.

Computer whiz McGee gets out of the office on a solo assignment for a change in "Caged", only to find himself a hostage during a riot in a women's prison. In "Bounce", an old case in which DiNozzo put an innocent man behind bars for three years comes back to haunt him when the people involved start turning up dead. Since it's his case, Gibbs temporarily puts DiNozzo in charge of the team, leading to all sorts of seriocomic complications.

David McCallum's "Ducky" gets his own episode with "Broken Bird", a story of torture and guilt that starts out promisingly but turns a little too turgid for my tastes. "Knockout", a story that spotlights Rocky Carroll as Director Vance, gets similarly bogged down in melodrama as he returns to his hometown of Chicago on an unauthorized mission involving the death of a childhood boxing hero.

These lapses are rare, however, and the four episodes on disc six begin another story arc which contains some of the most riveting television I've ever seen. It involves a rogue Mossad agent in the U.S. and Ziva's possible romantic connection to him, which may have compromised her loyalty to NCIS. The paranoia is knee-deep and the twists and turns will keep you on the edge of your seat right up until the shocking season finale cliffhanger (I hate those). Rocky Carroll, Michael Weatherly, and especially Cote de Pablo are outstanding in these episodes, with the Ziva character becoming the focal point for a maelstrom of intrigue.

Almost insanely entertaining at times, most of the plots move so fast you practically need to be strapped in. Very rarely does an episode slow down long enough to give the viewer a chance to even think about getting restless or bored. And visually, this series has style to burn with cinematography that is consistently beautiful.

The DVD set consists of six discs in three slimline cases with a cardboard cover. The 16 x 9 image and 5.1 Dolby Digital sound are fine. Closed captioning for the hearing impaired is available. Each disc contains its own bonus feature. These are:

Disc one: Brian Dietzen, who plays Dr. Mallard's assistant Jimmy Palmer, takes us on a fascinating tour of the special effects shop where the show's realistic dead bodies are made in the featurette "Bodies of Work."

Disc two: Pauley Perrette performs an acoustic version of her song "Fear", which is featured in one of the show's episodes.

Disc three: "Starting With a Bang" covers the making of the season's opening story arc.

Disc four: David McCallum and director James Whitmore Jr. do a commentary track for "Broken Bird", while Michael Weatherly supplies a gut-busting stream-of-consciousness narration of his big episode, "Bounce", in which we learn that he was four months' pregnant during filming.

Disc five: Featurette "Horsin' Around" is a look at the filming of episode "South by Southwest" on location around the famous Vasquez Rocks in California. There's also a lighthearted commentary by Pauley Perrette and Sean Murray for the Abby episode entitled "Toxic."

Disc six: "Season Six: Cruisin' Along" and "Six Degrees of Conversation" examine all the elements that make the sixth season so special. The latter features the entire cast in an interview setting.

NCIS: THE SIXTH SEASON is a stellar collection of episodes from a series that seems to be hitting its stride with no signs of slowing down or running out of steam. With an excellent cast, superb writing, and top-notch production values, it's pure, unadulterated escapism of the highest order.

 

NCIS: THE SIXTH SEASON -- DVD review by porfle

THE UNTOUCHABLES: SEASON 3, VOLUME 1 -- DVD review by porfle

 

Originally posted on 8/19/09

 

If you've only seen the nostalgia-hued, touchy-feely DePalma film, you might be surprised to find that the classic TV series on which it was based was way more powerful and dark. As THE UNTOUCHABLES: SEASON 3, VOLUME 1 demonstrates, it was one of the most hardboiled, violent, adult crime series that ever hit the airwaves.

Robert Stack is perfectly cast as the four-square lawman Eliot Ness and seems to revel in playing one of TV's toughest and most incorruptible characters. As much as I like Kevin Costner's interpretation, the physically-imposing Stack looks much more hardcore and intimidating to the typical cowardly underworld figure.

We don't get to find out much if anything about his personal life or those of his crew--their job is to take down the bad guys, and their lives revolve around that job. It's as though they exist only to tirelessly battle organized crime in Chicago. As for comedy relief or lighthearted banter, the dead-serious nature of the show leaves precious little room for such things. This is further emphasized by famed radio newscaster Walter Winchell's distinctively straight-faced narration and a somber musical score (some of the same cues were used in George Romero's NIGHT OF THE LIVING DEAD).

