The Frisco Kid 1979 A Movie a Day Day 45

THE FRISCO KID: Movie TrailerThe Frisco Kid, Leo Fuchs

Boy did it get complicated finding a post-able version of this trailer. Please watch it so that I feel the effort was worth it. I don't know why someone doesn't have it on youtube, because this movie stars Harrison Ford, the biggest movie star on the planet for 20 years, and Gene Wilder one of the best loved comic actors of all time. Even though it features these two big stars, I don't think many people know of or have seen The Frisco Kid. This is another gem from the summer of 1979. There were quite a few other films out that summer so maybe it simply got crowded out of the marketplace. This movie was directed by Robert Aldrich, one of the great tough guy filmakers of the sixties and seventies. He brought us "The Dirty Dozen" and "The Longest Yard". So it was not put together by amateurs.

We saw it at the Gold Theater in Alhambra; that was the small second screen at the site of the main Alhambra Theater. They claim to be the first multi-plex in the country or at least on the west coast. That theater was heavily damaged by the Whittier narrows quake in 1987, and it never reopened. Four years later the Edwards Atlantic Palace opened and it was the most beautiful theater in the world for a couple of years. Now my kids that went there with me when they were little, think it is creepy. If they had ever seen the Gold Theater they would have freaked out. It had a small screen, maybe 150 seats and a pretty low ceiling. That was the experience we had when we saw this movie. It was on a double bill but I can't recall right now what the other feature was. We loved Gene Wilder and if you look at the trailer, you will see he was the selling point for the film. Harrison Ford had been in Star Wars but not yet the sequel where he really shined and this was two years before Indiana Jones. He was co-billed but definitely the second lead.

The movie is populated with familiar faces from westerns and TV shows of the day. There is a an Indian chief played by the guy who was John Travolta's father in Saturday Night Fever; you know the one who hits his hair. The head of the Jewish group in San Francisco is someone I'm sure I saw on TV a million times in the 1970s. I want to give special notice to William Smith however, because this may be the most memorable role I saw him in in a theatrical film. He is the heavy, and that was the part he usually played. I remember him best from the two Rich Man, Poor Man Mini-series of the 70s. People who have grown up in a world of cable series that had short runs, may think that this was a normal way to tell a story. In the 1970s, when most people had only the three main networks to choose from, and a series might run several nights in a row or over the course of a few weeks they had huge ratings. William Smith was the scary bad guy in the Rich Man, Poor Man series, so he was seen by huge numbers of people and he was quite memorable in the role. In the Frisco Kid he plays the bad guy that tries to get the Rabbi in a gunfight at the end of the movie. He might be hard to find since the Rabbi took San Fransisco and the bad guy gets everywhere else.

Harrison Ford plays his part for laughs for the most part. He is not doing slapstick but he is often the straight man in the comedy duo. He does get a few choice lines and gets to play some very nice emotional moments with Wilder. The heart of the movie is the friendship that springs up between Ford's bank robber and Wilder's Rabbi. It is a buddy picture with a nice twist. It is also a fish out of water story, with the Rabbi encountering con men, Amish, posses, and Indians. For a nice Jewish boy from Poland, it would appear to be overwhelming, but the spirit of the Rabbi is a good one. He is a man trying to live up to expectations, and he doesn't always have the skill but no one would ever doubt his heart. When he telegraphs back the money that Ford stole from a bank in a small town they went through, you know this is a guy with his heart in the right place.

Gene Wilder carries the movie with his spot on accent and hangdog expressions. He puts more emotion in his eyes then ten other actors could muster. True his lines are sometimes delivered like a stereotype, but that is part of the humor from being out of place in the old west. If you don't laugh at the whole sequence when he is chasing a prairie chicken down to when he finally meets up with Ford, there is nothing you will find funny in the movie. I laughed hard at the line"If you had been here yesterday, we could have had chicken." I think the movie was sold as a Mel Brooks style comedy, but it is actually much more gentle and sentimental. Allison said today that this was her favorite Gene Wilder Character, and she loves Willy Wonka and Young Frankenstein. The movie could be a little tighter. It feels about fifteen minutes too long. It is not a bad fifteen minutes, and I want to be honest, the extra time with the two characters is not going to hurt anyone.

