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The 1985 - 86 TV Movie Season

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Arguably, the classic era of the fantastical made for TV movie genre was all but gone by 1985. The archetypal models of monsters and damsels in distress had made way for more serious fare. That’s not to say 1970s TVMs weren’t topical, just the opposite in fact, but dramas and romance soon took over the slots that used to be filled by tawdry-esque telefilms with titles like Drive Hard, Drive Fast,The Woman Hunter and Tarantulas: The Deadly Cargo in favor of the far more serious Victims for Victims, Two Kinds of Love and the terrifying-in-a-different-way miniseries The Day After. These films were a precursor to the true crime and disease-of-the-week movies that became more and more prominent on free TV in the late 80s and 90s. However, perhaps it is presumptuous to claim that the golden age had ended, when it may have simply meant that tastes were changing, because audiences were still turning their dials in droves. Ed Bark of the Dallas Morning News wrote about the most popular TVMs of the 1985/86 season in April of 1986. Taking the Nielsen ratings for the season, he compiled the top 10 list of the highest rated shows and then compared them to his personal favorites.


Surprise (but not really): Turns out there was lots of great stuff happening that season.

According to Bark (and Nielsen), reunion movies were big properties, as Return to Mayberry and Perry Mason Returns topped the charts for the season. Indeed, Mayberry (NBC, OAD 4/16/1986) harkened back to the 1970s TV-movies-as-an-event feeling, scoring 33.0 share, capturing 28.3 millions homes, and ranking as the then-7th highest rated TV movie airing ever.


But that was just one of two highly rated reunions, with Perry Mason Returns (NBC, 12/1/1985) landing in the #2 spot for the season, scoring a 27.2 share, with a viewership of something like 23 million households! The success of Returns encouraged Raymond Burr to continue on with a series of Perry Mason movies, and a total of 26 tele-films were produced between 1985 – 1993 (the last one airing shortly after Burr’s passing). You can pre-order a double disc of Returns with The Case of the Notorious Nunhere (due out on June 10th), or you can order Volume One of the Perry Mason Collectionhere.

The other top rated films ran the gamut of drama, from deadly serious fare to the more soapy melodrama, and were as follows (in order of their Nielsen ranking):


Intimate Strangers (CBS, 1/1/1986): Terri Garr plays an American nurse who spends nine years as a POW in Vietnam. When she returns home, she finds her husband has moved on to a new life without her. Co-starring Stacy Keach and Cathy Lee Crosby, director Robert Ellis Miller is known for giving Keach his big break in The Heart is a Lonely Hunter.


Nobody’s Child (CBS, 4/6/1986): Lee Grant is known as the cocksure, gorgeous redhead who wowed audiences with her strong characters. She is also an extremely talented director who took on some really interesting issues in her behind-the-camera-work. She directed this harrowing true tale of a woman misdiagnosed with schizophrenia, who spends two decades in mental institutions. Marlo Thomas starred and won an Emmy for her performance. Grant also won a DGA award for her unflinching portrayal of a system gone wrong. Nobody's Child is on DVD

  
Rockabye (CBS, 1/12/1986): The adorable Valerie Bertinelli plays a panic-stricken mother who must rescue her kidnapped child from a black market ring. Holy cats, this sounds awesome! Critics were lukewarm on Rockabye, but audiences came in droves and many still fondly recall this small screen melodrama.


Amos: (CBS, 9/29/1985): Kirk Douglas plays an ex-baseball hero who endures several atrocities when he’s forced to move into an old-age home. And, what Louise Fletcher did for mental institutions, the great Elizabeth Montgomery does for assisted living! Yikes! Nominated for Golden Globes and Emmys, Kirk Douglas was so moved by the all-too-ignored subject of neglect, he became an advocate for the elderly, even speaking before a Congressional committee! Go Kirk!


Mafia Princess (NBC, 1/19/1986): Susan Lucci puts in an early prime time appearance in this fact based account of the daughter of a famous Mafioso. Tony Curtis plays the ruthless father, and his character ages forty years throughout the film. Many critics felt this was Curtis’ best role in years and Lucci was perfectly cast. The real life daughter can be spotted in the communion scene.


Blood and Orchids (CBS, 2/23 and 2/24/1986): When I wrote about Battles: The Murder that Wouldn’t Die, I knew it was loosely based on a true story, but had no idea someone constructed an entire mini-series on the infamous rape case. Running at 240 minutes - over two nights - the cast is fantastic, featuring a young Madeline Stowe, Jane Alexander and a Kris Kristoferson, among many others. And interestingly enough, Jose Ferrer appeared in both Blood and OrchidsandBattles, Who knew? Blood and Orchids is on DVD.


Stone Pillow (CBS, 10/5/1985): Lucille Ball garnered a lot of press for this popular TVM by putting in a dramatic turn as a New York City bag lady who teaches a young Daphne Zuniga about life on the streets. Ball really threw herself into the part, losing 23 pounds during filming and she also suffered from dehydration because the film shot in the summer months, and Ball had to wear several layers of clothing. Rose Leiman Goldemberg, who had won acclaim for her screenplay The Burning Bed, wrote the script. The Stone Pillow is on DVD.


An Early Frost (NBC, 11/11/1985): Sometimes the small screen gets there first. An Early Frost was the first major film to deal with the AIDS virus, portraying the anguish of an All American Family who must endure losing their son to the horrible disease. This tele-film was the talk of the town at the Emmy Awards, garnering 14 nominations. Sylvia Sidney won a Golden Globe for her portrayal of the understanding grandmother. An Early Frost is a milestone film that has stood the test of time (and it's on DVD).


Bark noted that only two theatrical airings broke the top 10 in the Nielsens: Mr. Mom and 48 Hours. And, if you’re interested, the cult classic Diner ranked as the lowest rated theatrical movie airing of the season (boo). The lack of strong big screen representation in the ratings showcases our desire to see original programming on our TVs. And, apparently, there was a lot to choose from. Aside from the films mentioned above, Bark was partial to the following (listed in order order Bark listed them):


Love is Never Silent (NBC, 12/9/1985): A tear-jerking Hallmark Hall of Fame flick, Silent is about a young woman during the Depression who must learn to let go of her deaf parents and find her own way in the world. Mare Winningham played the daughter, and Bare loved her performance. The co-executive producer Julianna Fjeld and three of the actors were deaf and many non-hearing extras were featured throughout the film. Mare Winningham was nominated for an Emmy. Silent is on DVD.


Between Two Women (ABC, 3/10/1986): Colleen Dewhurst and Farrah Fawcett go toe to toe as mother and daughter-in-law in what certainly has to be Must See TV! However, passion and anger subsides as Fawcett finds herself becoming a caretaker to the once domineering matriarch who has suffered a stroke. Geesh! A real pick me up! But talk about two powerhouse actresses joining forces to create a thoughtful and tearful TVM. Two Women is available on VHS.


Mrs. Delafield Wants to Marry (CBS, 3/30/1986): Director George Schaeffer quickly moved from The Stone Pillow to helm this sweet romance about a widow who remarries outside of her religion. Katherine Hepburn lights up the screen, and seriously, who wouldn’t want to marry the handsome Harold Gould? Hepburn and Gould were nominated for Emmys, and this movie is on DVD!


The Execution of Raymond Graham: (ABC, 11/17/1985): Under the moniker ABC Theater, the once-ballsy network put together a live telecast about the last hours of a man on death row. Jeff Fahey plays the condemned man, and both he and director Donald Petrie spent one on one time with convicts facing death sentences. The producers wanted this film to incite a conversation and placed the audience in a very uncomfortable situation. Execution is available on DVD and is also streaming on Amazon Instant Video.

Honestly, I thought Endor sounded goofy, but this guy is super cute! S.O.L.D.
Ewoks: The Battle for Endor (ABC, 11/24/1985): (!) Despite airing the sequel to The Ewok Adventure during Family Viewing Hour, this TVM was still presented with a parental advisory. But that certainly didn’t keep Star Wars nuts - young and old alike - from checking out the newest Ewok offering. While some fans felt alienated by the Ewoks movies, most still fondly recall the cute little creature who help a young girl fight for her planet! Endor won an Emmy for special effects and also for Outstanding Children’s Program.


Alice in Wonderland (CBS, 12/9 – 12/10/1985): (!!) An all-star cast leads this popular adaptation, which was produced by disaster-master Irwin Allen. This version is highly revered because of its tireless efforts to remain true to the original Lewis Carroll story. And, check it, Red Buttons plays the White Rabbit. Must see TV, perhaps? This 1985 mini-series is available on DVD.


Doubletake (11/24 and 11/26/1985); Adapted from William Bayer’s popular novel Switch, Doubletake features the great Richard Crenna as a cop in search of a sadistic killer who murders a prostitute and conservative school teacher, decapitates them, and then switches their heads. Zoinks! That’s pretty dark stuff, but critics called John Gay’s adaptation “literate and well-written.” Crenna had just won an Emmy for this portrayal of the assaulted police officer in the groundbreaking TVM The Rape of Richard Beck, and saw this new role as “challenging” because of its running length, and he expressed concerns with how to keep the audience engaged over two nights. He must have made a good impression, because Crenna and his character from Doubletake, Richard Janek would show up again in six more TVMs!


The Last Days of Frank and Jessie James (NBC, 2/17/1986): Wow, the great Johnny Cash and Kris Kristofferson play Frank and Jessie James in this Nashville lensed Western. The story revolves around the outlaw brothers spending their last years as law-abiding citizens. Despite the box office failings of an attempted Western Revival in the mid-80s (Silverado, Pale Rider), the small screen attempted to keep the idea afloat with several TVMs, and Last Days was followed by a remake of Stagecoach and part 3 of the popular Gambler series.


While I admittedly haven’t seen as many movies from this season as I’d like, here are a few of my picks for the 1985 - 86 season (in order of original airdate):


Out of the Darkness (CBS, 10/12/1985): Originally titled Zigo’s Choice, Darkness chronicles the life of the detective who brought down the Son of Sam after his harrowing 13th month assault on the city of New York. Martin Sheen is Zigo, and while there is a focus on the procedural aspect of the film, it is really Zigo’s personal life, his desire to catch the killer and Sheen’s incredible performance that have made Darkness one of my favorite TVMs from this era. Darkness is on VHS.


The Midnight Hour (ABC, 11/1/1985): Yeah, you know about this one. A genuine cult fave among the tweens and teens of the mid-1980s, Midnight Hour is ghoulish fun. The story, which revolves around a small town curse come to fruition offered B movie chills for the TV14 crowd. The production designer from Michael Jackson’s Thriller is behind this film as well, giving the whole setting an MTV vibe. Pop Horror? Indeed.


 Bridge Across Time (aka Terror at London Bridge, NBC, 11/25/1985): I love this completely outrageous film because it’s played with such earnestness. Read my reviews of Bridgehere and here. Bridge is on DVD and is streaming on Amazon and Hulu.


Sins (CBS, 2/2 – 2/4/1986): Holy cats, the glamour. Oh, the glamour!Sins was an epic three night mini-series about a down-on-her-luck young woman who works her way to the top of the fabulous world of fashion magazine publication. She uses her new-found power to exact revenge on the man who destroyed her family during her childhood. Sins was based on the novel by Judith Gould and crafted specifically for Collins, who produced the film along with her then-husband. She lurks around the frames in a number of gorgeous costumes, some of which were designed by Valentino. Collins is backed by a fantastic cast, including Lauren Hutton, Gene Kelly and Catherine Mary Stewart, among many others. Collins also starred in another mini-series titled Monte Carlo, which aired in November of 86 (and also featured Lauren Hutton). It was considered a fiasco, but I loved that one too. Sorry, I’m a sucker for the glam, baby! Sins is on DVD!


Betrayed by Innocence (CBS, 3/1/1986): Betrayed is a love story gone wrong, horribly wrong. Barry Bostwick plays a filmmaker who is having severe problems with his marriage. A gorgeous young woman comes into his life, and he initiates a passionate affair. The big problem is that Bostwick has no idea how young this lady actually is. Like, jailbait young (in fact, the VHS release was titled Jailbait: Betrayed By Innocence)! And her dad is a hard-nosed cop played by Paul Sorvino. This is total soap, and it’s wonderful. Click on title for full review. Betrayed is on DVD.


Dallas: The Early Years (of course!) (CBS, 3/23/1986): This was an epic, 3-hour movie that gave Dallas fans the backstory behind the Digger Barnes and Jock Ewing's feud. Narrated by Larry Hagman, this sweeping drama begins in the Depression era and moves into the 1950s. And wow, who knew Jock was that hot (Dale Midkiff plays him in this TVM)?!? The Dallas TV movies are available on DVD in a collection!