The Desilu backlot is the perfect backdrop for the show's self-contained film noir fantasy world populated by hardbitten cops (both honest and dirty), cowering civilians, and an endlessly fascinating rogue's gallery of ruthless crime bosses and their trigger-happy gunsels. Bruce Gordon glowers and growls as the imprisoned Al Capone's surly surrogate, Frank Nitti, who rules Chicago's underworld with an iron hand. Several episodes involve Nitti's attempts to import and distribute illegal booze and narcotics while Ness and his men work to cut off his supply or nab his top capos. Gambling in various forms is another major crime enterprise infesting the city.

Gordon seems to relish playing the role of a gangland kingpin, as do most of the guest stars who portray underbosses, upstart competitors, or soldiers. In "The Death Tree", Charles Bronson takes control of a gypsy ruling council through assassination and terror. Peter Falk is "The Troubleshooter", rising quickly in the crime ranks by eliminating problems and targeting Ness for a frame-up. "The Matt Bass Scheme" features a grinning Telly Savalas as an enterprising thug who plans to transport whiskey into the city via a sewer pipeline.

Ruth Roman is outstanding as a homicidal female criminal in "Man Killer." Herschel Bernardi, Don Gordon, and Robert Emhardt are a trio of crime specialists who decide to combine their talents while hasbeen ex-boss Jay C. Flippen is duped into serving as their "Fall Guy." In "Power Play", Albert Salmi gives one of his best-ever performances as a fugitive harbored by a lonely spinster (Mary Fickett) who has deadly designs on him.

"The Gang War" is an exciting tale of rival crime boss Victor Buono's airborne smuggling racket which draws the ire of both Nitti and Ness, with lethal results. And in the suspenseful "The Whitey Steele Story", Ness himself goes undercover as a surly thug in order to expose a gambling racket, while Henry Silva and Murray Hamilton threaten to expose his true identity.

Other noteworthy guest stars appearing in this collection include James Gregory, Cloris Leachman, Vincent Gardenia, Carroll O'Connor, Bing Russell, Marc Lawrence, Antony Carbone (CREATURE FROM THE HAUNTED SEA), Arlene (Sax) Martel, Wendell Corey, Milt Seltzer, Michael Constantine, Joe Turkel, Paul Richards, Mike Kellin, Theodore Marcuse, Vic Perrin, Harold J. Stone, Joan Staley (THE GHOST AND MR. CHICKEN), John Larch, Barbara Luna, Vaughn Taylor, George Tobias, Dabbs Greer, Arthur Hill, Simon Oakland, Gavin MacLeod, Ed Nelson, Paul Birch, Herbie Faye, Frank Cady, Phillip Pine, Ed Asner, Bert Convy, and Dyan Cannon. Peter Coe of such films as THE MUMMY'S CURSE and HOUSE OF FRANKENSTEIN even turns up as a two-bit thug named "Flipper."

More than just showing up to collect a paycheck, these guest stars give solid performances that reflect the feature-film quality of the writing and production values of the show. Each episode has the look and feel of a classic-era Warner Bros. gangster picture, with exquisite black-and-white cinematography and stylish direction by the likes of Paul Wendkos, Bernard L. Kowalski, and Abner Biberman.

This is one of the most violent shows of its era. The body count mounts quickly as characters are brutally rubbed out in various nasty ways, usually after crossing Frank Nitti or squealing to the cops, and the lethal action is always well-staged. Nowhere is this more evident than in the episode entitled "Loophole", in which crooked lawyer Jack Klugman flaunts the law to keep vicious criminal Martin Landau out of jail. A drive-by hit on a potential witness outside the courtroom explodes into a chaotic, bullet-riddled street battle filled with blazing Tommy guns and crashing cars. The sequence is beautifully directed and thrilling, rivaling similar scenes in the GODFATHER films.

The four discs in this DVD set contain 16 episodes which originally aired 1961-1962. Picture is 4:3 full-screen and looks great. Sound is Dolby Digital English and Spanish mono. Subtitles are available in English, Spanish, and Portuguese. No bonus features.

If you get a bang out of vintage gangster flicks, THE UNTOUCHABLES: SEASON 3, VOLUME 1 is a great collection of hard-hitting, action-packed entertainment from one of the best crime shows ever produced. This noirish and violent show doesn't pull any punches.