Moonraker 1979 A Movie A Day Day 44

As far as I'm concerned, every James Bond Film is a classic. James Bond is my favorite character in movies and fiction and has been since the time I discovered the novels when I was ten years old. We had most of the paperbacks that I found on a bookshelf in our house on Kendall Ave in Los Angeles. I saw the lurid covers and the cool titles and I dove right in. They were a little racy for a ten year old, but the reading level was fine because, well frankly I was an advanced reader. The more sophisticated might say that my reading level would be retarded by spending time with these novel. Anyone who believes that, has not shared a meal with James Bond in an exotic hotel, or played a high stakes game of cards with a desperate villain. I saw my first Bond films before I read the books and was pleased as punch that I did not have to wait another two years to get the next story. Moonraker the film shares almost nothing with the book. The villain's name is just about all they have in common. This movie was moved up after the success of Star Wars, and the 007 franchise decided to cash in on the space craze. The seventies Bond films seemed to be more locked into film trends then a dozen other media put together. Blaxsplotation films led to Live and Let Die, Kung Fu epics featuring Bruce Lee meant that The Man with the Golden Gun would be set in Asia and feature martial arts as a subplot, and then Moonraker jumps on the Science Fiction bandwagon. Many have criticized Moonraker as the worst 007 movie ever. It's not the worst but it did pander the most. There is a set of three musical cues used in the movie for a joke. The opening strains of Also Sprach Zarthura, the Close Encounters communication theme and the Theme from the Magnificent Seven are all used as punchlines. That seems a little excessive.

There are some big set pieces in the movie that work very well on their own, even if they are not essential to the story telling. The pre-credit sequence features a great parachute stunt and looks pretty good. There was only one Bond film in the seventies that did not have a boat chase of some type, that was the last one with Sean Connery. I guess the producers decided Roger Moore looked great on the water. In fact, Moonraker features two boat chase sequences, both are spectacular. In Venice Bond has a gondola that tuns into a speedboat and he maneuvers around the canals until he runs out of room, then it turns into a hovercraft that allows him to float across the piazza and get double takes and slapstick reactions from the crowd. In the Amazon, his vehicle is equipped with counter measures that allow him to destroy most of the enemy speedboats chasing him, and again he has a slick exit when he runs out of room. The writers might be accused of dipping into the same well in this one movie, but I doubt most people noticed because it was so fun.

There are a few technical glitches in the story telling that get glossed over. The hijacking of the Moonraker is a good looking sequence but it makes no sense since the Shuttle that is stolen only flies in free fall, and the engines on it would not allow someone to hijack it like a car on the streets. The explosions in space have to look spectacular, the the film makers ignore that in the absence of oxygen, there would be no huge flames to look at against the black background of space. Even if you have more money than Bill Gates, you could not restore a glass factory in a few hours and replace a laboratory with a renaissance library, complete with art work by the masters, overnight. I don't know anyone who wants to get too wrapped up in that, but it is an illustration of how the series was becoming dislodged from reality. The space marines in the American shuttle that battles Drax's forces, seem to come out of nowhere. I will say that the execution of the launch sequences of the six Moonraker shuttles, closely resemble the real shuttle takeoffs, which would not occur for two years after this movie was released.

This was the very first movie I recorded with the $1100 VCR we bought in 1981. Bond films up through the seventies were lucrative films in re-releases, but cable programming was making all kinds of movies available. It was a huge event when the Bond Films came to TV in the late seventies, and Moonraker was one of the new 007 adventures that would not get a second chance to get an audience in the theaters but would be embraced by those with a good color TV. I suspect that is one reason that Roger Moore's Bond portrayals were widely embraced, they were seen by more people more quickly because of the different TV windows of the day. I am not saying Moore wasn't deserving of praise, but it always surprised me that there were people that preferred his Bond to Sean Connery. At the end of this movie, is the promise that James Bond would return in "For Your Eyes Only". I liked it when we got that promise and there was a particular title to look forward too. Now a days, the promise seems more hollow because they don't really know what the next Bond will consist of and there is uncertainty in the studio. The death of United Artists in 1981, meant that the franchise would be in the hands of the producers but not always backed by a reliable studio. This is why we may not get another Daniel Craig Bond film, and maybe no Bond film for years to come.

