Author: thehorsesheadblog

#134) Airplane! (1980)

OR “With a Name Like Zucker’s, It Has To Be Good”

Directed & Written by Jim Abrahams & David Zucker & Jerry Zucker. Based on the film “Zero Hour!”, screenplay by Arthur Hailey & Hall Bartlett & John Champion.

Class of 2010

The Plot: In a mashup of “Zero Hour!” and “Airport 1975”, a commercial flight is thrown into chaos when both pilots (Peter Graves & Kareem Abdul-Jabbar) fall ill. The only man who can land the plane is Ted Striker (Robert Hays) an ex-fighter pilot traumatized by flying in the war. With the aid of his estranged lover Elaine (Julie Hagerty), his former commander Rex Kramer (Robert Stack), control tower supervisor Steve McCroskey (Lloyd Bridges), straight-faced Dr. Rumack (Leslie Nielsen) and an inflatable automatic pilot (Otto), Striker will either land the plane, or the shit’s gonna hit the fan.

Why It Matters: The NFR’s description says the film “skewered Hollywood’s tendency to push successful formulaic movie conventions beyond the point of logic.” Geez, way to over-analyze everything. An essay by NFR go-to Michael Schlesinger puts the film in the context of other ‘70s comedies and disaster films.

But Does It Really?: This is the gold standard by which all parody films should be measured. “Airplane!” takes the disaster genre (a genre that’s already pretty ridiculous) and takes it to the next level. All of the jokes are individually stupid (and some a bit too crude for my tastes), but when they come at this relentless a pace, you are at the mercy of unstoppable laughter. “Airplane!” is one of the rare film comedies where everyone is in on the joke. From its rapid-fire pace to its pitch-perfect casting, “Airplane!” holds up better than most other comedies from that era, and even better than the films it’s satirizing.

Shout Outs: Among the films parodied are NFR entries “The Wizard of Oz”, “Knute Rockne, All American”, “Pinocchio”, “From Here to Eternity”, “Jaws”, and “Saturday Night Fever”.

Everybody Gets One: Practically everyone, most notably the ZAZ team, Robert Hays, Julie Hagerty, Kareem Abdul-Jabbar, and of course, Otto.

Wow, That’s Dated: Despite the film’s timeless humor, there are a lot of references to the late ‘70s. Among them; Hare Krishnas at airports, pre-9/11 flight procedures, a parody of this Yuban Coffee commercial, an extended disco sequence, and a slam on Anita Bryant.

Take a Shot: Amazingly, the word “airplane” is said only twice in the entire film: once by McCroskey and once by Striker.

Seriously, Oscars?: No Oscar nominations, but “Airplane!” did receive a Golden Globe nomination for Best Comedy or Musical (losing to the hilarious “Coal Miner’s Daughter”). The ZAZ team won the WGA Award for Best Adapted Comedy, beating out… “The Empire Strikes Back”? Does anyone in Hollywood know what a comedy is?

Other notes

• The third credit in the opening titles (after Hays and Hagerty) is for costume designer Rosanna Norton. She must have a great agent.
• Exhibit A for “This Film Couldn’t Be Made Today”: an abortion joke three minutes in.
• Among the many, many bit players in this film are Jimmie Walker, future “Breaking Bad” star Jonathan Banks, future “24” president Gregory Itzin, ‘70s game show staple Joyce Bulifant, and ultimate TV Mom Barbara Billingsley. Special Bonus: Dr. Brody of the Mayo Clinic? He was the original voice of Boba Fett. I’m not kidding, look it up.
• I can’t say enough about Robert Hays and Julie Hagerty. They may not get the funniest lines, but they really are the glue that holds this film together.
• Peter Graves’ running joke with Joey is creepy as hell, but I’ll be damned, Graves sells it.