THE UNTOUCHABLES: SEASON 3, VOLUME 1 -- DVD review by porfle

GUNSMOKE: THE THIRD SEASON, VOLUME 2 -- DVD review by porfle

Originally posted on 5/9/09

 

Back when westerns were the number one genre on TV, the number one western was "Gunsmoke." For twenty seasons--1955 to 1975--viewers could tune in every week to watch Marshall Matt Dillon keep law and order in the wild and woolly streets of Dodge City, Kansas, and now, with the release of the 3-disc DVD collection GUNSMOKE: THE THIRD SEASON, VOLUME 2, we can relive 20 half-hour episodes worth of that excitement all over again. As John Wayne, in his original on-air introduction to the show, described it: "It's honest, it's adult, it's realistic."

Originally a successful radio show, "Gunsmoke" made the move to television along with its creators, producer Norman MacDonnell and writer John Meston, who maintained a high level of quality and authenticity during these early episodes. The mood is often somber, with adult-oriented stories and strong characters, and when there's violence, it has an impact beyond the standard shoot-'em-up. Marshall Dillon tries to avoid using his gun whenever possible, save to whack people over the head with it before they can clear leather.

Several episodes begin with him taking a wistful stroll through Boot Hill, looking back on all the lives that have been wasted through unnecessary violence. Tough as nails and quick on the draw, with scarcely a personal life outside his duties as a lawman, Dillon never allows his job to rob him of his humanity. Writer John Meston took great pains to present the character in an honest and realistic fashion, eschewing the cliches of the standard western hero who seemed forever unfazed by the violence and death that were a part of his everyday life.

Despite the show's more mature focus, however, it still retains some of the appeal of the old Saturday matinee westerns like the ones rising star John Wayne used to churn out back in the 30s. James Arness, who plays Matt Dillon, even resembles the young Wayne with his towering 6'7" frame and easygoing yet highly-capable demeanor. (Wayne was offered the part but suggested his friend Arness instead.)

Matt still possesses incorruptible virtues, infallible common sense, and an unbeatable fast draw, but is more three-dimensional and complex than his earlier counterparts. The combination of these two styles, not too kid-oriented and not too adult, makes for a pleasing blend.

The supporting cast is one of the finest ever. Dennis Weaver plays Chester Goode, the down-to-earth, fiercely loyal deputy with the famous limp. As the gruff old Doc Adams, Milburn Stone is one of the most skilled actors ever to appear in series television, and the show's occasional moments of unforced comedy relief usually involve some good-natured needling between him and Chester.

Much of their spare time is spent at the Longbranch Saloon, where half-owner Miss Kitty provides a constant supply of free drinks and moral support. (For western heroes, these guys really do guzzle a lot of whiskey.)

Pretty Amanda Blake is very appealing in the role, a strong, dependable female presence who enjoys equal status in the group. The fact that Miss Kitty is basically the madame of Dodge City's leading whorehouse doesn't seem to bother Matt, Doc, or Chester, so it never bothered viewers much, either. (As a kid, I always thought all those saloon gals were there just so the lonesome cowpokes could chat with them and buy them free drinks!)

As in most classic TV shows of the period, there's an abundance of familiar faces in guest roles. Some of the ones appearing in this DVD set are Corey Allen ("Buzz" in REBEL WITHOUT A CAUSE), Strother Martin, Jeanette Nolan (who would later star in the spin-off series "Dirty Sally"), Vaughn Taylor, Werner Klemperer, Jack Weston, Phyllis Coates, Murray Hamilton, Wayne Morris, June Lockhart, Harry Dean Stanton, Claude Akins, Patricia Barry, Gail Kobe, John Dehner, Ross Martin, Virginia Gregg, Ken Lynch, Simon Oakland, Ruta Lee, Timothy Carey, and Jack Cassidy.

The episodes in this set look great, with beautiful, sharp black-and-white photography. DVD image and sound quality are fine. In addition to the 20 episodes, there's a brief montage of commercial spots which include Arness, Stone, and Blake puffing on L & M cigarettes ("Live modern--smoke L & M!" the announcer advises us) and Arness showing us a putty impression of his pesky facial stubble before taking an electric razor to it.

Over its two-decade run, "Gunsmoke" evolved from a simple half-hour western adventure to the more complex hour-long adult drama of its later years. GUNSMOKE: THE THIRD SEASON, VOLUME 2 finds the series in my favorite stage of this progression, with an ideal combination of both sensibilities. It's just serious enough to enjoy for its compelling characters and intriguing stories, and just enough of a good old-fashioned western yarn to erupt into smoke-filled gunplay at any moment.