There is an interesting personal story about our first screening of this movie. We went with Kathy and Art, a year before they got married and we got married. We saw this at a theater in Westwood, which was the only place it was playing when it first opened (those days were disappearing rapidly). We got there a couple hours before or screening and lined up in front of the theater to wait. While we were waiting, some incident occurred that led me to make a joke about Art being henpecked. Kathy got a bit irritated, but we shrugged it off, it was just an innocuous smart ass comment. While Dolores and I waited in line, holding our place, Art and Kathy walked off to get a drink or some ice cream. They were gone nearly an hour and we got a bit worried. Right before the doors opened to let us in they came back and we all went in and had what I thought was a nice time. It was only later that we found out that Kathy was infuriated about the joke and wanted Art to go with her and take her home. We had ridden with them in Art's little yellow Opal sedan, out to see the movie. Kathy had wanted to abandon us there, she was so mad. We would have been stranded in Westwood, forty miles from my house and without any way of knowing what had happened, remember, no cell phones. It turns out that most of that hour they were gone was spent by Art trying to convince her not to do that. My best friend Art passed away in 1993. He and Kathy were close friends for the length of their marriage. Kathy moved on and seemed uninterested in staying a part of our lives. It hurt a great deal but for five years after his death we basically only got a Christmas card a couple of times. We reconnected in 2000, and actually had a pretty close friendship again, but in 2001, with her kids in tow, she bailed out on us at another movie.We have not seen or heard from her at all in nine years. We sat watching the first Harry Potter movie, wondering what the hell had happened. The answer was simple, Art wasn't there to talk her out of it that time.

Amityville Horror 1979 A Movie A Day Day 43

Amanda watched this with us, and she said it didn't frighten her except for a few jump shots and gotcha moments. Of course she watched this from behind a blanket curled up in a corner of the couch. Even if it didn't get to her, I'm perfectly willing to admit that it got to me. This movie in no way has the intensity or impact of a film like the Exorcist or Alien, but the creep factor was quite high from my point of view. There were several scenes that made me jump and almost a dozen that made the hair on the back of my neck stand on end. It works very well as a fright film, and I thought the intensity at the end was a satisfying finish for the movie.

Haunted House movies usually work for me. I have already written about the Legend of Hell House earlier in the summer. If I ever repeat this project for films of the 1980s, you can bet that Poltergeist will be on the list. We are big fans of the Television show "Supernatural" and my favorite episode usually involve some kind of haunting. It may be that Amanda is such a fan of the show that she is a little jaded in regard to the traditional creaky/spooky house bits. I on the other hand respond to the usual suspects the way the film makers usually are looking for. When I noticed the name of the Director tonight as I was watching the opening, I was not surprised that the movie works. Stuart Rosenberg directed the fantastic Cool Hand Luke in the 1960s, and in the seventies he did a couple of very nice Paul Newman movies and a thriller called the Laughing Policeman that I had always liked. This movie is very competently put together.

Let's start with the script. It is based on the bestselling book of the time. I know there have been a number of follow up stories that debunk the story as being true. It has even been suggested that the whole thing was a hoax. I have never read the book and I did not follow the rebuttal stories very closely. I never went into this thinking it was a documentary. I guess those who did were hoodwinked the same way that people who thought the Blair Witch Project was real were taken in. I just looked at it as a good story. It has all the needed parts to pull us in; a young couple newly married with kids from a previous relationship buying a dream house, a background story that sets up the drama and horror before our main character even take the stage, and several subplots about satanism, Indian burial grounds and just weird local history. There are not a huge number of special effects and the three that stood out might seem a little cheesy. At one point we see a set of glowing eyes, then there is the image of the lead character that floats into a hidden room, and what looks like a giant creepy rat in the little girls room at the end of the film. Two of these worked well despite being a bit iffy. The floating head image of James Brolin is the one photo effect that just falls flat. I'll tell you what image of Brolin does work scaring us, his face staring up at the audience from the year old newspaper photo of the murderer in the opening sequence.

