Cranky Lesbian

Look what the homosexuals have done to me!

Sorry, Wrong Number Gets the Loni Anderson Treatment

Loni Anderson could use some Anacin for her neuralgia and neuritis in Sorry, Wrong Number.

Was Barbara Stanwyck’s death in January of 1990 perhaps hastened by the premiere of Loni Anderson’s made-for-television remake of Sorry, Wrong Number in October of 1989? The coroner’s report contains nothing to support that irresponsible theory, but it’s difficult not to wonder how Stanwyck, arguably the greatest American film actress in the history of the medium, felt about this silly project, one of many ’80s TV remakes of classic films. What must she have made of Anderson’s performance in particular, beginning with the stilted delivery that’s reminiscent of Brenda Dickson welcoming you to her home? (The video will inevitably be scrubbed from YouTube, but the legend lives on in print.)

Dressed alternately as a stewardess and a Sea Org member, her strikingly unnatural wig brilliantly capturing the sunlight in flashbacks, Anderson—who we last enjoyed as a robotic and impeccably attired escort in My Mother’s Secret Life—plays Madeleine Coltrane, middle-aged heiress to the country’s fourth-largest pharmaceutical empire. Screenwriter Ann Louise Bardach and director Tony Wharmby don’t probe too deeply, but we understand that her tycoon father Jim (Hal Holbrook) has kept her in an overprotective bubble. However, her guilelessness is so pronounced that during the interminable scenes that Madeleine spends hanging on the telephone, my thoughts turned to how she’d react if Beverly Sutphin called.

Pam Dawber Squints Through Naked Eyes

Pam Dawber is an unlikely voyeur in Through Naked Eyes.

From the earliest Brian De Palma films of the decade through the release of Steven Soderbergh’s sex, lies, and videotape at its end, the ’80s were a time when viewers—many newly equipped with camcorders of their own—began to embrace voyeurism. It was hardly a new cinematic subject, but the kids who’d once giddily delighted in the perverse thrills of Alfred Hitchcock’s Rear Window (1954) and Michael Powell’s Peeping Tom (1960) were now grown and making their own movies—or at least subscribing to cable TV with the expectation of exposure to similarly titillating content.

For every serious film about voyeurism and surveillance—Blow-up, The Conformist, The Conversation, Blow Out and The Lives of Others, to name a few—there are five more prurient duds like Sliver, many indeed made for cable. Through Naked Eyes (1983), starring Pam Dawber of Mork & Mindy and David Soul of Starsky & Hutch, was produced for ABC, so you can temper your tawdrier expectations: it goes about as far as bare shoulders. A quasi-erotic thriller that’s notably short on eroticism, Eyes holds your attention mostly because of Soul’s intriguingly oddball performance. It also mixes things up a little by making Dawber the more dedicated peeper.

Stoned: Scott Baio’s Reefer Madness

“It’s just me. It’s just me and my ganja.

There are life lessons that only Afterschool Specials and the school of hard knocks can teach us, and the wisdom imparted by Scott Baio’s Stoned (1980) is simple. If you smoke the devil’s lettuce, like Baio’s wiry, acne-scarred Jack Melon—known to some as Melonhead—you might nearly kill someone.

Jack, a lonely, awkward high schooler with an absent mother and gruff father, plays second fiddle at home to brother Mike (Vincent Bufano), a college-bound star swimmer who appears to be his only friend. When stoner classmates Alan (Steve Monarque) and Teddy (Jack Finch) offer him weed from their usual bathroom stall, he declines. “A goon like him? Pot would definitely do him good,” they derisively declare.

One of Stoned’s finer qualities is that Jack isn’t given a sob story. (Another is Baio’s knack for physical comedy.) His lack of social prowess isn’t a commentary on his character, it’s a natural byproduct of his age. He’s a quiet, puberty-stricken geek with an odd gait who experiences boredom so crushing that he walks down the street kicking a can. When a blowup with Mike leaves him vulnerable to Alan and Teddy’s invitations to smoke, he’s less interested in pot than companionship.

Fun at the Art Museum

I love museums and will happily stroll through nearly any exhibit imaginable. But there are times when curators get so high on their own supply that it borders on self-parody.

This, read in the waning days of my winter vacation, careened right over the border and off a cliff: “For example, the furrow along the hip and abdomen leading to the genitals is an artistic interpretation of the actual anatomical structure.”

Indeed, I believe one could argue the entire sculpture is an artistic interpretation of the actual anatomical structure. At any rate, we’ll be back on Friday this weekend with either a new movie review or the next Golden Girls recap.

Because the Night

Bruce and Clarence Clemons in one of their many onstage liplocks.

Forty-two years ago tonight, on December 28, 1980 at the Nassau Coliseum, Bruce Springsteen and the E Street Band recorded a phenomenal rendition of “Because the Night,” a song he began writing in 1977 and never quite managed to finish. Concert footage from the late ’70s plays like a parody of writer’s block in action. Behold the hypnotic intro of this Houston performance and Springsteen’s blistering guitar work throughout the song—and the comically painful repetition with which he shouts “Because the night belongs to lovers” over and over (and over) again.