• Shout-out to Lt. Hurwitz. This is the last movie I’d expect Stephen Sondheim and Jule Styne to get royalties from.
• Quick jab at the expense of then-presidential candidate Ronald Reagan.
• In today’s money $113.30 isn’t too bad for a cab fare.
• I love this movie, but I’ve never quite gotten the spear/watermelon gag. The directors have said it never got the laugh they wanted it to.
• As previously mentioned, everyone’s in on the joke, but Robert Stack especially gets it. That performance is flawless.
• Speaking of great performances: Stephen Stucker as Johnny. It’s not exactly PC, but in a film where everyone plays it straight, Stucker’s the only cast-member who gets away with being over-the-top.
• I have too many favorite lines, so here’s just a few:

“Joey, have you ever been in a…in a Turkish prison?”

“You can’t take a guess for another two hours?”

“Keep them at 24,000. No, feet.”

“Pinch hitting for Pedro Borbón, Manny Mota…Mota…Mota…”

“Me John Big Tree!”

“He’s all over the place. 900 feet up to 1300 feet. What an asshole.”

“Municipal bonds, Ted. I’m talking double A rating. The best investment in America.”

Legacy

• Following the success of “Airplane!”, Paramount wanted a sequel, and team ZAZ definitely did not. The result: “Airplane II: The Sequel”, written and directed by Canadian comedy writer Ken Finkleman, is a beat-for-beat remake of the first film.

• Leslie Nielsen reteamed with ZAZ to make the TV show “Police Squad!”. Critically hailed but roundly ignored, the show was cancelled after six episodes. It did, however, spawn the successful “Naked Gun” film series.

• ZAZ is also responsible for “Top Secret!” and one of my favorite jokes in any movie ever.

• Nielsen wasn’t the only one who got a career revival from “Airplane!”. Robert Stack, Lloyd Bridges, and Peter Graves all got second acts playing straight-faced characters saying ridiculous things.

• My friend Travis and I tried our hand at adapting “Airplane!” into a “39 Steps”-esque stage production. It is currently a lovely Word document on my computer, but if anyone with the rights to “Airplane!” wants to talk, we are listening.
• And of course:

Further Viewing: “Zero Hour!” Duh.

Further Further Viewing: While promoting “Police Squad!” on an early episode of “Late Night”, ZAZ presented David Letterman’s screen test for the role of Ted Striker. Yeah, good call for everyone involved.

#133) Under Western Stars (1938)

OR “The Roy Rogers Follies”

Directed by Joe Kane

Written by Dorrel McGowan and Stuart McGowan and Betty Burbridge. Original Story by the McGowan Brothers.

Class of 2009

Republic Pictures folded in the ‘50s, long live Public Domain Theater!

The Plot: At the height of the dust bowl, ranchers lose their water rights when the local water company builds a dam near their ranches. With a congressional election coming up, the ranchers endorse Roy Rogers (Roy Rogers) to help take their case to Washington. Roy tries to win over the Washington elite with strong moral values and far more songs than the average member of congress.

Why It Matters: The NFR cites “Under Western Stars” as the film that “turned Roy Rogers into a movie star”. There’s also a detailed essay by Roy Rogers experts Howard Kazanjian and Chris Enss. Fun Fact: Kazanjian produced “Raiders of the Lost Ark” and “Return of the Jedi”!

But Does It Really?: Historically, sure. It’s cheap and a bit contrived, but you can see Roy Rogers’ screen appeal on display. Plus, like most B-movies, it’s short. Roy Rogers should be on this list somewhere, and this film might as well be it.

Everybody Gets One: Before he was Roy Rogers, the King of the Cowboys was a singer named Leonard Slye. A founding member of Sons of the Pioneers (still going, by the way), Leonard was groomed by Republic Pictures to replace their other singing cowboy Gene Autry during a contract dispute. Slye received his new surname as homage to the late Will Rogers.