Beverly Hills Madam (NBC, 4/6/1986): OK, so this isn’t Chekhov or anything, but 80s glamour is glamour like no other, and Madam is drowning in all of its pastel glory! I’m not sure television got any more superficial than this, but let’s be honest, who doesn’t love a good escapist TVM? Plus, the clothes and hair… I’m drooling here. Madam is currently streaming on Amazon Instant Video and Netflix.


The Deliberate Stranger (NBC 5/4 and 5/6/1986): Based on Richard Larsen’s book Bundy: The Deliberate Stranger, this four hour mini-series charts the life and crimes of the eerily charismatic Ted Bundy, who was on Death Row and expected to be executed the same week this aired (he survived that week but was eventually executed in 1989). Mark Harmon was disturbingly good in the role, and twisted all that good-guy charm into something far darker than many audiences may have believed Harmon was capable of. This film is sad and disturbing, because it is real. Sometimes true crime films are best when they are made for TV, allowing for some sort of restraint on the violence, which, if nothing else, protects some of the victim’s dignity. This was a huge hit, and rightly so. Even now, with Bundy just a dot in our rearview mirror, we still wonder how and why such a creature ever existed. Stranger is on DVD.


I think we can see that my tastes differ a bit from this writer and the public in general, but hey you gotta go where the heart takes you! That said, I adore Return to Mayberry, and find it to be one of the warmest reunion movies to ever air. It looks like the episodic 1985 – 86 season also had a lot to offer. Check out this list TV Guide compiled on the hottest guys of the small screen.

Mandan vs Mantooth on The Love Boat! A Summer of MeTV Blogathon Teaser

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It's that time of the year again, folks. The kids are out of school, your smoothie recipe guide gets pulled out of the drawer, and MeTV fine tunes their incredible schedule to bring you lots of classic television joy!

Last year I wrote about Columbo and Rhoda and this year I'm taking on The Love Boat and Happy Days. There are several blogs participating, via the Classic TV Blog Association. Check out the schedule here. My posts will appear on June 3rd (Love Boat) and 5th (Happy Days), so please tune in.


I actually wanted to make the following my Love Boat post, but decided to use it for a teaser. As you know, the show was all about the guest stars, and something I totally adored about this series was some of the casting match-ups. May I present the Love Boat episode Second Chance/Don't Push Me/Like Father Like Son (Season 2, episode 17, OAD 1/271979), featuring two of my favorite dudes...




...duking it out over this lovely blonde:


It is indeed an intriguing, albeit melodramatic love (boat) triangle. Who will be the victor in this Man(dan) vs. Man(tooth) fight-to-the-death-match?

Things start off pleasantly enough, but before you know it, this is going to turn into a full fledged battle of wits and will, where only one will walk away with love and romance. 

Before the gloves come off, each man stakes his claim. Mandan throws the first punch - however innocent - with his charm and his interest in the young lady's art (something Mantooth neglected to pay attention to).
But Mantooth swiftly fights back, sharing a laugh with his love interest in front of her cabin door.
Alas, Crosby politely declines any offers or opportunities for romance with either Mandan or Mantooth, and the score remains 0-0.
After a good (if somewhat frustrated) night's sleep, the challengers move to their respective corners, with Mantooth anticipating an early morning strike. Mandan's subtle play works and Crosby agrees to spend the day with him, although Mantooth had just invited her to his cabin.
If looks could kill. 
Sorry Mantooth, it's Mandan 1 - Mantooth 0.
Our challengers reconvene for Round 3: 
Mandan is still using his charm tactics, trying to lower Mantooth's defenses...
But I think we can see that the gloves are off. 
Mantooth hits below the belt, reminding Mandan that he's almost twice Crosby's age. 
Ye-ouch.
Yes, Mantooth is not showing a good sporting attitude, and quickly apologizes. But some wounds don't heal as quickly as others. 
Still it was a bit of smackdown and the score is now Mandan 1 - Mantooth 1.
Although it looked like Mandan was forfeiting the match, the unwitting referee (i.e. Crosby) has ultimately decided that this is Mandan's game (and obviously her decision), much to chagrin of increasingly agitated Mantooth. 
Now we're looking at Mandan 2 - Mantooth 1.
And just when it looks like everything has been decided, the match goes into extra rounds...
And it looks like it's going to turn into a real round of fisticuffs...
Mandan quickly sizes up the competition...
... and comes in for the kill...
It's a stunning knockout...
Holy cow!
High drama on the high seas.
Mandan, may be the physical agitator, but he's a much better sport than Mantooth and offers to forfeit one more time.
But Mantooth knows it's futile to keep up the fight...
And takes a dive... 
(and let's face it, I think there will be more beautiful woman in his future)
Once again,  all is right with the world...
And if you don't believe me, you can double check with Gopher.
MeTV is currently airing Love Boatsix days a week (you can check out their schedule here). I really do hope you'll come aboard... we're expecting you!

And if that's not enough, why don't you check out my post on the Deacon Dark episode here.

Also, Kindertrauma put together this incredible list of horror stars who took at cruise on The Love Boat

Don't forget to check out next week's MeTV Blogathon!

TV Spot Tuesday: Then Came Bronson (1969)

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Like the character Jim Bronson, Then Came Bronson's creator, Denne Bart Petitclerc was a newspaperman, and someone who enjoyed observing people. And also like the enigmatic Bronson, Petitclerc was a bit of nomad (although he had a full family in tow), and dropped journalism to work in film. Bronson became Petitclerc’s way of expressing how youthful late 60s America was in a desperate search for itself, and for many the character spoke to young people in ways no other series had (one commenter on IMDb said that the show symbolized what it was like to be free).


NBC, along with the other two networks, were quickly becoming aware of a new demographic. The audience to attract came between the ages of 10 – 31, and the networks were trying out a variety of shows, including The Mod Squad and The Tomorrow People in the hopes they could create hip programming that spoke to a generation in the middle of a war, the hippie movement and other late 60s issues that were particularly youth orientated.


And, not only was this type of with-it prime time scheduling something new, the TV movie pilot was also a fairly novel phenomena (1966’s Fame is the Name of the Game was the first pilot TVM, spawning The Name of the Game in 1968) and, indeed, tele-films in general were still a fairly revolutionary device. Bronson, which originally aired on March 24th, 1969, was unique in other ways too - it was quiet and almost plot-less, featuring a handsome Michael Parks as Bronson, a man ripped apart by his friend's suicide (Martin Sheen in an early role). Bronson realizes that living in a 9-to-5-monkey-suit-world is not for him, and he hits the road with the mysterious young woman who refuses to give her name (Bonnie Bedelia in an intriguing early role). Starting in San Francisco, there are lots of overhead shots of winding roads and roaring oceans. The couple was at home sleeping in the wild and although Bronson had a general destination (New Orleans), the trip seemed to be about getting lost in nowhere and enjoying the ride. At points the TVM even takes on a documentary vibe.


Then Came Bronson was hard to categorize in a pithy synopsis, but critics and audiences loved it, as it marked a departure from the regular programming. To give it a bite-sized promotion, some called it Route 66 for a new generation. Parks, who was already a well-established character actor, also provided some music for the series as well (he was a recording artist, and also did a bit of singing in the 1977 TVM Escape from Bogen County).


Because the pilot TVM was so well received, NBC dug deep into their pockets with high hopes for the series. They ran an encore performance of the pilot on August 2nd, to remind audiences what they fell in love with earlier that year. Producer Robert Justman (who had previously worked on the more overtly symbol-ridden Star Trek) said that despite the gorgeous camera work, the goal of the series did not have much to do with technical prowess, and commented that it didn’t matter if the sound was off or something didn’t work out. Bronson was about life, and that’s what they were trying to capture. Unfortunately, Bronson could not sustain its audience and was cancelled after one season. Ironically, part of the problem was that the audience they wanted to attract were actually living outdoors, some much like Bronson, and not watching much television. It was considered a disaster for NBC because of the expense of the gorgeous cinematography and on-location shoots. But many still recall the series fondly, and the pilot movie has aged amazingly well (I have yet to see the series). It's definitely worth a watch or re-watch.


NBC put together this stunning promo for the TVM:

The USA World Premiere Movie Project: Running Against Time (1990)

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This review has been posted in conjunction with the Daily Grindhouse's year long tribute to the USA World Premiere Movie.

It didn’t too long after the assassination of John F. Kennedy Jr. for television to jump in the ring. Aside from the myriad of news stories and profiles on that fateful day, the made for TV movie joined in with The Trial of Lee Harvey Oswald (1977), which takes a look at what may have happened had Oswald lived and faced his day in court. In the 1980s, America was looking at the 20th and 25th anniversary of JFK’s death and a number of specials were released. On the fictional side, one of the most interesting productions was a 1985 Twilight Zone segment titled Profile in Silver, which shows what may have happened if Kennedy had survived. A few years later, the USA Network took that grain of an idea and turned into a full length TVM called Running Against Time.


Robert Hays is David Rhodes, a college professor and historian who is interested in how time and history repeats itself. He is also obsessed with his brother, who died in Vietnam, and many of David’s studies/obsessions are about how the world may have been different if JFK had lived and pulled the troops out of the war (assuming of course, that he was intending to). Mostly, David is stuck in the past and although he has a gorgeous, smart and caring girlfriend (Catherin Hicks as Laura), he can’t seem to move past the loss of his sibling. Laura is also a topnotch reporter and she’s just landed an interview with a Nobel prizing winning scientist named Dr. Hendryk Koopman (Sam Wannamaker). Dr. Koopman is working on time travel and has secured funding for a major project. Of course, as you can guess, the kindly Dr. and professor’s paths cross and before you know it, David is on his way back to 1963 to stop the Kennedy assassination.


Wut the what? Yup, David believes that he can save his brother and thousands of other lives and he convinces Dr. Coopman to let him be the first human time travel experiment. Unfortunately, the whole thing gets started on the wrong foot and while David is successful in meeting up with Oswald during the fateful moment, he is not quick enough to stop the assassination, and is also pegged as Kennedy’s killer! Oops. This changes history, of course, and now Laura must go back to fix things, but it gets all kinds of messy once again and we start to see that history refuses to not repeat itself, even before it’s history.


Running Against Time is an extremely economical production, with fine actors, but silly SPFX and a bare bones recreation of Kennedy’s assassination. Aside from the three leads, the other factor working for the TVM is that it’s an interesting concept played out as earnestly as possible. Like, Profile in Silver, the protagonist has an emotional tie to history (although the character in TheTwilight Zone is a few hundred years removed from the relative in question). David’s deals with a loss that was, tragically, not all that uncommon, so it’s easy to feel for him, despite the numerous bad decisions he makes. Further, Laura loves David and that connection brings her story some resonance. Although we keep watching a sort of whirlpool of mistakes, Running manages to never slip too far into the sentimental, and always manages to pull out something smart before it gets too silly.


That is until the ending. My biggest quibble with the fantastical tele-film is how it concludes. No spoilers here, but I thought it gave in to the saccharine it was trying to hold at bay. I should probably also note that I’m no time travel expert, and the science in Running looks clunky. I mean, even by 1990 small screen standards. So, if you are a sci-fi nut and a stickler for proper terminology, etc, this movie might be annoying (but then again, how would I know?). However, there is this really cool plot device that shows how time travellers can communicate through the personals! Who cares if science can’t back that up? It’s neat!


Based on the novel A Time to Remember by Stanley Shapiro (who also wrote the teleplay), Running premiered on the USA Network on November 21st, 1990. While it didn’t garner a huge amount of press, it did get mostly positive reviews. USA aired two encores on November 25th and December 1st. And, like so many other USA movies, it’s available on VHS.

Summer of MeTV Blogathon: The Love Boat

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It's that time of the year again! This retrospective is part of the Summer of MeTV Classic TV Blogathon hosted by the Classic TV Blog Association. Click here to check out the blogathon's complete schedule! Guaranteed good times!









In Aaron Spelling’s wonderful autobiography A Prime-Time Life, the producer extraordinaire comments that he owes a lot to O. Henry, whose short stories were an inspiration for many of Spelling's projects. “We didn’t steal from O. Henry,” Spelling writes, “but we did use his form.” Shows like The Love Boat, Fantasy Island and Hotel (and earlier Dick Powell’s Zane Grey Theater) were “short O. Henry-style tales with a twist at the end.”