The actors are fine, Margot Kidder did this movie between the two Superman movies she was featured in. She is a nice looking woman that is not beautiful per say but comes across as sexy and appealing in an everyday kind of way. I have not seen the remake that came out a few years ago, but my guess is that it is populated with pretty people. That kind of casting takes us out of the reality of the story. Sure James Brolin is a good looking man, but we see him deteriorate in front of our eyes. The kids are cute but not model cute. And all the supporting players are plain, they were hired for the roles they were playing not their looks. This was a low budget film made by American International Pictures, but they spent the money to make a film competently and to make it creepy. They did not try to sell us on the movie based on how fantastic everything looked. The music was by Lalo Schifrin. He did the music the year before for yesterdays movie "The Cat From Outer Space". Also Rollercoaster, Enter the Dragon and a couple more films on my list for the summer. He is best known for writing the greatest TV theme this side of Hawaii Five-0, The Mission Impossible theme. For this movie he really did a great job, the eeriness kept going even when conventional story elements were on the screen. I thought this evening while I was watching it, that this was one of the better scores I had heard this summer. When I looked it up, sure enough he was nominated for an Academy Award for this score.

Dolores and I went to this movie with Kathy and Art in the legendary summer of 1979. We saw it at the Rosemead Four theater. This was one of the first of the AMC style multiplexes, the theaters were small, the lobby smaller, but the popcorn was good. This theater is long gone and they don't have a screen in the area anymore at all. We all enjoyed it and the girls were particularly creep-ed out. Maybe as I have gotten older, I have lost some of my nerve and I am now easier to scare. I just thought this movie worked. OK, maybe going back for the dog seems tired and stupid to moviegoers today, but that is only because they did it here first and a thousand others followed (Don't forget, Ripley went back for the cat).

1978 Walt Disney The Cat From Outer Space A Movie A Day Day 42

In my class yesterday, I mentioned that I am a sucker for movies with animals. The trailer for Secretariat brings a tear to my eye. What kid didn't want lassie to be their dog, or cry when Old Yeller or Thomasina died? Then someone asked me if I therefore liked Marmaduke. I have of course not seen that travesty, so thirty years from now I won't have to be writing about what movies I saw in the old days and then be forced to mention it. Unfortunately, that is not the case with "The Cat From Outer Space". I saw it, I admit it, and I am embarrassed. Look, it's not that it's a Disney live action film. I still like the Ugly Dachshund and Herbie the Love Bug. The problem is that it is the dregs of the Disney live action films from the seventies. Elements of the story are recycled from other Disney movies, the actors are all encouraged to mug for the camera, and a premise that might be fun for kids is wasted.

This was a year out from Star Wars and Close Encounters. It must have seemed like a brilliant idea to have a space themed kids movie for the summer. The idea of a visitor from another planet, hiding among the humans, who needs our help is not exactly original. My favorite Martian was a TV series that ran in the sixties. The Day the Earth Stood Still was big in the fifties. No one will ever think of this movie as a specimen of good science fiction or good kids movie. I am going to do some finger pointing here and it is not going to be pretty. My girlfriend made me take her to see this movie. I knew that it was not going to be any good. The Disney Studios of the late seventies had nearly run dry of creativity. They were functioning on the fumes of their past success. Most of the box office for their films came from re-releases of their classic animated films. The new animated films were passable but not great. It would be nearly a decade before the take over of Disney by other Hollywood insiders and Wall Street barons would restore the Disney brand to the status of Kingdom. The live action unit must have been a loss leader that they could take write downs on because the fantastic adventure films and clever family comedies of the sixties, gave way to stuff like this.

This movie features some well know performers who deserved better. Sandy Duncan was the go to gal for Disney films in the seventies, and she is OK for what she is asked to do. McLean Stevenson and Harry Morgan were both on the TV series M*A*S*H, in fact, Morgan replaced Stevenson, so it is amusing that they co-star in this movie. I saw Harry Morgan in yesterday's film "The Shootist" and he was a hundred times better. He is growling through this, in sleepwalk mode. The stuffed Cat they used for the flying sequence at the end did a better job than most of the actors. There is screaming and grimacing by the romantic leads, flustered glances from the supporting players and casual robotic appearances my some old timers like Hans Conreid and Jesse White.

The writers lifted the plot from My Favorite Martian, complete with telekinetic powers, transplanted some evil secret organization elements and then grafted in a plot device that Disney had used for years. In Flubber, gamblers are making bets on basketball games, in Blackbeard's Ghost, they have the football game to gamble on. If there is a story that requires quick fund raising, then they just stick in a gambling element and twist it to fit the story. Here it was completely unnecessary to the plot, but it allows some Extraterrestrial magic to be worked on a variety of games to amuse the kids. I just don't think any of it was very amusing. The special effects look like they went out of date in the 1940s.