GUNSMOKE: THE THIRD SEASON, VOLUME 2 -- DVD review by porfle

THE MOD SQUAD: SEASON 2, VOLUME 2 -- DVD review by porfle

Originally posted on 5/11/09

 

I used to think "The Mod Squad" was soooo cool when I was a kid. That opening titles sequence, with the three young cops running for their lives through an abandoned warehouse (we never got to find out what they're running from, did we?) to the tune of one of TV's most dynamic musical themes ever, is still emblazoned on my cerebral cortex. But after refreshing my memory of the show with the new 3-disc DVD set THE MOD SQUAD: SEASON 2, VOLUME 2, all I can think is: "What the heck was I thinking?" In retrospect, there's just no way for me to appreciate this show except with a fond nostalgia and a healthy dose of condescension. Yeah, that's right--I'm condescending! Nyaaahh!

Looking a lot like what would happen if Greg Brady fantasized about growing up to become a groovy, outasite cop himself, "The Mod Squad" is an attempt by those well-known hepcats Aaron Spelling, Danny Thomas, and Harve Bennett to appeal to "the kids" on their own level. Their inability to comprehend, and thus convincingly reproduce, any elements of the same counterculture that they're trying to attract makes the show fascinating even though it's hard to take a single moment of it seriously.

Not that it's all that much dumber than most of the other primetime cop dramas being made during the same era, but the pseudo-hip trappings and weak attempts at "relevance" that pop up all over the place just add an inescapable element of unreality to the show. And despite the "mod" angle, it's often as painfully arch and cliched as the sort of shows that "Police Squad!" used to spoof. This, of course, lends the show a whole different kind of retro-camp appeal, the same way that the far-out polyester grooviness of "The Brady Bunch" gives it a dimension of watchability beyond the standard sitcom formula.

The premise, as most people know by now, is that a group of young hippies ("one white, one black, one blonde", according to the famous tagline) are given a choice to either go to jail for their relatively minor crimes or join the police department as undercover cops. Well, you've just turned off much of the actual counterculture audience right there, since it's doubtful that many of them harbored any secret fantasies of becoming narcs. Who did this show appeal to so much that it stayed on the air from 1968-1973? There were the little kids like me, who thought it was super cool because we didn't know any better. (Teenybopper magazines like "16" and "Tiger Beat" had a field day with the lead actors.) And I guess a lot of older folks imagined that they were hip if they liked the show, even though it actually played up to and affirmed their values more than those of their kids.

As white Beverly Hills outcast Pete Cochran, Michael Cole displays that mumbly, self-conscious sort of demeanor which suggests that he wants to imitate the Method acting style without actually going to the trouble of learning it. (At least he isn't as odd and inaccessible as Michael Parks was around that time.) Clarence Williams III as Lincoln "Linc" Hayes, the black character with the awesome afro, is so arch and stiff that he's either one of the most wooden actors in television history or just incredibly intense. Sometimes he looks as though he's summoning a superhuman force of will just to unbutton his windbreaker, but it could be due to all that concentrated coolness.

He does break out some great action moves, though, performing breathtaking diving leaps to push people out of the way of danger or scrambling up the side of a building parkour-style. Linc also keeps things real with catchphrases like "you can't drink champagne out of a paper cup" and "solid." Winsome, waifish Peggy Lipton rounds out the trio as the blonde runaway Julie Barnes, who is totally ineffectual action-wise but you just wanna hug her anyway. Her main talents are going undercover as a hippie girl or a nun, or getting kidnapped and held hostage. And as their straight-laced boss Captain Greer, Tige Andrews is such a glowering, tire-screeching cop show caricature that he's sort of hilarious. A father figure to the group, the big lug even persuades Pete and Linc to endure something as totally uncool as fishing.

The sets have a chintzy look with lots of those bright pastels common to early color TV. There's an abundance of ugly late-60s atmosphere such as the dayglo paisley curtains in Julie's apartment, and the similarly horrific decor on display whenever we visit one of those hippie lairs just like the ones in the later episodes of "Dragnet." It's funny how similarly unreal the "Mod Squad" view of the hippie lifestyle is to Jack Webb's, with the same tacky psychedelic trappings, smooth-talking gurus, and ever-present sitar music, as we see in the episode "The King of Empty Cups." Here, the police commissioner's daughter falls under the evil spell of an abusive rock star (a delightfully miscast Noel Harrison, who definitely wasn't rock-star material), leading to the inevitable finale in which the drugged-out girl stands teetering on a balcony threatening to jump off.