O. Henry must have been an inspiration for Douglas S. Cramer too, who worked behind the scenes at Love, American Style as Executive Vice President in Charge of Production. He loved the romance anthology format and it spurred Cramer to find another venue to use this type of short form relationship-driven storytelling. He had acquired the rights to Jeraldine Saunders tawdry and fun novel The Love Boats and created two pilots based on the book. The TVMs garnered OK ratings but were not picked up for a series. Cramer asked Spelling to help him get a third pilot off the ground and they fine-tuned the cast, which included bringing aboard the beloved Gavin McLeod who’d recently found himself out of work with the cancellation of The Mary Tyler Moore Show. Both Cramer and Spelling also agreed that they would produce the pilot film under a much tighter budget. The third time was a charm, and as romance on the high seas set sail, the rest as they say, is television history.

Behind the scenes on The Love Boat: Bernie Kopell prepares for his closeup.
Love Boat ran for ten glorious seasons, experienced their share of casting ups and downs and even a few real life calamities (Fred Grandy suffered burns to his hands and face after and odd balloon accident!), but as far as the viewers’ 60 minute dose on Saturday nights were concerned, all that could be seen was magic (well, minus the Love Boat Mermaids… sorry ladies).

Apparently, John Ritter had just seen Tootsie right before he boarded The Love Boat!
Despite the critical disdain, the nickname the “Sex Barge,” and the fact that it originally ran against the highly rated Carol Burnett Show, audiences turned up in droves, and surprisingly enough, the show was a family favorite. Although Love Boat was seen as a response to the sexual revolution, the series exuded an air of innocence, most likely because it concentrated on romance and the stories upheld a very traditional boy-meets-girl-boy-gets-girl way of storytelling. Fred Grandy once said that the show resonated with audiences because, “Love was more than a stateroom and a Do Not Disturb Sign.” Grandy was right, the Love Boat featured young and old, rich and poor, divorced, widowed and single on equal footing in the game of love.

A promo still for The Love Boat: Joanie Loves Chachi Loves Isaac and Gopher
And it was Spelling’s respect and admiration for old Hollywood that brought a lot of the classic stars to the small screen, making high seas amore all the more tender and tangible. In fact, it was Spelling’s desire to showcase actors who had, for lack of a better phrase, been thrown out to sea, that has made the series undeniably timeless, despite some other dated elements (although I do love a good bell bottomed pantsuit any day of the week). Commenting on ageism in Hollywood, Spelling wrote, “It’s criminal the way they’re treated. The moment a woman’s breasts droop one inch, they don’t work anymore, as opposed to countries like England, where the Margaret Rutherfords work forever and are revered. But in our crazy country, once you reach a certain age, you’re dead. It’s a very sad statement. So if we can use an established star who’s not working, it’s a privilege.”

Olivia de Havilland and Joseph Cotten find romance and yellow shirts on The Love Boat
Boy, did Love Boat fill the roster with great Hollywood stars! Everyone from Kaye Ballard, Ethel Merman, Vera Miles to Joan Fontaine signed up for comedy, hijinks and a little light petting on the way to exotic locales (piece o’ Love Boat trivia: Lana Turner was the show’s 1,000 guest). And there were many handsome older men to accompany these fine ladies, including Fernando Lamas, Harold Gould, Joseph Campanella and even Allan Ludden (!), among many others. The friendly faces of Norm Crosby and Milton Berle could be seen, along with oddball casting stunts that came in the form of celebrities like Andy Warhol, and even some animals got porthole billing, like Tiny the Kangaroo (playing himself in two episodes, no less!). But it was really the way The Love Boat featured cross-generational romance, where anyone could find their soul mate, despite their age, finances, past mistakes or bad marriages, and audiences tapped into this equal opportunity lovefest.

Eleanor Parker = Perfection
The two-part episode Alaska Wedding (aka Buddy and Portia's Story/Julie's Story/Carol and Doug's Story/Peter and Alicia's Story - got that?) is one of my favorite examples of featuring actors of different ages and experience sharing the small screen. Alaska Wedding originally aired on September 15th, 1979, during season three, as two hour special. It features two well off families renting out the ship for the extravagant wedding of Doug Bradbury (a blonde Mark Harmon) and Carol Bowers (Lisa Hartman). The families are a variety of old and new money, with Carol’s grandfather Buddy (Lorne Greene) having acquired his wealth during his own lifetime while Doug comes from old money, where these types of luxurious vacations are more the norm. Unfortunately, Doug’s mother Alicia (the ridiculously glamorous Eleanor Parker) has squandered most of the fortune and hopes to keep that a secret until after the wedding, to save her son the embarrassment. Her ex-husband Peter (Ray Millland), and her sister Portia (Audra Lindley looking at home in her oh-so-gorgeous frocks) are also on board and know bits and pieces of the secret.

Boy, did she get the wrong number!
And that’s just the beginning! Natalie (Caren Kaye) is ga-ga for Doug’s money and hopes to thwart the upcoming nuptials. But romance is blossoming elsewhere, mostly for Portia and Buddy who both had personal promises to never make a later-life trip down the aisle for various reasons. Also, Alicia doesn’t know that her black sheep ex-husband wants to reconcile with Doug because he’s dying. And while Peter might not have set out to reconnect with Alicia, the couple start to remember what it was like to be happy together.

Julie wonders why her love life is so doomed
But wait, I’m not done yet! Doug’s best man, Marv (Donny Most) has set his sights on Julie but she’s hoping to reunite with Jack (Tony Roberts) who’d proposed to her in the previous season’s Julie Falls Hard (OAD 12/16/1978). However, as many of us know, Julie’s doomed love life sees no bright lights at the end of this Alaskan voyage, and unfortunately, romance is not in the cards for either her or Marv on this trip. But a thoughtful friendship blooms in its place. Awwww...

Buddy and Portia share a laugh
Alaska Wedding is an episode I tend to revisit for a few reasons. For one, it’s opulent in that way that only Aaron Spelling could deliver. We’re talking fur coats (although I do prefer my pelts to be of the faux variety), sequined dresses, up-dos galore and enough costume jewelry to fill a small U-Haul. The scenery is spectacular, and is every bit as lush as the cast. And honestly, I’m a little obsessed with Julie’s constant misfire at love. Of the regular cast, she definitely had the most tragic love life and I’m sure in my more formative years, I related with the melodrama that always followed her around. Also, where else can you see Donny Most as a potential romantic love interest? And you know what? He’s great. Julie, ahem, missed the boat on that one!

You guessed it, Julie is still wondering about her tragic love life!
However, I think the most important element that keeps drawing me back to this episode is the way it depicts these older actors with such dignity. Yeah, Alicia made some horrible mistakes, and basically drives her family fortune into the ground, but her desire to keep the secret comes from protecting her son, not from any personal humiliation. Likewise, Peter hides his illness because he doesn’t want to upset anyone.

Looking good Lorne!
Nevertheless, Alaska Wedding is really about Portia and Buddy’s love affair. The best moments in this two-hour special come from their sweet flirtations, and the fact that they make each other laugh... a lot. I adore Love Boat because it says we can be vital, important, and desirable at any age, and despite all the critical flack the show has endured, this message has never wavered. I thought the line was silly at the time, but when Jack Jones croons, “Love won’t hurt anymore,” I believe him.

Young love is also welcome on this cruise
Love Boat is currently airing six days a week on Me-TV. They have a fantastic summer schedule, so you should come aboard… we’re expecting you.

And check out my post on the Love Boat episode that pits Robert Mandan against Randolph Mantooth in the game of love. 

You can also Smash It with Deacon Dark here.

Summer of MeTV Blogathon: An Open Love Letter To the Happy Days Post-Jumped Shark Cast

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Dear Mr. and Mrs. C, Fonzie and the post-fourth season gang, 

I love you! I always have. Yes, when the show first started, it was wonderful. It gave the turbulent 70s a little taste of 50s nostalgia, which was something that was needed. And although you weren't always laugh out loud funny, you were consistently charming and sweet, and it gave us a comfortable place to rest our eyes on Tuesday nights. Richie and his friends were really great (oh Potsie, I have always loved you), and I also liked the quiet and impossibly cool Fonzie, who was just a little scary but also kind of funny.

Get your hands off my man, Joanie!
But those (happy) days, which started in January of 1974, were just a little before my time. I came of age (or maybe I was just more aware of the impact of television) in the later 70s and early 80s. Fonzie had become a little less quiet, and while he also became a bit more cartoonishly cool, I loved the idea that a guy who started his TV-life as a high school drop out could become the Dean of Boys at George S. Patton Vocational High School by the end of the series run. Keep the dream alive, right? 

Fonzie's version of a three piece suit: white tee-shirt, jeans and a pressed leather jacket. Aaaayyy!
It was during these years that I remember the Fonzie Phenomenon. The girls loved him, the boys wanted to be him. Around this point, Richie had enlisted in the military and lots of new faces began to show up at Al's. Jenny Piccolo had only been a figment of the audiences’ imagination before she first appeared in the 1980 episode No Tell Motel (which is such a perfectly titled episode for the oversexed teenager to make her debut). Of course, like all shows that build their foundation on such innocence, we knew Jenny was all talk, and while the talk was big and sometimes overbearing, I totally got Jenny because I too was crushing on every other boy in school. Thank you for making me look tame by comparison. 

I'm sure Jenny's man-dar went nuts during this scene!
I also loved when you became a scream fest. Like, whenever Chachi, Roger, or even Flip (wow, who else remembers Flip?) appeared on the screen, the girls would go crazy. Of course, I was Team Potsie, and I always appreciated the female screeches that came his way. 

So, like, when did Al join the band?!?
I will always love you for introducing me to Laverne and Shirley, but I also loved your aliens (Mork and Mindy) and angels (Out of the Blue). It was a hoot when characters crossed decades on Joanie Loves Chachi, and our favorite lovestruck couple was instantly transformed into part of an early 80s musical group. It was really nice that Happy Days let them back into the early 1960s when they returned full time to the series in 1983. You guys were cool that way. Aaayyyy!

Too cool to caption
But what I loved most was that no matter how broad the humor, or how far away you got from the original premise (and even when you introduced not-great characters like K.C. and that extra Belvin), you were funny. Maybe it wasn’t the kind of humor that critics look back on fondly, but they can sit on it! For 30 minutes each week, you made millions of people smile and laugh, and my childhood friends and I will always share the memories of fighting over who the cutest cast member was, mimicking Fonzie’s iconic “Aaaayyyy!” and to this day, we can still be known to call people Bucko when we are feeling aggressive. You gave us a whole new language and a lifetime of laughter. And for that I will always love you. 

Yours til Niagra Falls, 

Amanda 

P.S. Happy Days is airing every weeknight on MeTV

Only one turkey here, and it's on the table. I love the later years' cast o' crazies!

This retrospective is part of the Summer of MeTV Classic TV Blogathon hosted by the Classic TV Blog Association. Click here to check out the blogathon's complete schedule! Guaranteed good times!

The USA World Premiere Movie Project: The Haunting of Seacliff Inn (1994)

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This review has been posted in conjunction with the Daily Grindhouse's year long tribute to the USA World Premiere Movie. 

Confession: I have a love/hate relationship with Ally Sheedy. OK, it’s more like like/don’t like, but I tend to run hot and cold on the actress. I think she really found a niche for herself playing supporting characters because it allowed her to explore darker and more interesting roles. But, as a lead it’s rather hit or miss, and for me it’s more miss than anything else. Such is the case with The Haunting of Seacliff Inn, which premiered on September 22nd, 1994. As a rather traditional small screen supernatural tale, it might have benefitted from a more compelling leading lady. Luckily, Ally is aided by the always reliable (and hunky) William R. Moses, who has actually found a nice place to showcase his talents on small screen thrillers via Lifetime, where he takes on both good and bad guy roles. Moses makes a nice companion for Sheedy, balancing out the couple. And, if nothing else, Seacliff manages to provide a cozy place to spend 90 minutes.


Sheedy and Moses are Susan and Mark, a self-proclaimed yuppie couple, who are interested in starting a bed and breakfast. They stumble upon a gorgeous estate (or more appropriately, Susan’s sixth sense leads them there) owned by an old lady who isn’t interested in selling. So, it all works out rather nicely when she winds up dead, and the property is placed on the market for a song. But like all weird deaths that happen in big houses that sell cheaply, strange things are afoot. There are creepy dogs, electrocutions, a strange woman (or perhaps a sexy apparition), a psychic… you name it. And it doesn’t help that Susan and Mark are already on the outs because of an affair Mark had. In short, they have their own ghosts, and sexual and emotional repression run rampant through Seacliff, raising the dead, if you will.