It may be that Spielberg saw this movie before he did E.T., because there is a scene where the alien (cat) makes a motorcycle fly briefly. If there had been a moon behind it someone could have sued. I told my students that my main criteria for rejecting a movie even when it has animals in it is, is based on whether the animals talk or dance. There are very few exceptions to that rule, but I think I should add one more element to the standard. If the animals have super powers then you should give it a pass also.

The Shootist 1976 A Movie A Day Day 41

I love John Wayne. He was the biggest movie star in the world before I was born, and I saw as many of his movies as I could when I was a kid. Of course I watched him on the afternoon matinee on channel 9, or the Big Picture on channel 2. If there was a late show on a weekend night I'd try to see that too. I didn't think it was enough to see him on TV however, I really felt that the theatrical experience was required. He was an aging star by the time the seventies came along, and the parts did not always fit him well. He tried to match Dirty Harry in films like Brannigan or McQ, but his hairpiece and age made him seem out of place(by the way I saw both of those in Theaters and loved them despite the creakiness). If ever there was a character type made for an actor it was the role of cowboy for John Wayne.

By the 1970's, the Western genre was dying out. Clint Eastwood still made them, but for the most part they had returned to being "B" pictures, and after the influence of Sergio Leone, they were usually bloody as hell. John Wayne made two of his best western pictures in the 70's. "The Cowboys" allowed him to play a realistic part as an aging rancher, faced with leading a group of kids on a cattle drive. He got to be Duke, but did not have to do all of the action scenes, and he is off-screen during the climax of the film. It was a terrific film but it was not a summer release, "The Shootist" was. This was a part that fit Wayne like a glove, they used clips from a dozen of his earlier pictures to set up the back-story of the character that we meet. He is a legendary gunfighter, past his prime but with more dignity, guts and talent than anyone around as the movie starts. The film is set in 1901, so the new century is taking over for the old, and the ways of the past are not always held in high esteem. There were exceptions in this movie; a young kid who knows the history of this particular gunfighter, a couple of wanna-bees that missed the showdown in the street days of the old west, and an ornery man with a grudge who remembers the past too well. J.B. Books encounters all of them in his last days in Carson City. He is dying of cancer and trying to figure a way to do so with some self-respect.

John Wayne plays Books so easily because he had faced cancer himself. He had played all of those parts for fifty years, and he would face cancer one last time in the not to distant future. This was his final screen role and he was exactly what was called for. I love the fact that this movie was directed by the great Don Siegel. Siegel is one of the two directors that Clint Eastwood dedicated his movie "Unforgiven" to(the other being Leone). The guy that made three westerns with Clint Eastwood and directed him in his signature role in Dirty Harry, made the last movie John Wayne was ever in. There is poetry in this, and anyone that thinks the universe is a series of random accidents ought to consider the unique way these circunstance came out. It is just plain cool.

If you watch the trailer, you will see that there is no shortage of talent on the screen. Jimmy Stewart re-teams with Wayne, a co-star in the Man who Shot Liberty Valance. John Carradine has a scene as an undertaker, he must have played such a role before because he seems perfect in it. Hugh O'Brien, has a part that is not huge but it is flashy, and after playing Wyatt Earp on TV for so many years, it was great to see him in a Western on the big screen with Wayne. Richard Boone also was a TV western star, he had worked with Wayne a couple of years earlier in Big Jake. Lauren Bacall, has a really solid part in the film as the boarding house owner that gunfighter Books takes a liking to. They do the bickering flirt dance a bit, but she ultimately has to accede to his request not to argue with him about his final choice. Ron Howard was a good young actor, but in the long run it seems he made a smart choice in moving behind the camera. His earnest manner and face would probably not get him many parts when his youth left him.

It is sad to know that we live in a world where we can't expect a new John Wayne picture, but it is grand to know that even among today's young moviegoers, the name John Wayne still means something (even if they haven't seen any of his movies). I like playing the John Wayne slot machine when I am in Vegas. I don't know if Mr. Wayne would approve, but in a way, it helps us hang onto that image of him as the primo cowboy of the century. I am pretty sure I saw this movie by myself in 1976. I can't explain why that would be the case, but I did luck out because no one I knew got to see me cry at the end of this film. It is even tougher now, knowing how Wayne left us three years later. There are a lot of good quotes from the movie, but I will leave you with this visualization of the values J.B.Books shares with young Ronnie Howard's character...