Wow, That’s Dated: Besides the film’s obvious dust bowl roots, “Under Western Stars” features candlestick phones, steel guitars as a western instrument, and joking references to spousal abuse. Yeah, definitely want to preserve that.

Title Track: Not only does no one say (or sing) the phrase “under western stars” in this film, but most of the film doesn’t even take place at night. What gives?

Seriously, Oscars?: “Under Western Stars” is one of the rare B-movies to receive an Oscar nomination: an Original Song nod for the stirring and timely “Dust”. Due to the aforementioned legal issues with co-writer Gene Autry, only Johnny Marvin got the credit and, subsequently, the nomination. No matter: the song lost to “Thanks for the Memory” from “The Big Broadcast of 1938”.

Other notes

• This is also the only NFR appearance for Roy Rogers’ faithful horse Trigger. In all honesty, Trigger doesn’t do anything in this film to warrant his moniker of “The Smartest Horse in the Movies”. Maybe he just tests well?
• Among the countless B-movies helmed by Joe Kane is the serial “Undersea Kingdom”. And now I have that song stuck in my head.
• Like many a low-budget western, “Stars” was filmed in Lone Pine, California. That’s weird; I thought it was called Twin Pines, California.
• Ladies and Gentlemen, Frog Milhouse! Frog is played by Lester “Smiley” Burnette, because I guess Andy Devine and Pat Buttram were unavailable.
• Flying headlines are an acceptable alternative to spinning headlines.
• Pit stains. I feel you, Smiley.
• I don’t care who you are; it’s always impressive to watch someone leap onto (and off of) a horse.
• I miss aggressive winking.
• “Vote for Rogers” is a fun precursor to “I Like Ike”. Also, no lip-synching here, go on about your business.
• Roy is giving me Cal Worthington flashbacks.
• Is fox hunting still a thing?
• What a downer “Dust” must have been when they performed it at the Oscars.

• “Evidently you still believe in motion pictures”. How meta.
• Despite the film’s low-budget, they picked a lovely day-for-night to shoot.
• I hope Roy uses his political power to help the Joads out.

Legacy

• Roy met his future third-wife Dale Evans during filming of 1944’s “Cowboy and the Senorita” (Yes, she was the senorita. Different times.) What followed were a 50-year marriage, a successful radio and TV program, and the reason you inexplicably know the words to “Happy Trails”.

• Roy Rogers has had his name associated with both a chain of fast food restaurants and a non-alcoholic cocktail.
• Ladies and Gentlemen, Trigger!

#132) One Week (1920)

OR “Keaton’s Curb Appeal”

Directed & Written by Eddie Cline and Buster Keaton

Class of 2008

The full short, along with an original score by The Lucky Dog Picturehouse and a live audience.

The Plot: A newly married couple (Buster Keaton & Sybil Seely) assembles their home from a build-it-yourself kit. After some tampering by the bride’s jilted ex, Hank (Actor Unknown), the completed house is filled with mistakes, from doors that lead nowhere to rooms with no ceiling. This arrangement is terrible for the newlyweds, but perfect for a young Buster Keaton showing off his comedic chops in his directorial debut.

Why It Matters: The NFR praises this film to the hilt, calling it “one of the greatest short comedies produced during the 1920s”. So…no pressure. There’s also a pretty thorough essay by film historian Daniel Eagan.

But Does It Really?: Yes, in the sense that any first step is important to document. Keaton’s just starting out with this film, but you can see how much of his comic genius was already on display from the get-go. Plus, this being a purely visual film, much of the humor still holds up today. Definitely worth a watch, even for you prudes who don’t want silent films.

Everybody Gets One: Not much is known about leading lady Sybil Seely, other than she did a few more films with Keaton before being replaced with Virginia Fox. Her film career ended in 1922 at the ripe old age of 20.

Wow, That’s Dated: This all takes place back when you could just buy someone a house for their wedding present. Also, are hobby-horses still a thing?