Director Walter Klenhard does his best to create an eerie atmosphere, and the gorgeous Seacliff Inn becomes its own character. Shot around Camarillo and Mendocino, CA, this is your one stop shop for 19th century architecture, moody cemeteries and crashing waves. Lucinda Weist, who plays the first guest at the inn is also a great addition to a relatively small cast, injecting a somewhat predictable but intriguing mystery in the whole affair (emphasis on the word affair). And Louise Fletcher is good as the local psychic who helps Susan unfold the many mysteries.


In many ways, Seacliff reminded me of Haunted By Her Past(aka Secret Passions, 1987), mostly in that the sexual repression works as a catalyst to raise ghosts that are both physical and metaphorical, and the, ahem, climaxes are somewhat similar. But whereas Haunted had a nasty but sympathetic ghost villain, Seacliff lacks any real edge, and in the end, it is not that memorable of a film. There’s nothing really wrong with it, but it failed to linger upon the mind only an hour or so after I saw it. I do like that it's a nice, serious throwback to the supernatural TVMs of the 1970s, and, even if it's not the best movie ever or anything, Seacliff is definitely a rainy day kind of film, the one you turn on when you're half-dozing and want to fill your mind’s eye with lush manors and cute blonde guys.

TV Spot Tuesday: The Only Way Out (1993)

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Network: ABC 
Original Air Date: December 19th, 1993 

I remember tuning into The Only Way Out when it originally aired in the early 90s. There was noway I was going to pass up a chance to catch John Ritter and Henry Winkler – two of the funniest and nicest men in showbiz – going toe to toe in a surprisingly gripping domestic thriller. The Fonz vs. Jack Tripper?!? That’s front row seat material! I know… I probably needed to get out more. But work with me here, because The Only Way Out is intriguing and suspenseful, and if nothing else, it’s worth catching for Winkler’s excellent portrayal of a manipulative abuser.


Ritter is Jeremy Carlisle, a nice guy who wants his recent divorce to be as amicable as possible. While the three kids he had with his ex-wife, Lynn (Stephanie Faracy) are mixed on the separation and the couple are obviously lugging around some extra carry on baggage, for the most part things could be much worse. And, the words “much worse” come in the form of a guy named Tony (Henry Winkler), a man who is all goofy on the outside, but a seething cauldron of hot water that is just about to boil over on the inside. His escalation from verbal abuse to violence is quick and terrifying (his groveling regret is just as disturbed), and Lynn isn’t quite sure how to react, so she turns to Jeremy for help. This only serves to aggravate both Jeremy and his new wife Susannah (Julianne Phillips), and it also drags Jeremy into an ugly confrontation where only one will come out alive!


Ritter and Winkler had been searching for a project to do together when the script for The Only Way Out fell into their hands. Originally, the pair was gearing up to work on a comedic TVM titled The Sob Sisters, but the film was scrapped due to script issues. Then they were approached to star in The Boys (a TVM about Columbo's co-creators, Richard Levinson and William Link), but the parts eventually went to John Lithgow and James Woods. Around this time, Ritter had become interested in a British thriller titled One Way Out and his production company, Adam Productions, picked up the adaptation rights. Although Ritter was working on the remake he was surprised that it turned out to be the film that would finally team up the talented comedians. Ritter said, “We didn’t realize that such a heavy, dark piece would give us our first chance to work together, but we’ve wanted to do it for years.” So be it, right?


After production, ABC tossed around airdates and the tele-film was originally scheduled to air in November, during sweeps. Ritter believes the creepy thriller was pushed back because some executives were nervous about the heady subject matter and violence. Strangely enough, the network decided to air the TVM during the Christmas season! There's just a touch of irony in there.


In many ways this top-notch small screen suspenser mimics much of the same frustration of the 1990 theatrical film Pacific Heights, by creating a character that exasperates the bejeezus out of you. Dammit, I wanted to kill off Winkler’s character too. Ritter is maddening as well, because Jeremy cowers more than protects. And yet, I can’t imagine how I’d react to a madman showing up at my house, my work, and every other nook of my life. Critics had mixed opinions on The Only Way Out, but many were fascinated, and ultimately taken in by John Ritter and Henry Winkler’s dramatic turns. Ritter stated that both he and Winkler auditioned for the part of the baddie, but now that I’ve seen the movie (a couple of times), I can’t imagine what it would look like if the roles were reversed because the casting is oh-so-perfect. And, that makes it all the more unfortunate that this engaging thriller has fallen by the wayside.

Check out the promo for The Only Way Out below: 


The USA World Premiere Movie Project: Tainted Blood (1993)

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This review has been posted in conjunction with the Daily Grindhouse's year long tribute to the USA World Premiere Movie.  

As I mentioned in my review of Running Against Time, I know next to nothing about science. However, even I can detect something hinky in mumbo jumbo, and the scientific shenanigans backing Tainted Blood are questionable at best. The premise banks its foundation on the theory that insanity is inherited. OK, I can run with that, but this small screen thriller takes it one very broad step further by proclaiming that if you are born to a crazy lady who murders her parents, you too will kill your parental unit as well! Yet, despite this (for lack of a better word) insane leap of faith Tainted Blood suggests we take, the film is thoroughly fascinating, and, most importantly, entertaining.


Raquel Welch plays a famous journalist named Elizabeth Hays. Elizabeth is known for both her investigation skills as well as her ability to constantly pander to sensationalism. She stumbles across the tragic murder/suicide of a young man and his parents, and explores the possible motives leading to the sad event. This leads her to (hinky) information that suggests the murderous son was adopted and he has a twin sister who may also have a penchant for adopted-parental blood.


In a town not so far away, two young girls strike up a friendship. Although wildly different, the girls bond over the fact that both have been adopted. Tori (Kerri Green) now belongs to a stable home that is rife with first world problems, such as Tori’s brother’s insistence on reading her diary, but that’s as difficult as things gets in this suburban paradise. Lissa’s (Natasha Gregson Wagner) homelife is another story. Her alcoholic mom (Joan Van Ark) spends most of her days laying bed, drinking and doing her nails (I kid you not) and while she is not physically abusive, there are definitely problems in this crazy household.


Am I finally at the part where I can talk about Joan Van Ark? Good, because what I wrote above was really only scaffolding for what should be known as the Joan Van Ark Hour (even though the movie is more like two hours, Joan is in about one… so it counts). Joan is absolutely beguiling and delicious in one of the most well played scenery chewing performances in a made for TV movie. No small feat, as we know many divas have taken a shot at over the top material and come out shining.


Part of the shock I had watching Van Ark came from my familiarity with her turn as Valene on Knot’s Landing. Valene bugged the heck out of me when she first appeared on Dallas (I swear you could hold a drinking game based on the amount of times she says, “Good ol’ boys"), but I came to love her on the spin-off soap. Even though she was always smack dab in the middle of the save-the-drama-for-your-momma-variety, she came in with subtle and vulnerable performances. I’ve also seen her guest on a few classic shows as well, such as Cannon and Rhoda, and her under-the-radar execution in those parts left me completely unprepared for the dizzying heights she was willing to put her Tainted Blood character through. Color me impressed.

Don’t believe me? Check out Joan in action:










And yet, despite the almost unrestricted boundaries she puts on screen, Van Ark doesn’t seem all that out of place amongst the other far more grounded performances. Tainted Blood, which originally aired on March 3rd, 1993, is all over the map with respect to the character's verisimilitude. And not in a bad way, because this tele-film is all about dubious science that wants to argue about nature vs. nurture, but has to find a way to fly first. The mostly fantastic performances scale the acting meter from realistically sympathetic to WTF, creating an engaging and fun ride. Hinky science, schminky science... give me more of the slender lady with big blonde hair. Whether or not anything proposed in the story could actually happen takes a backseat to setting and style, and Van Ark drew me in, and the film was strong enough to keep me there.

Definitely worth a look, Tainted Blood is on VHS.


What I'm Waching Now (and Why I'm Not Blogging as Much): Hart to Hart, As the Hart Turns

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I’m not sure anyone keeps track of these things, but I haven’t been posting as much lately (although my facebook page is hopping, so remember to stop on by and like it!). This is because I am, yet again, in the throes of another interstate move. Since 2010, I have moved from California to Maryland to Pennsylvania, and now I’m heading to Texas. Austin, that is. And despite the fact that I’ve unloaded about half of what I used to own (I do miss you, VHS), I’m still packing like a madman, and I haven’t found much time to write or even to watch a full movie.

Calgon, take me away... and throw in Jonathan Hart!
Thankfully, there is so much episodic television that I need to visit and revisit, and those little 45 minute bursts of delight have been getting me though every box-building day I’ve had over the last two weeks or so. I have enjoyed many shows in this brief time, marathoning everything from Happy Days to Trapper John to General Hospital (there is nothing quite like binge watching a soap. My dreams are filled with melodrama). So, why not Hart to Hart? It was definitely one of my favorite shows when I was a kid, and, honestly, it remains so today.

Afternoon Delights!
And speaking of soaps, there is one Hart to Hart that always makes me squeal with delight. The episode is titled As the Hart Turns and originally aired in the fourth season on March 1st, 1993. I love this episode mostly because of the way it playfully handles the soap genre within the series own mystery format. And I always love how Jennifer manages to find herself in these random, but somewhat glamorous, pickles.

Mrs. Hart hard (hart?) at work
As the Hart Turns goes behind the scenes of a popular soap called Doctor’s Hospital, a show that almost everyone on the planet watches. Max (Lionel Stander) is one of the serial’s biggest fans and he lures Jennifer (Stefanie Powers) into its clutches. Before you know it Jonathan (Robert Wagner) can’t get a word in edgewise between 2:30 – 300 every weekday. It is certainly kismet when Jennifer wins a raffle to appear on the show. As you can guess, she’s a natural, but her journalistic knowhow is what gets her a job as a writer on Doctor's Hospital (as if it was this easy… I do love you 80s TV). She’s really there to help the head writer iron out the bumps in one of the stories, but before you know it, she’s working on the juicy murder mystery that will kill off one of the main characters. And that actor ain’t so happy about it. Mystery and intrigue hijinks ensue.

They must be serving plates of fabulous at this restaurant. Look at Jennifer's jacket!
This episode uses a few friendly daytime faces, including John McCook (The Bold and the Beautiful) and Leann Hunley (Days of Our Lives), but more importantly, it reveals how omnipresent the soap genre was in the mid-80s. Hart to Hart was often exclusively about the rich and powerful, as the gorgeous couple jet setted around the world, solving mysteries that were often tied to well-to-do evil doers. Their Jack-of-all-trades employee, Max was the everyman, but he was also a gambler, and lived a bit of the high life himself, as noted with his stubby cigars and penchant for the ladies. But in this particular episode, Jennifer and Max are bonded by their love of Doctor’s Hospital. Although Max was always close to the Harts, this was an interesting approach at breaking down their economic barriers. And Doctor’s Hospital pervades into every other walk of life too, from the exquisitely rich to the humble middle class, all linked by their desire to know who really killed Diana (which of course, we the real audience never find out, darnit). 

What is the lesson Mrs. Hart learned that day? Can soaps really bring the world together? Why yes, Jennifer, they can.

Freeway can't handle all the melodrama!

The USA World Premeire Movie Project: The Psychic (1992)

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This review has been posted in conjunction with the Daily Grindhouse's year long tribute to the USA World Premiere Movie.  


People Magazine compared The Psychic to Zapped, if that telekinetic comedy was mashed up with, ummm, a serial killer flick. Well, The Pyschic isn’t really like that, but points for referencing one of my favorite Scott Baio flicks (not to mention Robert Mandan)! They also did not care for the ending of the film, and that is what I remembered most about this USA Network thriller, which I watched when it originally aired on May 20th, 1992. Well, I also remember not really enjoying much about the film, which is why I chose it as one of the USA originals I’d like to write about. And wouldn’t you know it, time has been very kind to The Psychic.


Zack Galligan is Patrick, a handsome college student who is cursed with a third eye. For the most part, he uses his psychic abilities to know what to say to women, or to help his friend Nick (Albert Schultz) know what to say to women. Unfortunately, he has also tuned into a sadistic killer who is murdering some of the female students. Even worse, he can identify the killer, but no one believes him, and worse yet, the police suspect him. And even worse than that, the killer is dating a girl he’s really into. Wow, college just got tough and stuff.