The gentleman on the left is the producer of "The Shootist" William Self, the one on the right is my Dad, Kirk Kirkham. In the middle is my Dads friend Jim Hamilton. This photo was taken by my friend Ron Pascu, a old buddy of my Dad. He just shared the connection with me when he saw this post. If you click here it will take you to the magic blog for a little more detail.

The Return of the Pink Panther A Movie A Day Day 40

I spent almost as much time looking for a trailer on line as I did watching the movie this morning. There are actually several sequences that are available if someone wants to watch a movie in bits and pieces. That seems strange to me, but the world is changing and sometimes what people want is something I never would have imagined. For instance a camera in a phone that you carry around with you. Now we can record video of where we were when we were interrupted by the phone in our pockets. Anyway, what I have for you above is the opening credit sequence of the movie for today. It will have to do for now, and the truth is It will probably be more entertaining than a trailer.

This is the fourth Pink Panther film and the first one of the seventies I believe. It was the start of the successful Panther films in the second half of the decade, and it is odd that it appears not to have been one of the most popular ones. As far as I was concerned, it was ten times better than Revenge of the Pink Panther that came out three years later and on which it appears they spent more money. The series is filled with slapstick moments and silly dialogue but sometimes it seemed that the effort was too noticeable. The later films feel a lot like a clown that honks his horn more frequently as the jokes and responses fall flatter. Maybe this one works because it seems fresher and we were not bombarded with Inspector Clouseau every minute of the film. There is a nice jewel heist sequence to start off the movie, and the famous jewel makes a return appearance in the series. Clouseau does not show up for fifteen minutes. When he does appear,there is a great sight gag with a baton, pure slapstick. This is followed up by one of the funniest dialogue sequences in any of the movies. Sellar's accent and pronunciation start off the joke and then it gets more hysterical by playing with the bureaucracy of French laws for street performers.

I must have seen this movie with Art Franz, because I remember frequently doing the dialogue from the accordion player with the monkey with Art. "What are you blind?" "Yes." He did the French accent on the "Yes" better than I did. I still reference the line from time to time here at home. The slapstick sections are played pretty naturally, but this looks like it was the start of Blake Edwards indulging the jokes a bit too much; there are slow motion segments at the end of two or three bits of business that are supposed to extend the joke but to me they seem to belabor the point. The crisp karate interplay with Kato in the films becomes less interesting when we have to see plates and lamps and all manner of drywall come down on top of the actors in slo-mo.

There are some simply inspired comments and actions from Sellars during the sequence where he is pretending to be from the phone company. I am still laughing at how he diagnosis that there is nothing wrong with the phone in the entryway, so he can gain access to the study. I won't give it away but if you see it you will know. The pratfalls in the study are solid and there is a silly payoff on a glue joke. There are some similarly bright spots in a sequence in a hotel room where he is trying to search disguised as an employee with a vacuum cleaner. These segments don't become too repetitive because between them there are some scenes where Christopher Plummer as the Phantom, does his own investigation and there are some action sequences and different comedy tones to balance out the over the top Clouseau.

I enjoyed this visit from the Pink Panther more then the last one that I wrote about. I have one more Panther Film in my collection that I purchased for this summer series. Unfortunately, it looks like my memory was off and it was actually a December release and so it doesn't fit my goal for this blog. I'll tell you what though, if you don't go searching through data on line to find out, I'll sneak it in one day when I need a comedy and the other summer choices seem slim. That way we can all win. Well, the World Cup Final calls, so I'm off to root for the Netherlands. I don't really give a damn but my future son-in-law is a Van Lahr, and I don't want the octopus to be right.