Comical "Police Squad!"-style obviousness rears its head in this set's first episode, "The Debt." Linc impersonates a lunch wagon driver so that he can infiltrate a factory, whereupon he then sneaks around peering in windows and eavesdropping on private conversations. I don't know about you, but if the lunch wagon guy where I used to work did stuff like that, we'd have noticed. In "A Town Called Sincere", faux biker types take over a backlot Mexican village and hold everyone hostage until they find out who killed two of their own. During one tense situation, Pete confides to Linc: "This whole scene is getting very uptight, man." Later, Linc loses his cool with a reluctant witness: "BABY, DON'T YOU DIG IT? THEY'RE GONNA HANG A MAN!"

Sammy Davis, Jr. pops up in another "relevant" episode called "Survival House", playing a recovering addict who's about to be promoted to director of his halfway house until he gets falsely accused of statutory rape. Sammy does his best with the character but the script by Joanna Lee (who played flying saucer pilot Tanna in PLAN 9 FROM OUTER SPACE) and slapdash execution of it are just too dumb to take seriously. In "The Exile", Julie falls in love with a nice Middle Eastern guy from one of her night classes, only to find out that he's secretly a prince who's about to become king when his father gets assassinated! (Yeah, I hate it when that happens, too.) A dark-haired Lawrence Dane (Michael Ironside's ruthless henchman in SCANNERS) appears as a military officer.

The show's best episodes are the ones that ignore the whole "hippie cops" premise and simply tell interesting stories. Two of the ones I recall most fondly from the series' initial run, in fact, are right here in this set. The first, "Mother of Sorrow", stars Lee Grant as a rich eccentric artist and a very young Richard Dreyfuss as the neglected son who decides to take drastic measures to get her attention. Grant and Dreyfuss are both outstanding actors and they have some really strong scenes together here. It's especially fun watching Dreyfuss at the beginning of his career, playing this flaky, egotistical kook with all he's got.

The second episode that I was really glad to see in this set is "A Time For Remembering." This is the one where Linc gets shot and almost dies, and it's what comes to mind whenever I recall watching the show as a kid. Partly a clip show with some great use of earlier scenes (which strongly suggest that the show's first season was superior to this one), it allows the characters to open up and convey their feelings for each other in a way that I somehow find more moving than cloying. I like the part where the nurse tries to throw Pete out of Linc's hospital room, telling him that only family are allowed. "But I am family--" he starts to say, realizing that the lie is obvious even though the sentiment is real.

The biggest casting surprise for me comes in the episode "Return to Darkness, Return to Light." Gloria Foster is radiant as Linc's old friend Jenny, a blind woman engaged to a man (Ivan Dixon of "Hogan's Heroes") who may be concealing a criminal past. It's interesting to see "The Oracle" from the first two MATRIX movies in her younger days--not only is she quite stunning to look at, but her sincere performance helps to make this one of the most emotional episodes in the collection.

"Should Auld Acquaintance Be Forgot" is a nifty murder mystery that takes place on a Hollywood soundstage and stars Frank Converse and Ed Asner. In "Call Back Yesterday", a young Margot Kidder plays Pete's old girlfriend and Anita Louise is his Beverly Hills mom.

Other notable names making guest appearances in this set are Ford Rainey, Lisa Gaye, William Smithers, Bert Freed, Don Dubbins, Mark Goddard, Norm Alden, Diana Muldaur, Frank Aletter, Charles Aidman, Milton Selzer, Marion Ross, and teen idol David Cassidy. In full screen format with English mono, the 13 episodes on these three discs look and sound about as good as ever. No extras. Total running time is 663 minutes.

Yeah, I love this show, but not quite the same way I did when it was new. Because since then--somehow--it got kinda dumb. So now, I have to either give up and revel in its campy elements, or force myself to ignore them and try to take it all seriously. This show is tearing me apart! (Baby, don't you dig it?) But no matter how you turn on and tune in to its groovy vibe, THE MOD SQUAD: SEASON TWO, VOLUME TWO is a mind-blowing blast from the past.

THE MOD SQUAD: SEASON 2, VOLUME 2 -- DVD review by porfle