In some ways, The Psychic reminds me just a touch of another USA movie titled Murder by Night. Both films have small casts, and both are fairly easy to figure out. The Psychic is particularly straightforward, but knowing who did it is not he point, because it’s less a mystery than a thriller, where the protagonist must learn to trust himself and his second sight if he’s going to help the police solve the crime. Also, both The Psychic and Murder were directed by Canadian filmmakers known for their horror output. Murder was directed by Paul Lynch (Prom Night) and The Psychic was helmed by George Mihalka, the man behind the great My Bloody Valentine. Mihalka also directed another interesting genre film titled The Blue Man (aka Eternal Evil, 1985), which shares a similar slick look and supernatural plot (and is currently streaming on Amazon Instant Video). Mihalka approaches the paranormal in very everyman ways, using normal people to guide the audience into far weirder territory. OK, OK, The Blue Man is a bit more opaque (and wonderfully 80s) but The Psychic doesn’t futz around with too much in the way of weird, which is an interesting approach and, thanks to Miguel Tejada-Flores and Paul Koval’s square-shooting script (based on a story by Mark McQuade Crawford and William Crawford), and Zach Galligan’s likable performance, This USA original is a thoroughly engaging ride.


Galligan is aided by a couple of great performance by Catherine Mary Stewart (her character is obsessed with this huge and cozy looking sweater, and I want it!), and Michael Nouri who is his usual creepy but sexy self as the maybe-killer. Also, veteran actor/director/producer Clark Johnson is in fine form as the good cop. The gorgeous winter setting is supposed to take place in Boston, but only if Bean Town was located in Quebec or Ontario, Canada! The chilly weather certainly gave Catherine some heavy duty time with her sweater:

Comfy sweater madness! 






A bit more about the ending: I couldn't exactly recall what it was about the finale that irritated me, but upon this last rewatch I was transported back to 1992, throwing my hands up in the air and screaming, "That's it?" In short, the climax isn't much of anything. It just sort of happens, and rather quickly at that. It's unfortunate that this fairly well constructed thriller jumps past the final conflict the same way I jump past ABC since they cancelled One Life to Live. And that final feeling of frustration is what I carried with me when I thought about The Psychic (which was, admittedly, not often). I'm glad I gave it a second go, because I shouldn't hold the first 85 minutes to the last 5.


The Psychic has a bit of a muddled history. I am unsure if it was originally made for USA or if the network picked it as an independent production, but I can tell you my copy has a bit of nudity, which, as you can guess, surprised me when I rewatched it! The Psychic is available on VHS and is also streaming on Amazon (but not for free with Prime). It’s worth a glance.

Small Screen Scream Queens of the 1970s: The Countdown (Part One)

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Note: this article first appeared on Pretty Scary's website, which is sadly no more. Because of its length, I am splitting it up into three parts, and making it a countdown, although my rankings are somewhat arbitrary. There will also be a new follow piece featuring a few more actresses I feel deserve a little bit of love. Enjoy! 

It would be difficult to pin a label on the women mentioned in this article. All are gorgeous, strong, and smart and each imbues something unique that made them so original in the first place. But one fact ties these vixens, girls-next-door, spinsters and housewives together - All are Small Screen Scream Queens. From 1970-1979 this fine assortment of talented ladies took over the boob-tube (pun intended!) and created memories long held dear by latch key kids everywhere.


Moreover, they became icons of an era sadly long since passed. The Made for TV movies of the 70s provided a unique contribution to the genre and have actually created a sub-genre all their own.

Just what makes a Small Screen Scream Queen, you ask? Since not much attention has been given to this sect of pop-culture, I though I’d explore the qualifications here.


First, she should be in more than one TV Thriller/Horror movie and should hold some sort of iconic stature within the genre. This of course is flexible since so many recollections of these long-forgotten (by some, at least) films are based mostly on childhood memories.

Second, the characters should be strong. They can also be kooky, flighty, funny, serious, sexy, irritating, etc, but they must overcome the odds (or at least try pretty damn hard) to complete the task at hand and rid the world of ‘The Evil.’

And finally, these women should be hot, hot, HAWT!


Although my foray into the world of 70s TVM horror is constantly expanding (the more you know the less you know, right?), I give to you a list of women who represent the finest the small screen had to offer. Perfect diction, impeccably dressed, an ability maintain an extravagant lifestyle with no means of income (i.e. what exactly was their job?) and strong as hell, these women ain’t gonna take it any more!

A total of 34 actresses made my list, 3 of which were honorable Mentions simply because they had not made enough genre TVMs to qualify, but I loved their work in what they did, and heck, this is my list. So, going backwards, to #1 (based on a Scream-O-Meter I devised, mostly for laughs), here we go:

Honorable Mentions


Valerie Harper(1940 - )– Harper charmed the world as the optimistically single Rhoda Morgenstern on The Mary Tyler Moore Show. That got her a show titled after her character but her genre TV Movie credits proved she was an actress capable of something other than comedy. Night Terror still remains one of the creepiest films ever to grace the small screen. Hapless (and fairly helpless) housewife Carol Turner crosses the desert plains en route to her hubby only to be stopped by a crazed gun dealer with a voice box (I ain’t making this up kids!). When she witnesses a murder, it begins a chase across the great divide. And we were glued to our seats!

See Valerie Scream in:
Night Terror (1977)


Olivia DeHavilland (1916 - ) – A living legend., Olivia’s grace and beauty insured her A list status when she wowed audiences in Gone with the Wind. Although she maintained an eventful career, she seemed to work only when it suited her, before retiring in 1988. The small screen embraced her during her twilight years and she appeared in such noteworthy works as Roots and North and South. But it was her performance as Laura in The Screaming Woman that gets her name on this list. An eerie and simple film, Olivia brought a sense of old school talent and like all great actresses practically carried the movie on her back. Her elegance helped push an undemanding film up from the depths of made for TV hell.

See Olivia Scream in:
The Screaming Woman (1972) 


Denise Nicholas (1944 - )– Denise only made on TV thriller, but in it she gets to play a Final Girl who is a call girl! Hats off to Denise for always bringing depth to her parts!

See Denise Scream in:
Five Desperate Women (1971) 

The List


31. Sian Barbara Allen (1946) – Oddly pretty Sian is probably best known as Jenny Pendleton, John Boy’s first love on The Waltons. She spent the better part of the decade working on television, spinning her deceptively alluring charms, before she disappeared into relative obscurity. We miss you!

Scream-O-Meter: 5

See Sian Scream in:
The Scarecrow (1972) 
Scream, Pretty Peggy (1973) 
Smash-Up on Interstate 5 (1976) 


30. Pamela Franklin (1950 - ) – Petite and pretty Pamela dreamed of becoming a dancer but fell into acting. She was no stranger to horror either – her film debut came in 1961 in a version of Henry James classic novel Turn of the Screw called The Innocents. She worked on through the 70s before retiring in 1981. Happily married and enjoying life out of the spotlight, Pamela left just enough good horror on her resume to leave fans wanting more.

Scream-O-Meter: 5

See Pamela Scream in:
Satan’s School for Girls (1973) 
Thriller: Write Home Mom, I’m Dead (1975)
Thriller: Screamer (1974) 


29. Connie Selleca (1955 - )– This gorgeous brunette is probably best known as playing Mr. Hanley’s prettiest pal on The Greatest American Hero in 1981, but by that time, Connie had already racked up an impressive list of credits. She didn’t get started until 1978, but made up for lost time with her debut as the beautiful and cursed water nymph in the mystical TVM The Bermuda Depths. Less a horror film than a dark fairy tale, Depths is one of the most haunting television movies of its time.

Scream-O-Meter: 5 

See Connie Scream in:
The Bermuda Depths (1978)
She’s Dressed to Kill (1979)


28. Barbara Stanwyck (1907 – 1990) – Barbara effortlessly moved her Oscar nominated career into television, even starring in her own anthology show (The Barbara Stanwyck Show, 1960). In the 70s, she only starred in two made for television thrillers, but like many of the golden greats listed above, she brought richness to roles that might otherwise be considered secondary in a lesser actor’s hands. After these movies she took her popular character Conny Colby Patterson to from Dynasty to The Colbys.

Scream-O-Meter: 5

See Barbara Scream in:
The House that Would Not Die (1970)
Taste of Evil (1971)


27. Barbara Rush (1927 - ) – This A List actress starred along side such tasty leading men as Marlon Brando, Paul Newman and Richard Burton in the 50s, but settled for the small screen in the 70s. She still got to support the talents of scrumptious men like Paul Burke, Bradford Dillman, and George Hamilton and her charm brought that sense of strength films with titles like Death Car on the Freeway so richly needed.

Scream-O-Meter: 5

See Barbara Scream in:
The Eyes of Charles Sand (1972) 
Moon of the Wolf (1972) 
Crime Club (1973) 
Death Car on the Freeway (1979) 


26. Linda Blair (1959 - )– Bubbly little Linda Blair has never been a stranger to the darker side of cinema. When she was just knee high to Satan, she was spitting up pea soup and it made her a household name. Linda also starred in some great television movies, and always played the spunky teen (except when she was raped with a broom handle in Born Innocent! That kind of took the spunk right out of her!). Her adorable curly locks and sweet as pie smile made her America’s Sweetheart of the Macabre, a title she richly deserves.

Scream-O-Meter: 6

See Linda Scream in:
Born Innocent (1974) 
Sarah T.: Portrait of a Teenage Alcoholic (1975) 
Sweet Hostage (1975) 
Stranger in our House (aka Summer of Fear, 1978) 


25. Kim Darby (1947 - )– Untypical of the normal Hollywood starlet, Darby set about finding fame by playing unique characters that served a purpose other than eye candy. She found fame as the tomboy cowgirl in True Grit, winning accolades. She only appeared in two genre TV Movies, the first being the ineffectual Francis Ford Coppola supernatural tale The People. But her second attempt at a paranormal thriller marked her iconic stature. Don’t Be Afraid of the Dark remains one of the most sought after TV Movies of that era. Darby plays a dowdy housewife who runs afoul of some devilish little creatures in her new abode. Darby’s performance of a woman quietly being driven mad is only heightened by the movie’s gut-punch ending. It only took this one movie for Darby to steal the bloodied hearts of TVM nuts everywhere.

Scream-O- Meter: 6 

See Kim Scream in:
The People (1972) 
Don’t Be Afraid of the Dark (1973) 


24. Julie Harris (1925 - 2013)– Wonderfully awkward Harris was perfect at playing spinsters. Her plain yet compelling looks personified loneliness. And she was a highly praised actress by the time she moved over to the small screen. Having already won the hearts of horror hounds with her elegantly painful performance in The Haunting, she seemed a perfect choice for put-upon, lonesome characters fighting against the grain. You instantly wanted to take her home, give her a cup of tea and let her know it was going to be alright. But Harris was alright; in fact she was better than alright. Though she only appeared in a few TVM thrillers, she chose them wisely and has endeared herself to fans world over.

Julie’s Scream-O-Meter: 6

See Julie Scream in:
The House on Greenapple Road (1970) 
How Awful About Allan (1970) 
Home for the Holidays (1972) 


23. Jessica Walter (1941 - ) – Jessica played the psycho-bitch from hell in Clint Eastwood’s mini-masterpiece Play Misty for Me and it made her a star. Her depth of effortless maliciousness also spread over to the small screen where she contributed to some bona fide scares. Julie’s incredible performance as drunken Freddie in Home for the Holidays insured her place in television movie infamy. She even took on the Women in Prison subgenre in the tele-film Women in Chains, which starred Ida Lupino as an evil warden and another Small Screen Scream Queen, Belinda Montgomery! And that was just the beginning. Ms. Walter stayed away from television exploitation for awhile but came back with a bang in the ultra-glamorous small screen slasher She’s Dressed to Kill. She then went on to play Robert Mandan’s bitchy ex in the Three’s Company spin-off Three’s a Crowd! Now that’s scary!

Scream-O-Meter: 6

See Jessica Scream in:
Home for the Holidays (1972) 
Women in Chains (1971) 
She’s Dressed to Kill (1979) 


22. Janet Leigh (1927 – 2004)– Ms. Leigh was already an established Scream Queen when her time in television movies rolled around, with the most famous shower scene in history. On the small screen, she didn’t shriek quite as loudly, but still brought that sense of dignity to every production she appeared in.

Scream-O-Meter: 6 

See Janet Scream in:
House on Greenapple Road (1970) 
Deadly Dream (1971) 
Murder at the World Series (1977) 
Telethon (1977) 


21. Gretchen Corbett (1947 - ) - The name might not ring a bell, but Gretchen was all over the airwaves in the 70s. Her odd beauty and whip smart sensibilities made her a favorite recurring character on The Rockford Files (she played his lawyer Beth Davenport). She also graced other remarkable TV series from that decade such as Columbo, McMillan and Wife, and Banacek (all of those shows that aired under the moniker The NBC Mystery Wheel). She was no stranger to horror either. She started off early with an appearance in John Hancock’s masterpiece Let’s Scare Jessica to Death, but it was the small screen that kept beckoning. She was featured in both The Savage Bees and the glamorous television thriller She’s Dressed to Kill. For whatever reason, Gretchen never became the huge star we know she should have been, but the filmmography she left behind would make even the most seasoned actors jealous.