The Other Side of Midnight 1977 A Movie A Day Day 39

THE OTHER SIDE OF MIDNIGHT: Movie Trailer - The most popular videos are here

This was supposed to be Fox's big movie of the Summer of 1977. This movie was promoted like crazy, the poster was everywhere, and there were stories in magazines and fashion photo layouts galore. Somewhere along the line someone forgot to ask if there really was a market for a three hour soap opera on film. This is the kind of stuff that Television had been doing for years and that specialty cable channels continue to do today. In the seventies this would have been a two or three night mini-series that would have gotten huge ratings. As a movie though it fell short of expectations, and Fox's other movie that year became the biggest blockbuster in history and changed the way movies were made and marketed. I suspect that the failure of this movie to bring in audiences was combined with the Star Wars phenomena to shift movie marketing to kids rather than adults and boys rather than girls. If you want to blame anyone for altering the view of the movie marketplace away from adult material, don't point at George Lucas, point at all the women that did not get their man to go with them to see this in 1977.

Of course it would have helped if the movie had been better. "The Other Side of Midnight" is over the top melodrama done in a fairly flat manner. Dolores looked up today while the movie was starting and commented on how dated the movie looked. I saw the credits and thought "TV" because the actors as they are listed, were also listed with the character name. This was right out of serialized drama and it makes the film feel cheap. It actually is not cheap when it comes to location and set decoration. The movie was shot in Greece and France and the U.S. and used scenic spots for romance and drama in many segments of the movie. Near the end there is a fairly suspenseful sequence shot in Greek caverns, with nice ambient lighting and some beautiful colors. Although there are a number of studio shots in the French sections, there is some good use made of public spaces that are glamorized pretty well. The costumes worn by the women are all quite glamorous. If fashion and scenery were going to be enough to make the movie a success, then it was in.

There are two major assets in the film, the leading ladies. Susan Sarandon is young and adorable and sexy in a wholesome way that the boys at war would have dreamed of. She has a great story up to the point where she meets and falls in love with the heel of the picture played by John Beck. Then her character becomes a drudge that only at the end when fighting for her life comes back to existence as a character. Marie-France Pisier is the French woman that the story actually focuses on, and for whom we are clearly supposed to care about. I had seen her in my first foreign language film "Cousin,cousine " a couple of years before. Art and I saw that picture and she was a truly beautiful woman. Here is the element that that could not be put on television, Miss Pisier takes her clothes off in every other scene. This was the selling point for the movie and that should have brought in a bundle because she looks great naked. Despite these assets the movie stalls because both of these women are in love with the dullest leading man in the history of movies. He appeared in three movies on my list for the summer blog. Those are the last times that I ever saw him. I looked John Beck up on IMDB, and he appears to have had a very nice career, primarily on television. He had broad shoulders, a big grin and not much charisma. Maybe he was just miscast in things, although his casting in this movie is one of the reasons it never transcends the melodramatics. Once again, it is a TV production with some spicy thrown in.

Dolores had no memory of seeing this movie but I did. We saw it at the Cerritos multiplex in the mall. It opened just after Star Wars did and that may be why there is very little memory of the film. I however can't forget the lengthy scene where Noelle, pursues her acting career by seducing the director of the movie she wants to star in. I am not sure what it is she does with that handful of ice that she grabs during a love scene, but I would be willing to learn. The story arc she is in involves her loving father basically selling her to a piggish dress store owner, then running away and falling in love with an American flying with the RAF before the fall of France to the Germans. (The German Occupation is treated as a distasteful background setting for her rise to movie stardom, the war is scenery.) She then plots to recover her lover or revenge herself on him, by selling herself to anyone that can restore her lost fiance to her. There is a big dramatic moment that always makes me think of Mommy Dearest, I know why we are supposed to avoid wire hangers after seeing this movie.

It is interesting to me, that Sarandon is caste in a Jean Arthur type part and is the wholesome woman waiting for her man. She is usually the voluptuous predator in the movies. A woman who knows how to use her body to get what she wants, but she works as the sweetheart also. Since I have mentioned the other stars lack of clothes, I will point out that Sarandon's love scenes are much more retrained and discrete when it comes to revealing the flesh. I did think that the light nightgown in the wind and rain late in the picture was a nice touch to add sensuality to a dramatic moment. This movie is based on a Sidney Sheldon novel, and I was never much for the works of Harold Robbins, Jacqueline Susanne or Sidney Sheldon. They were very successful in their time, but maybe it was the storytelling that makes this movie seem old fashioned. Does anyone read those novels today? Don't tell my wife, but I suspect that Stephanie Meyer may be our contemporary version of those three writers. Here today but gone...on the other side of midnight.