Other notes

• “One Week” is noteworthy for being Keaton’s first film with his own production unit at Talmadge Studios after working under “Fatty” Arbuckle’s unit for three years. Let me look up what happened to Arbuckle after they…OH DEAR GOD!
• This film is actually a parody of the 1919 educational short “Home Made”, right down to the “build-by-numbers” house design. Not sure if any print of “Home Made” still exists. Check your attics.
• Who gets married on a Monday?
• Handy Hank strikes me as the Biff Tannen in this situation.
• Nice use of film reversal when Sybil throws Buster a hammer.
• Surprise cameo by Captain Lou Albano as the piano mover.
• Hank, Buster can’t hear your screaming. It’s a silent movie.
• Keaton does the same thing I do when I ruin my carpet: just put a throw rug over it.
• The scene of Sybil in the bathtub features what may be the best fourth wall joke in any movie ever.
• Nope, definitely not a safety net under the ground that Keaton falls on. Why would you ever think such a thing?
• Pretty sure the house collapses the exact same way the “Poltergeist” house did.

Legacy

• Keaton would do the “house falling around a character” bit again (and to greater notoriety) in “Steamboat Bill Jr.”

• The dangers of expanding this joke to feature-length are on display in “The Money Pit”.

• I’ll just assume this film inspired the Barenaked Ladies song.

#131) Dances with Wolves (1990)

OR “White Savior: The Motion Picture”

Directed by Kevin Costner

Written by Michael Blake. Based on his novel (which was based on his unsold screenplay).

Class of 2007

The Plot: Union Lt. John Dunbar (Kevin Costner) is transferred to Fort Hays, Kansas to see the frontier before it disappears. He finds the fort deserted and sets camp by himself. He eventually makes contact with a neighboring Dakota tribe, who want nothing to do with him except for holy man Kicking Bird (Graham Greene) and Stands with a Fist (Mary McDonnell), a white woman raised by the tribe. As Dunbar begins to assimilate the Lakota, the threat of the Pawnee (as well as the white man) looms.

Why It Matters: The NFR praises the film’s cinematography and score, as well as its more sympathetic and diverse portrayal of the Lakota Sioux. There’s an all-encompassing essay by Angela Aleiss, who knows a thing or two about Native American portrayals in film.

But Does It Really?: As much as I don’t care for Kevin Costner, he did direct and produce a wonderfully executed western epic. It doesn’t fall into too many trappings (except for the aforementioned “white savior” complex), and the whole film has a masterful scope without feeling bloated. While not without its controversy and mixed response within the Native American community, the film’s diverse portrayal of the Lakota is a step in the right direction. I don’t know if “Dances with Wolves” is Best Picture-good (more on that later) but it is definitely NFR-worthy.

Everybody Gets One: Everybody, most notably Kevin Costner**, Mary McDonnell, former “Murphy Brown” actor Robert Pastorelli, and infamous “SNL” player Charles Rocket. And special mention to Teddy and Buck, the two wolves who played Two Socks.

Wow, That’s Dated: The only major giveaway is right at the beginning when the logo for gone-but-not-forgotten Orion Studios appears.

Title Track: “Dances with Wolves” is Dunbar’s Lakota name and doesn’t come up until about 110 minutes into the film.

Seriously, Oscars?: A movie projected to flop so badly it was dubbed “Kevin’s Gate”, “Dances” surprised everyone, particularly Costner, with its critical, commercial, and Oscar success. The film led the 1990 Oscars with 12 nominations, winning seven; including Picture, Director, Adapted Screenplay and Score. This is all well and good until you learn that they beat out “Goodfellas” in most major categories. The internet still won’t let the Academy live that one down.