Scream-O-Meter: 6

See Gretchen Scream in:
The Cay (1974) 
Knuckle (1975) 
The Savage Bees (1976) 
Mandrake (1979) 
She’s Dressed to Kill (1979) 

Stay tuned for part 2, which will be posted on July 16th! 

Small Screen Scream Queens of the 1970: A Countdown (Part 2)

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Welcome to part two of my love letter to the actresses who made small screen terrors so incredible. Click here for part one of the countdown.

Let's continue, shall we?


20. Diane Baker (1938 - ) - Diane’s unassuming beauty and outward confidence made her a favorite among fans of TV movies. And she left us a lot of films for us to drool over. This brunette starlet always added a little extra class to whatever production she was appearing in. And she was more than just easy on the eyes - It was during the 70s that she was also allowed to spread her wings a little in the world of filmmaking and she produced a couple of noteworthy films, including an ABC Weekend Special titled Portrait of Grandpa Doc! Wow, remember those? Diane is still working today and was most recently seen as Dr. House’s mom on, you guessed it, House!

Scream-O-Meter: 6 

See Diane Scream in:
Do You Take This Stranger (1971) 
A Little Game (1971) 
Killer by Night (1972) 
The Police Story (1973) 
The Last Survivors (1975) 




19. Belinda Montgomery (1950 - ) – Pretty Belinda Montgomery might be the most underrated actress on this list. Not a household name – not even close, Belinda was subtlety fabulous in most of her performances. She shined when she played mousey lost girls, but she could also kick ass as good as anyone else – when she had to. Case in point, Belinda took on Shelly Winters in the TVM classic The Devil’s Daughter. She might not have come out the winner, but she kept swinging until she was down for the count. That’s why we love her.

Scream-O-Meter: 6 

See Belinda Scream in:
Ritual of Evil (1970)
The Devil’s Daughter (1973)
Crime Club (1973)
Murder in Music City (1979)


18. Anne Francis (1930 - 2011) – Beautiful Anne got her start in film in 1947 as the un-credited “bobby soxer” in This Time For Keeps but it wouldn’t take long for this voluptuous blonde to make name for herself. She burned up the small screen in 1965 when she was cast as Honey West in the short lived series. She bounced back and forth between television and theatricals and appeared in several fine small screen films through the 70s, including the excellent mob film Mongo’s Back in Town and Cry Panic with William Forsythe. It looks like television agreed with her and she mostly worked in that medium until her last appearance on Without a Trace in 2004.

Scream-O-Meter: 6

See Anne Scream in:
Haunts of the Very Rich (1972)
Wide World of Mystery: Night Life (1973)
Cry Panic (1974)
The Last Survivors (1975)


17. Andrea Marcovicci (1948 - )– Multi-talented Marcovicci started her TV Movie life tackling the subject of assault in Cry Rape. She also starred in the pilot for Harry O as well as appearing in several other films and series. But it was her performance as Barbara in the over the top thriller A Vacation in Hell where she played a card carrying man-hater that sealed her fate as a Small Screen Scream Queen. Her chiseled beauty gave Barbara a vulnerability and sadness to the part. Now a singer, Andrea might have left the world of television but we have not forgotten her.

Scream-O-Meter: 6

See Andrea Scream in:
Cry Rape (1973) 
Smile Jenny, You’re Dead (1974) 
Thriller: The Devil’s Web (1975) 
A Vacation in Hell (1979)


16. Vera Miles (1929 - ) – Those cheekbones! One of most subtlety commanding actresses on the list, she’s a bit like her onscreen sister in Psycho, Janet Leigh. Vera was consistently good in any role she took – big or small. Speaking of small, she gave many memorable performances on television, including the bitch from hell in the Columbo episode Lovely but Lethal. Ah, that kind of sums it up, Lovely but Lethal!

Scream-O-Meter: 7 

See Vera Scream in:
A Howling in the Woods (1971) 
Baffled! (1973) 
Runaway! (1973) 
Live Again, Die Again (1974) 
The Underground Man (1974) 
The Strange and Deadly Occurrence (1974) 
Smash-Up on Interstate 5 (1976) 
Fire! (1977) 



15. Sheree North (1932 – 2005) - Unbelievably sexy and strong, Sheree is easily one of my favorite actresses on this list. She was originally intended to be a replacement (or at least some stiff competition) for Marilyn Monroe when she first broke into pictures. Her career never took her to that level of stardom, but she settled nicely into the role of character actress. And that’s what set her apart - her character. She came across as brazen and confident and most importantly, she was memorable. From Lou Grant’s night club singing girlfriend to Blanche’s troubled sibling on the Golden Girls, Sheree was always the one you gravitated towards. She appeared in several made for television movies, making the small screen just that much more glamorous.

Scream-O-Meter: 7

See Sheree Scream in:
Vanished (1971) 
Snatched (1973) 
Maneater (1973) 
Winter Kill (1974) 
Most Wanted (1976) 
The Night They Took Miss Beautiful (1977) 
Portrait of a Stripper (1979) 


14. Shelly Winters (1920 -2006)– What list is complete without mentioning the amazing Shelly Winters? By the 70s she had swallowed so much scenery you could see the woodchips hanging out of her mouth! She was great fun to watch and could make or a break a film with just her mere presence. An A list actress that brought so much energy to just about everything she did that is made it impossible not get giddy just watching her have fun. Case in point, check out Shelly as the revenge bent housemother in The Initiation of Sarah. Going from dowdy to insane monster, she was like a Porsche revving from zero to sixty. But aside from her boisterous performances, Shelly could also draw the audience in with an unspoken compassion, which she did in the underrated and obscure thriller Revenge. Yeah, she was going to hack Bradford Dillman into tiny bits, but he had it coming, I tell ya! The world will not ever know another creature as divine as Ms. Winters.

Scream-O-Meter: 7

See Shelly Scream in:
Revenge (1971) 
The Devil’s Daughter (1973) 
The Initiation of Sarah (1978) 


13. Patty Duke (1946 - )– She may have come across all sweet and adorable as identical cousins on The Patty Duke Show, but this actress was up for far more serious fare. Just check her out as Neely O’Hara in Valley of the Dolls if you don’t believe me! Patty got to spread her wings a little bit more on the small screen. Her adorable girl-next-door looks often betrayed the storm that was brewing underneath. She got a chance to flex those dark powers in the muddled thriller She Waits, but with little effect. Luckily, it looked like she was just biding her time and finally got a bona fide chance to scare us with several television movies in the late 70s. She starred in the ponderous Look What Happened to Rosemary’s Baby as Rosemary. Not a bad part, only in this story, the son of Satan had gone on to become a, gulp, rock musician! I’m shaking now! Her film choices might not have been stellar, but Patty’s persistence at putting in a good performance enchanted horror fans forever!

Scream-O-Meter: 7

See Patty Scream in:
She Waits (1972) 
Nightmare (1974) 
Curse of the Black Widow (1977) 
Killer on Board (1977) 
The Swarm (1978) 
Hanging by a Thread (1979) 


12. Karen Black (1939 - )– Karen only made a couple of TV horror movies, but she broke the mold as Amelia, the bookish mommy’s girl who accidentally unleashes a deadly spirit lurking inside of a doll - a Zuni Fetish doll. Yeah, that’s right. You remember. You remember Trilogy of Terror well. One of the most famous segments in television history and one of my favorite childhood memories was seeing that little doll stab Karen’s toes! Karen might have gone on to play Mama Firefly in House of 1,000 Corpses but she had already sealed her Scream Queen status back in 1975!

Scream-O-Meter: 7

See Karen Scream in:
Trilogy of Terror (1975) 
The Strange Possession of Mrs. Oliver (1977) 


11. Eve Plumb (1958 - ) – Eve is best know as the whiny middle daughter to Mr. and Mrs. Brady on The Brady Bunch. However, as much as she longed to be “Marsha, Marsha, Marsha,” Eve got to take on some fairly interesting roles in her childhood and teens, which separated her from the rest of her TV clan. She started off awfully young in The House on Greenapple Road and then kept it up all the way to the infamous cult television movie Dawn: Portrait of a Runaway.

Scream-O-Meter: 7

See Eve Scream in:
House on Greenapple Road (1970) 
Dawn: Portrait of a Teenage Runaway (1976) 
Force of Evil (1976) 
Alexander: The Other Side of Dawn (1977) 
Telethon (1977) 
Secrets of Three Hungry Wives (1978) 

Don't forget to stop by on July 18th for the the Top Ten Small Screen Scream Queens post! 

Small Screen Scream Queens of the 1970s: A Countdown (Part 3)

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Welcome to part three of my love letter to the actresses who made small screen terrors so incredible. Click here for parts one and two of the countdown.


10. Barbara Eden (1934 - )– A wickedly voluptuous actress, Barbara became famous as the jinn who would do any bidding her male master wanted her to. She was adorable as Jeannie but it was obvious there was more to her than just sex kitten appeal. In The Stranger Within Barbara puts in a strong, terrifying performance as a woman pregnant with… something. She also got to get dramatic again in the eerie Howling in the Woods (co-starring her Jeannie partner Larry Hagman) and she was good at it! A completely undervalued talent, Barbara’s television movie fare proved she was one blonde that you couldn’t make fun of.

Scream-O-Meter: 7

See Barbara Scream in:
A Howling in the Woods (1971) 
The Woman Hunter (1972) 
The Stranger Within (1974) 
Stonestreet: Who Killed the Centerfold Model (1977)  


9. Stefanie Powers (1942 - ) – Bright and determined, Powers found fame well after the TV horror movie craze as Robert Wagner’s charming companion on Hart to Hart, although she had already began a love affair with the small screen a decade earlier. Starring in everything from the atmospheric chiller Sweet, Sweet Rachel to the timely thriller/drama A Death in Canaan, it was either her effortless charisma or her consistent portrayal of independent women that made Powers such an essential part of the TVM. One thing is for sure, she left behind an envious resume filled with all things scary. One of the most recognizable faces in the sub-genre, Powers never completely turned her back on us and can be see frequently in modern small screen thrillers (i.e. Lifetime, baby!).

Scream-o-Meter: 8

See Stefanie Scream in:
Five Desperate Women (1971) 
Sweet, Sweet Rachel (1971) 
Paper Man (1971) 
Skyway to Death (1974) 
Night Games (1974) 
Sky Heist (1975) 
Never Con a Killer (1977) 


8. Joan Hackett (1934 – 1983)– Quirky and winsome, Hackett’s loopy charms have never been duplicated. Normally the weakling who wallowed in unrequited love, she didn’t always come out on top but she did her best to overcome the odds, usually meeting tragedy instead. Yet, the lanky actress held her audience in rapture with her peculiar line delivery. In Five Desperate Women she finds a dead pooch and declares “He was a good little doggy and he liked me,” only to be strangled to death shortly after. You kinda feel bad for the kooky kid who just wanted to be loved. Hackett became a staple in the world of TV horrors and since her untimely death in 1983 we have not been the same.

Scream-O-Meter: 8

See Joan Scream in:
How Awful About Allan (1970) 
Five Desperate Women (1971) 
Lights Out (1972) 
Reflections of Murder (1974) 
The Possessed (1977) 
Dead of Night (1977) 
Stonestreet: Who Killed the Centerfold Model (1977)


7. Elizabeth Montgomery (1933 – 1995)– This fair-haired lady made America fall in love with her as Samantha the good witch on Bewitched. But little did they know that underneath all that girl-next-door beauty was an actress waiting to display her chops on darker fare. Instead of fighting the evil, she was the evil (or was she?) in one of the most unforgettable TV Movies of the decade, The Legend of Lizzie Borden. Everyone remembers the poem “Lizzie Borden took an axe/ and gave her mother forty whacks/ when she thought that she was done/ she gave her father forty one.” And who could forget the image of Elizabeth’s naked silhouette doing some serious damage to her dysfunctional family. The case was never solved, but Montgomery proved herself an actress worthy of meatier material. And in a nice twist, instead of screaming, she was forcing us to scream!

Scream-O-Meter: 8 

See Elizabeth Scream in:
The Victim (1972) 
A Case of Rape (1974) 
The Legend of Lizzie Borden (1975) 
A Killing Affair (1977) 
Act of Violence (1979) 


6. Cloris Leachman (1926 - ) – From Phyllis to Scream Queen, Leachman always seemed to take the road less traveled. Unusually attractive with a sense of style so grand you practically salivated over her wardrobe (the credits to Phyllis were simply to die for!). Leachman was more than a Diane Von Furstenberg ad, she continually played smart characters that developed strength through adversity. She showed the world her stuff in Dying Room Only and the small screen could barely contain her. She was the first to discover the dark secret of the Haunts of the Very Rich and she fought for the truth in Mrs. R’s Daughter, but it wasn’t until her strangely surreal performance in The Telly Savalas Variety Special that we realized this woman could conquer everything – including a really bad music number in the unaired special.

Scream-O-Meter: 8

See Cloris Scream in:
Haunts of the Very Rich (1972)
Crime Club (1973)
Dying Room Only (1973)
Death Sentence (1974)
Hitchhike! (1974)
Death Scream (1975)
Mrs. R's Daughter (1979)


5. Carol Lynley (1972 - ) - Few women have ever come close to matching Carol’s other worldly beauty and even fewer actresses can boast such an impressive resume. Appearing in everything from Bunny Lake is Missing to The Poseidon Adventure, Carol’s talent was one you could count on. She possessed a childlike quality that kept her ethereal beauty earthbound, making her characters that much more vulnerable. She was a good match for the masculine charms of Darrin McGavin in the popular Night Stalker TVM and she kept the screams rolling in several dependable made for television thrillers.

Scream-O-Meter: 8 

See Carol Scream in:
Weekend of Terror (1970) 
The Night Stalker (1972) 
The Elevator (1974) 
Death Stalk (1975) 
Thriller: If it’s a Man, Hang Up (1976) 
Cops and Robin (1978) 
The Beasts are on the Street (1978) 


4. Anjanette Comer (1939 - ) – This regal lady made some interesting films, television and otherwise. She might best be known to horror fans as the social worker with her own agenda in the jaw dropping Ted Post classic The Baby. But she was in many television genre films including Five Desperate Women and Terror on the 40th Floor. Her waify, ultra-feminine exterior belied the storming strength inside, making her perfect as a put upon heroine.

Scream-O-Meter: 8

See Anjanette Scream in:
Five Desperate Women (1971) 
The Deadly Hunt (1971) 
Wide World Mystery: Shadow of Fear (1973)
Night Games (1974) 
Terror on the 40th Floor (1974) 
Death Stalk (1975) 
Dead of Night (1977) 


3. Linda Day George (1944 - ) – Gorgeous and voluptuous Linda Day George was already a solid mainstay on television in the 60s as a character actress. She hit it big in the 70s playing Linda Casey on Mission Impossible and was nominated for an Emmy for her performance. But it was her work not only in television horror movies but also in big screen terror fare that marked her as one of the most beloved horror queens of the era. She was also married to the fantastically handsome Christopher George until his death in 1984, and starred in many so-bad-they’re-good flicks beside him (Pieces anyone?). In the mid to late 80s she sporadically showed up on TV here and there before she retired but, her work in horror had already solidified her as a genuine Scream Queen.

Scream-O-Meter: 9

See Linda Scream in:
House on Greenapple Road (1970) 
She Cried Murder (1973) 
Thriller: Come Out, Come Out, Wherever You Are (1974) 
Panic on the 5:22 (1974) 
Death Among Friends (1977) 
Mayday at 40,000 Feet! (1976) 
Murder at the World Series (1977) 
Ants! (1977) 
Cruise into Terror (1978) 



2. Kate Jackson (1948 - )– While most fans will remember Jackson best for her portrayal as Sabrina the “smart angel” on Charlie’s Angels, fans of TVMs will think of her as more of a renaissance woman. Starring in everything from Satan’s School for Girls to Death at Love House, she may well be the quintessential Small Screen Scream Queen. In fact, her film choices during the decade have since gone on to become a blueprint for actresses everywhere. Strong willed and smart as a whip, Jackson proved you could be as pretty as you were confident. Oh yeah, and she rocked the turtleneck!

Scream-O-Meter: 9 

See Kate Scream in:
Satan’s School for Girls (1973) 
Killer Bees (1974) 
Death Cruise (1974) 
Death Scream (1975) 
Death at Love House (1976)



1. Donna Mills (1940 - ) – Mills became an icon to fans of prime-time soaps with her bitchy portrayal of Abby Cunningham Ewing on Knots Landing but she was already an actress with a list of credits as long as your arm. A prolific genre performer who even appeared in a couple of episodes of the criminally underrated British series, Thriller, she played everything from a newlywed in purgatory to a giant black widow and she did it with strength and charm. These days Mills appears mostly in the ‘women in peril’ subgenre and still brings that air of sophistication and phenomenal beauty that made us so fond of her in the first place.

Scream-O-Meter: 10

See Donna Scream in:
Haunts of the Very Rich (1972) 
Night of Terror (1972) 
The Bait (1973) 
Thriller: Someone at the Top of the Stairs (1973) 
Live Again, Die Again (1974) 
Thriller: One Deadly Owner (1974) 
Thriller: The Killer with Two Faces (1975) 
Who Is the Black Dahlia? (1975) 
Beyond the Bermuda Triangle (1975) 
Look What Happened to Rosemary’s Baby (1976) 
Smash Up on Interstate 5 (1976) 
Curse of the Black Widow (1977) 
The Hunted Lady (1977) 
Superdome (1978) 
Hanging by a Thread (1979) 

Thanks for checking out my list! I wrote this around 2007 or 2008 and have added a few more names to this list of lovely ladies. Stay tuned for an update!

USA World Premiere Movie Project: Into the Badlands (1991)

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This review has been posted in conjunction with the Daily Grindhouse's year long tribute to the USA World Premiere Movie.  


As established in the previous entries of the USA World Premiere Movie Project, the cable network often looked back at the different small screen genre fare of the 1970s, and sometimes produced supernatural tales and thrillers that harkened back to the TV movie’s golden age. One sub-genre that never seemed to get proper attention was the Western, which littered the networks in the early days of the TVM. The rural purge of the early 70s basically eliminated cowboys and prairie tales although they’d raise their browbeaten heads every so often (I’m looking at you Gambler and The Last Days of Frank and Jesse James). It makes sense, in some sort of TV concept way, to consider mixing the high desert with the more popular horror subgenre. I mean, just for giggles.


The year before Badlands was released the home video market tested this hybrid with Grim Prairie Tales, which was an OK movie, but also one that I remember coming in and out of the video store I worked at. I’m sure that’s not the only fusion of the Western and Horror genres, but it was the one that instantly came to mind while watching the atmospheric, but somewhat empty Into the Badlands.


Bruce Dern is essentially Rod Serling, if Serling wore a cowboy hat and spoke with a slight Southern drawl. He is our narrator and also the protagonist of the final story in a trilogy of tales. Dern is T.L. Barston, a bounty hunter who is searching for Red Roundtree (Michael J. Metzger), a “half-breed” that has a $5,000 price on his head. A dream for any bounty hunter in the 1870s for sure, Barston sets off to find Roundtree and collect his fortune so he can leave the barren flatlands for greener pastures.


He first encounters a man named McComas (Dylan McDermott looking super foxy in his Western gear), a man with his own price on his head. He’s on the run and hoping to get to nice little town off of the frontier and near a beach when he meets Blossom the barmaid (Helen Hunt). She’s dying of consumption, but the two fall in love and decide to make a break for freedom together. Of course, you can’t fall in love in one of these kinds of anthologies and expect to get away with it. And I’ll leave it at that.


Barston then shows up at the Huesser’s place, and gives Alma (Muriel Hemingway looking very 1870s) the heebie-jeebies before he heads off into his own story. After he rides off into the sunset, Alma decides to visit an isolated neighbor named Sarah (Lisa Pelikan looking more hauntingly beautiful than ever), just as a storm arrives. Sarah is one of those hoity-toity East Coast people, who like to recite poetry and take themselves too seriously. But she’s also stricken with a fever, perhaps brought on by her lonliness and seething jealousy of Alma, whom she believes is having an affair with her husband. Sarah is sure there are wolves at the door, and it’s up to Alma to protect them both, but from what?


Finally, Barston meets up with Roundtree, and kills him. Arriving in town to have the body identified, he realizes that in exchange for the dead body, Barston may have to give up his own life.

Or something like that…


Into the Badlands makes absolutely no sense. Metaphors only go half way and stories end just when they should be beginning. But dammit, this film has atmosphere for days. Gorgeously shot by Johnny E. Jensen and directed with a strong sense of tension by Sam Pillsbury, I could not take my eyes off this little tele-film, which originally aired on July 24th, 1991. It is exquisitely surreal and manages to captivate despite the lack of a coherent story.


And maybe... just maybe... it’s not the story that’s important, because each tale is threaded together through the theme of isolation, and how it affects the characters. The protagonists are desperately trying to get away from the frontier (screw you, Manifest Destiny!), whether it be to a beach, the city or somewhere else, and these characters are driven mad by their solitude. The setting is authentically barren, both ugly and beautiful, and works as its own character. A dust devil waiting for your soul, if you will. So, despite the fact that I longed for more… more story, more explanation… I could not tear myself away from these Badlands. Recommended. And it's on DVD!



The USA World Premiere Movie Project: Cabin by the Lake (2000)

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This review has been posted in conjunction with the Daily Grindhouse's year long tribute to the USA World Premiere Movie.  


Having just read Switch by William Bayer (the novel was turned into the 1985 CBS miniseries Doubletake), along with a completely unrelated but recent viewing of the USA Original Cabin By the Lake, I’m somewhat fascinated by the horror-filmmaker-turned-serial-killer angle that is so prominent in both works. In some ways it’s a little offensive, insisting that people who make horror films create similar terror in real life. But, let’s face it, it makes for good reading and cinema! While Switch was a bit of a letdown (the main murder mystery is downplayed in favor of the protagonist’s love story and his desire to take down a corrupted boy in blue), Cabin by the Lake revels in Stanley’s (the terrific Judd Nelson) research for an upcoming genre film, and wonders why it has to be so damn gruesome!


Stanley Caldwell is one odd duck. He sends a blank manuscript to his pleasantly maddening agent, Regan (Susan Gibney), and is, in general, a straight-faced sort, who “jokes” about drowning a girl for material, and then really drowns a girl. With a weight on her foot, she plunges to the bottom of the lake, and joins an almost beautiful array of dead bodies, clothed in (literally) flowing frocks with hair swaying along with the current. It evokes the same kind of horrifyingly poignant imagery as Dario Argento’s underwater city/tomb in Inferno, and it sets the tone for this gorgeous and oddball thriller.


This watery graveyard serves as Stanley’s muse for his newest script, Garden of Flesh. (Every writer should research their material, right?) Well, he’s coming to the end of the story and needs to find a victim who is unlike the earlier, easier targets. That’s when he meets Mallory (Hedy Burress). She’s cute but different, and quietly strong. In short, she'd be perfect Final Girl material... if Stanley had wanted any of the victims to live! In the sort of small talk you sometimes make with a stranger, Mallory mentions to Stanley that she doesn’t like the water, making her an interesting subject for studying! Whoops. 


Later in a car “accident,” Stanley abducts Mallory and throws her in the back of a van that has the words, “I’m the Guy Your Mother Warned You About” written on police tape. But Mallory is defiant, all the way up to the trip that was supposed to lead to her underwater death. Luckily, and quite by coincidence, she is saved by cutie pie cop Boone (Michael Weatherly), proving she is more of a foe than Stanley had counted on (well, and luckier, definitely luckier). And now the hunted becomes the hunter as she helps the cops close in on the murderous screenwriter.


Cabin by the Lake is self-aware horror (this film has its tongue planted firmly in its cheek thanks to David Stephens witty and intriguing script) combined with old-school Italian giallo aesthetics. The end result is gorgeous and gripping. Composer Frankie Blue, whose tunes remind me just a bit of Portishead, stands in for Goblin, and adds to the already moody proceedings.


Ever since Judd Nelson went killer in the 1989 film Relentless, I’ve always been a little afraid of him. He does bad just too good. He’s equally menacing here, but more sedate, and perhaps even scarier because Stanley thinks very little of what he actually does, and his only emotions seem to arise from his fascination with Mallory. In the empty room Stanley holds Mallory hostage in, she writes on the wall, “You don't scare me,” and when he’s able to kidnap her again she adds the addendum, “Do I scare you?” Stanley only understands the written word, and it terrifies him that she can plainly state her defiance as well as he can compose a screenplay about murder. She is at his core but he can’t seem to get to hers.