Other notes

• First off, I’ve always been a fan of John Barry’s work as a composer. He’s the man who gave us the James Bond theme, the score to “Out of Africa”, and perhaps the most epic music for an “Alice in Wonderland” adaptation ever.
• No wonder the Confederacy lost the war; they can’t shoot for shit.
• We all agree that Dunbar’s facial hair is fake, right?
• This film is the answer to the trivia question: “Which Best Picture winner features Eldin from ‘Murphy Brown’ experiencing flatulence and being scalped alive?”
• Ladies and Gentlemen, Kevin Costner’s butt! At least now we know how this film got financed.
• As much as I enjoy John Barry’s score, every selection sounds like the music playing when they announce, “Winner of 13 Academy Awards”.
• For a three-hour film, everything clips along at a good pace. I will grant the film that. I also applaud the film’s sparing use of dialogue. You are only told what is absolutely needed. Everything else is conveyed in the visuals.
• That buffalo hunt scene is amazing, if just for the fact that there were still enough buffalo in 1989 to film it.

• Dunbar dances just like 90% of all white men. Guilty as charged.
• This is the second film I’ve covered on this blog that has some beef with a tribe of Pawnee. Turns out the Lakota weren’t as passive towards the Pawnee in real life.
• How does one direct themselves in a sex scene?
• The Lakota also call Dunbar “Busy Bee”, but that’s not as good a title.
• Man, white people suck.
• Stick around during the credits for such fun crew nicknames as “Sled”, “Dumbo”, “Living Legends”, and “BS”.

Legacy

• Kevin Costner’s directing career never really took off after this film. He instead focused on producing and acting (and allegedly a little back seat-directing every now and then). Costner’s only other credited films as director are “The Postman” and “Open Range”.

• We got a wide range of films in the ‘90s starring and/or about Native Americans, from a remake of “Last of the Mohicans” to “Smoke Signals” to “Pocahontas”. After that, not so much.

• The novel of “Dances with Wolves” received a sequel in 2001: “The Holy Road”. Attempts at turning this sequel into a film with Viggo Mortensen taking over the role of John Dunbar have stalled over the years.
• Since 2010, there have also been stabs at a musical theater adaptation. Don’t get me wrong; with the right people involved you can make a good musical about anything. I just think the degree of difficulty’s a bit higher on this one.
• The Sioux Nation adopted Kevin Costner as an honorary member, because someone had to.
• Graham Greene poked fun at his own performance on an episode of “The Red and Green Show”.

• And of course, the film’s wildly successful 2009 remake: “Avatar”.

Further Viewing: Two movies with enough parallels with “Dances” to warrant some major complaints from their filmmakers, 1957’s “Run of the Arrow” and 1970’s “A Man Called Horse”. What do YOU think?

**2017 Update: Costner now has “Field of Dreams” as well. If you build it, he will keep showing up on this list.

#130) Notorious (1946)

OR “Went to a Nazi Party”

Directed by Alfred Hitchcock

Written by Ben Hecht. Based on the story “The Song of the Dragon” by John Taintor Foote.

Class of 2006

The Plot: Immediately following the conviction of her Nazi-spy father, Alicia Huberman (Ingrid Bergman) is recruited by American agent Devlin (Cary Grant) to track down a group of Nazis living in Brazil. While down there she has a rendezvous with Alex Sebastian (Claude Rains), alleged Nazi and former “playmate” of Alicia’s. There’s also a sub-plot about uranium, but who cares? This film is all about the suspenseful, dangerous, and surprisingly heated love triangle between Alicia, Devlin, and Alex.

Why It Matters: The NFR praises Hitchcock, Bergman, and Grant, and calls the film “[a]rguably Alfred Hitchcock’s best black-and-white American film”. Warranted praise for sure, but quite a few qualifiers there.

But Does It Really?: Oh yes. “Notorious” may not crack the top of people’s Best Hitchcock list, but it is still an excellent example of Hitch’s signature style. The first American film Hitch did without David O. Selznick as “the muscle”, you can see him start to blossom artistically with “Notorious”. The clockwork script and airtight direction are aided by the undeniable star power of Cary Grant and Ingrid Bergman. They both play their parts perfectly, but also exude the kind of radiance you can only get with classic movie stars. Of all the Hitchcock films, this one has earned its reputation as his most…infamous? Is that the word I’m looking for?

Everybody Gets One: Most of the supporting cast, most notably Leopoldine Konstantin, the renowned Austrian actor in her only American film. She was so revered that she’s listed in the credits as “Madame Konstantin”.

Wow, That’s Dated: For starters, this film literally dates itself as 1946 in the opening text. “Notorious” also gives us a classic “driving in front of rear projection” scene. And speaking of traveling, guests of “Notorious” fly Pan-Am!

Take a Shot: Wow, no one says the word “notorious” at any point in this film.

Seriously, Oscars?: “Notorious” only received two Oscar nominations: Original Screenplay, and Supporting Actor for Claude Rains. Rains lost to Harold Russell for “The Best Years of Our Lives”, while screenwriter Ben Hecht lost to the screenplay of “The Seventh Veil”. You know, that classic. Most egregious of the film’s Oscar snubs was Ted Tetzlaff for his brilliant cinematography.

Other notes

• German worker? Were they not allowed to say “Nazi”? Or was it just too soon?
• Right off the bat I love this movie because of Ingrid Bergman and Cary Grant. Here are two real movie stars doing what they do best. They know exactly where the camera is and how to play to it. These two performances are not only great acting, but also a full display of that indefinable star quality.
• Devlin has Alicia’s conversation with her father recorded on vinyl. Very hipster.
• Holy crap that kissing scene is pretty sexy. I don’t usually go for Old Hollywood romance, but you can feel the heat from these two! Also, if you’re reading this post, I assume you are familiar with how everyone snuck this kiss by the censors.

• Speaking of, Hitch seems to be restraining himself in the sexual innuendo department. Either it’s so subtle I missed it, or Alma was around to keep Hitch in line.
• Cary Grant really could do no wrong as an actor. He rarely played this dark or stoic a character, but it somehow fits his screen persona like a glove.
• Oh Hitch, you and your mother issues. Alfred’s mother died in 1942, and he starts exorcising some demons with this film. And it just gets more cathartic from there.
• Claude Rains is great as a man obsessively possessive over Ingrid Bergman. Wonder if he got any pointers from his director…
• Once we get to Alicia retrieving the missing key, the film really kicks into high gear and we see the Master at work.
• Speaking of that key, this is the best advertisement Unica ever got.
• I love that crane shot so much all I can do is make the fingertips kiss gesture and type it out as “mwah!”

• You know those phrases you’ve never heard before but once you do you start to hear them everywhere? That’s me and “his nibs” right now.
• Hitchcock’s cameo is a little late in the film. Where you going, Hitch?
• Is “Notorious” the reason TCM thinks they need a wine club? And while Devlin is looking for a bottle, might I recommend the ‘34 MacGuffin?
• Alex and Alicia sleep in separate beds? Is this the Rob & Laura Petrie mansion?
• Yes, the best part of waking up is your first morning cigarette in bed.
• Why does Ingrid Bergman always marry men that want to kill her?

Legacy

• “Notorious” was remade for TV in 1992 with John Shea and Jenny Robertson. Its Wikipedia page has been removed, so that tells you the film’s success rate right there.

• The film was remade again in 2009. I haven’t seen it, but they seem to be taking a lot of liberties with the source material.

• The plot of “Notorious” has been heavily alluded to in such diverse titles as “Mission: Impossible 2” and an episode of “Star Wars: The Clone Wars”.

• Jimmy Stewart casually can’t remember the name of this movie in “Rope”.

• Perhaps the film’s most touching legacy: after filming, Cary Grant kept the infamous wine cellar key. Years later he gave it to Ingrid Bergman, who presented it to Alfred Hitchcock in 1979 during his AFI Lifetime Achievement ceremony.