Their relationship provides an interesting match of wills, and helps Cabin by the Lake maintain an edge. This is my first viewing of the telefilm since it originally aired on February 1st, 2000 and I have to say, it has stood the test of time. It’s still morbid but funny, engaging and suspenseful. And to get back to the original conundrum about filmmakers as the epoch of evil, there are other film industry types shown throughout Cabin by the Lake and they run the gamut of greedy, artistic and just plain fun. Stanley somehow missed the part that horror films are about making fiction seem real instead of just making fiction real. Good going, Stanley!

This great little telefilm was followed by a sequel in 2001, which I have not seen but am hoping to review for my next USA World Premiere Movie post!


My Vacation in Hell

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Hello everyone!

Things here have been crazy busy in that insane way that makes you laugh and cry at the same time. I've had to neglect my favorite spot on the web (i.e. here) so I could actually participate in the real world, which honestly, is never my first choice.

First of all, I'm preparing for grad school, which starts next month (fingers crossed) and secondly, I just moved to another state (again) and am still knee deep in boxes labelled VHS. It's just that kind of summer. It makes me so sad that I haven't had a chance to write about all the great TV movies I've been watching, but things have settled a bit, so I am hoping to get in a post or two in the next few days. Fingers crossed.

A look at one of the movies I'll be reviewing soon
In the meantime, I have had a couple of other things show up on other must-stop-web-spots:

Check out my Christmas in July post that I did for Christmas TV History. In fact, check out all the posts. It was great fun to be a part of the whole thing (and now that I live in Texas, I'm already missing the upcoming snowy winter I would have had in Pittsburgh).

Also, the wonderful guys at Kindertraumaposted an article I wrote on my favorite Shark Attack movies. Stop by and take a bite! Ha! I got a million of 'em (well, really, just that one. It just seemed like the thing to say).

Yay!
And, you can always stop by MFTVM's facebook page, which I update often with lots of neat TV Guide images and trivia. Or, you can hang out on my twitter, which I don't update often, but do use to have a chat or two about soaps (and host a live tweet every now and again), if you are up for it! Thank you all for sticking with me, and I promise, lots of fun TV stuff is coming your way soon!

My Very Best Friend (1996)

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Network: CBS
Original Air Date: March 27th, 1996

If you had asked me two years ago who my favorite Angel was, I would have said, (without one iota of hesitation), “Sabrina.” I was hot and heavy for Kate Jackson’s snappy dialog delivery and awesome turtlenecks. She’s a legend. But now that I’ve been revisiting one of my favorite beautiful-women-fight-crime shows, I’ve found myself drawn to the more quietly charming Kelly. Jaclyn Smith brought a lot of strength and character, and I don’t know why I didn’t originally recognize it, but this girl is fearless! From the pilot movie where she has an incredible mano-a-mano dialogue showdown with Bo Hopkins, to getting shot up with smack by Cameron Mitchell, this is one lady that does not stay down for the count. Plus, her hair is fab!


I also enjoy a Jaclyn telefilm every now and again, although I’m probably not as passionate about her TVMs as I am about Kate’s 70s output. But close. There’s some real winners in there, like Family Album and Before He Wakes. What can I say? I live for this stuff. But I would also have to admit that Jaclyn’s performances can be hit or miss, such as her not-great-turn as the amnesiac wife in Married to a Stranger (although I will watch it whenever it’s on TV), and I always go into a Jackie Smith movie with a grain of salt. That said, I was happily thrilled not just with her performance in My Very Best Friend, but also with the TVM itself which is gorgeously melodramatic and an awful lot of fun.


Smith is Dana, a woman who should have it all. From the outside, it certainly looks that way. She’s gorgeous, has a glamorous modeling career, and to top it off, she also has a dedicated best bud that she can always turn to. That friend is Barbara (Jill Eikenberry), an attractive, but far more down to earth woman in a rocky marriage. Ever since college, Dana and Barbara have shared everything – and I do mean everything, including men, but don’t tell Barbara that! Barbara is actually very unaware of Dana’s many dark secrets, including an undying obsession with Alex (Tom Irwin), who just happens to be Barbara’s husband! When Dana loses her own spouse (of about one day!) in an “accident,” her fixation on Alex goes into histrionic overload and Barbara’s rocky marriage looks like it’s about to get a lot worse.


Directed by Joyce Chopra (Smooth Talk), My Very Best Friend has all the ingredients that I want in a mid-90s telefilm: predatory beautiful people, yachts, lies and deception, and snow. I’m telling you, it has everything! And, like icing on cake, Smith is absolutely glorious as the gorgeous bad girl who will stop at nothing to get Alex into her clutches.


Lindsay Harrison and John Robert Bensink’s amusingly twisted teleplay (based on a story by Michael I. Miller, Patty Obrow White and Robert Glass) sets up the friendship well, but never takes itself too seriously, taking every opportunity to let Smith flaunt her unabashed villain skills. She’s absolutely terrific – and seems to be having terrific fun – as the back-stabbing-man-stealing-murderer. Not only is she stealing men, she’s stealing scenes! Eikenberry has the unenviable task of playing the straight guy but she’s manages to not look like an idiot when the stuff starts to hit the fan. No easy feat in a film like this, and her performance helps make the somewhat far-fetched premise seem a bit more palpable.


The only real problem I have with My Very Best Friend is the awkward conclusion, that upon further inspection makes little sense. But it's a minor quibble indeed, because this is the kind of 90s thriller that sets out to make the viewer squeal, “Oh no you didn’t,” and to that degree it’s a grand success.

Ed Nelson: One Cool Cat

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This has been a bad week for film and television lovers. We’ve lost a few of the greats, including Robin Williams and Lauren Bacall. Williams threw us all for a horrible loop, and in some ways, softened the blow of the loss of Bacall, who lived to the age of 89 and, by all accounts, had a full and wonderful life. Character actor Ed Nelson also passed away this week at the age of 85, and like both Williams and Bacall, he enjoyed a long and fruitful career. He’s probably most known for playing Dr. Michael Rossi on the night time soap Peyton Place, but to me he'll always be that guy. You know the one, that actor who shows up in everything. That actor who makes whatever show or TV movie he is appearing in that much better because he’s in it. For most of my life, Nelson was just that guy. And I loved him for it.

But, he was more than simply a handsome, silver haired character actor, and I wanted to commemorate his life by throwing out some interesting facts about a man who deserves to be celebrated.

Nelson mulls over the issues in the 1974 TVM Houston, We've Got a Problem
Here’s a few things you may not know about Ed Nelson:

While filming Peyton Place in 1966, Nelson felt he might be suffering from fatigue and had himself checked out by a doctor. They found a small tumor on his lung – one that had been overlooked by another physician three years prior. It was recommended that Nelson have surgery immediately, but he put off the procedure for three weeks so the Peyton Place filmmakers could figure out how to work around his absence! What a trooper. The I’m-not-a-doctor-but-I-play-one-on-TV actor missed five weeks of work.
 
Christopher and Ed Nelson pose with Dorothy Malone in this newspaper promo for Murder in Peyton Place
Ed has six children, and his son Christopher appeared with his father in the 1979 TV reunion movie Murder in Peyton Place. The younger Nelson said, "This was just like a homecoming to me, even though I wasn't involved in the series. I knew everyone well, and they treated me well."

Ed was married to his wife Patsy for 63 years! He knew that marriage required a lot of hard work and in a 1964 interview the actor said, “My wife and I talked a bit about the future after I made the Peyton Place pilot, and the things that could happen to me if the show is a success. But we refuse to believe that success could destroy our happiness. Carelessness or indifference destroys happiness, and neither of us plans to be careless or indifferent.”


Nelson had his own talk show in 1969! Simply titled The Ed Nelson Show, one of his most (in)famous guests was Nathan Leopold, who along with his confidante Richard Loeb, killed a young man in an attempt to commit the perfect crime. Their story inspired the Hitchcock thriller Rope, and on Nelson's show Leopold spoke candidly about his time in prison.

Ed appeared alongside Suzanne Pleshette in three different projects: The TV Movies Along Came a Spider (1970) and Help Wanted: Male (1982), as well as an episode of the series Channing titled The Potato Bash World (1963).

According to Wikipedia, in 1999 Nelson returned to Tulane University to finish his undergrad degree, and graduated at the age of 71. (This is my favorite piece of trivia!)

Nelson goes medical again in the 1979 TVM Doctors' Private Lives
In 1972, Nelson ran for city councilman in Los Angeles, but hit a strange snag when another candidate demanded to be offered the same amount of airtime. This meant that when the actor appeared in a TV movie for 12 minutes, one of his opponents requested that he be given an equal 12 minutes of airtime to discuss his political viewpoints! This, of course, did not sit well with Nelson, who said his time on the small screen shouldn’t count because he’s not portraying himself. He said, “It’s unfair that they can give political views when I didn’t in my Night Gallery appearance.”  (By the way, I have no idea how this story played out, does anyone know?)

Nelson was a Roger Corman regular in the 1950s and was the monster in Corman’s Attack of the Crab Monsters!  

William Conrad has some questions for Ed Nelson in the 1980 TVM The Return of Frank Cannon
Read more about Ed Nelson at It's About TV and The New York Times.

Rest in peace, Mr. Nelson. You are loved and already missed.

The USA World Premiere Movie Project: Return to Cabin by the Lake (2001)

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This review has been posted in conjunction with the Daily Grindhouse's year long tribute to the USA World Premiere Movie.  


I’m a huge fan of sequels, especially #2’s! I have been known to adore Friday the 13th Part 2, Jaws 2, Halloween 2, and even Expendables 2 at least as much as the originals (and sometimes even more), so after revisitingCabin by the Lake earlier this month, I was excited to check out its follow-up, Return to Cabin by the Lake, which originally aired about one year after Cabin on August 14th, 2001. I was also surprised that I had a copy taped from the original airing (mostly because I have no memory of doing this), and I instantly wanted to turn in my TV Movie Lover badge™ when I realized that the tape has sat unwatched. For thirteen years! I’m sure that’s not a record, but it is definitely poor form for someone like me. So, the best way to rectify the situation was to gear up the trusty ol’ VCR and take Return to Cabin by the Lake for a spin.


In the sequel Judd Nelson reprises his role as the murderous Stanley Caldwell, and his life story is on its way to becoming Hollywood’s next blockbuster. This new film (titled Cabin by the Lake, of course) is following the screenplay he wrote in the original while also exploring the murderous writer’s potential real/reel life motivations. In short, was he abused as a child or is he just, as one character suggests, “A psycho who got off on chicks' clothes and horticulture?”


Presumed dead, Stanley worms his way onto the set and by assuming different identities he basically kills his way to the top, eventually becoming the director (how’s that for a metaphor). Stanley is drawn to Alison (Dahlia Salem), the screenwriter who’s been brought in to rework his script, and he guides her writing, driving her to really explore Stanley’s darker traits (some of which he doesn’t even understand), as he systematically picks off crew members.


Written by Jeffrey Reddick (Final Destination 1 – 5), Return has all the traits of those early days of meta-horror. It is self-aware, it sarcastically comments on the very industry that created it, and it has a few other nice post-modern touches (for example, the obnoxious 2nd Unit director also has the last name Reddick), but despite a few flashes of inspiration, it lacks the awesome aesthetics and tension of the first film.


The first Cabin was compelling because Stanley’s “final girl,” Mallory (Hedy Burress) is fascinating and strong. She challenges Stanley and questions his motives (which are never truly revealed); she got as much into his head as he got into hers and it created a marvelous tension throughout the second half of the film. Unfortunately, although Alison is not a bad character (and honestly, she is one of the only tolerable people in the entire film), she doesn’t work as well against Stanley (even though they end up more simpatico by the end), leaving the film feeling kind of flat. Plus, Nelson does not look like he’s having nearly as much fun as he did in the original. As far as I’m concerned, when Nelson is having fun, I’m having fun. It’s a rule.


The written word is still an important element in the sequel. Pages from his reworked script, which he tacks onto the wall, replace the graffiti the victims left behind in Stanley’s prison in the original. Alison asks of Stanley “Who are you… What are you?” and he responds with pages from his own edits of her screenplay. She then reveals, “It says here they are really dead… What does that mean?” Stanley blandly replies, “It means they’re really dead.” This scene represents the biggest issue I have with Return - There are no subtleties in the story. It is what it is, but what it is is not much at all.


There’s nothing really wrong with Return. In fact, it’s a decent little time waster, but I think I may have had higher expectations because of my recent viewing of the excellent original film. Could this be the first sequel I won’t watch more than the first? Perhaps.

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