When nothing became of Springsteen’s unfinished product during the recording of Darkness on the Edge of Town, producer Jimmy Iovine was granted permission to hand the song over to Patti Smith for her own purposes. If the original lyrics were coarse as sandpaper, her reworking was smooth as silken sheets. (In his 2016 memoir, Born to Run, Springsteen calls her his “second-favorite Jersey girl,” the first being his wife, Patti Scialfa.) Smith’s poetic salvage job became her biggest hit, but I’ve never found it to possess 1/10th the muscle, passion or urgency of what the E Street Band typically produces when tackling the song in concert.

For the uninitiated, here’s a standard, dizzying Nils Lofgren solo, but it’s an errant Springsteen lyric that captures, for me, the spirit of a half-sketched song that still defies delineation: “What I’ve got, I have earned/What I’m not, baby, I have learned.” Is it an observation or a threat? A little self-knowledge can be a dangerous thing, and few writers understand that better than Springsteen, whose solo acoustic take on “Born to Run,” for example, turns the euphoric original on its head. His work—including the cuts that Dixie Carter never saw fit to puzzlingly reinterpret—has been my solace-seeking soundtrack as we close the books on 2022 and prepare to put ink to the first blank pages of 2023.

This is a time of year I love and mostly hate, for more reasons than will ever receive a full accounting here. I take little comfort in year-end lists, Auld Lang Syne or New Year’s resolutions. Possibly, having recently watched the wretched death of a mild-mannered grandparent who never made a life’s plan that didn’t go up in flames, I’m in crankier spirits than usual. But while knocking on the door of my 40th birthday, an occasion that has sometimes seemed out of reach and is now mere weeks away, I take some hard-won satisfaction in knowing that what I’ve got, I too have earned. And what I’m not, baby, I have learned.

Have I Got a Christmas for You: A Very ’70s Hallmark Take on Jewish-Christian Relations

Herb Edelman and Don Chastain pray in Have I Got a Christmas for You.

On the count of three, readers, let us sing in unison: “We wish you a Jewish Christmas, we wish you a Jewish Christmas. We wish you a Jewish Christmas and a goyish New Year.”

That’s all I could think of at the start of Hallmark’s unusual 1977 holiday television presentation, Have I Got a Christmas for You, which opens with Milton Berle tossing a few bucks to a bell ringer dressed as Santa Claus. Directly approaching the camera afterward, he begins his narration: “As you may have guessed, our story has to do with Christmas. Which, in itself, is not exactly unusual this time of the year. Except for one thing—it began some weeks ago in Temple Beth Shalom, at a board of trustees meeting.”

By then I was already nervous, I’ll confess, and half-expected a cut to an assembly of shadowy money lenders, even though Uncle Miltie grew up as Mendel Berlinger and was unlikely to lead us astray. “I was convinced it would end in disaster,” he admits, as we join a contentious meeting already in progress, with Sydney Weinberg (Jack Carter) making an unusual proposal: That the synagogue perform “a gesture of goodwill and thanks to our Christian neighbors” by covering for essential workers on Christmas Eve, as an Italian coworker did for him ahead of Yom Kippur.

Oy Gevalt: Hallmark’s Love, Lights, Hanukkah!

Mia Kirshner and Ben Savage enjoy Chinese food in Love, Lights, Hanukkah!

If Hallmark’s Love, Lights, Hanukkah! (2020) is your maiden exposure to Jews and our religious customs, you will think we’re unfailingly cheerful moth people, strangely drawn to lights. And, perhaps more confusingly, that we’re obsessed with rudimentary math. The film’s cozy Jewish family, the Bermans, spend an inordinate amount of time counting and beaming while staring endlessly at candles and electric menorahs, the balance of their energy devoted to gently bickering while schmearing bagels and eating brisket. There are evangelical Christians somewhere in the United States who reluctantly watched this and thought to themselves, “Oh, so that’s why they’re all accountants!”

Our first groan of “Oy!” arrives immediately: Hanukkah! opens with closeups of spinning dreidels. You would never guess from this movie that most children are not enthralled by dreidels and that few Jewish women collect and display dreidels like Precious Moments figurines. Or that it would be kind of odd for a grandma to excitedly announce that the gifts are beside the menorah—Hanukkah gifts aren’t akin to Christmas gifts and menorahs are not like Christmas trees. If they were placed too closely together, at least in my childhood home, it would’ve taken about two seconds before my brother and cousins accidentally set everything aflame with their roughhousing.

The Cold Heart of a Killer: Kate Jackson’s Icy Thriller

Kate Jackson in The Cold Heart of a Killer.

Whether she’s skeet-shooting, serving time, pledging her allegiance to Satan, getting swarmed by bees or shacking up with a teenage student, Kate Jackson always looks effortlessly cool. And as an Iditarod hopeful in The Cold Heart of a Killer (1996), she’s practically frozen. While her Charlie’s Angels costars sang Christmas carols and helped save Santa and his elves from certain death, as we’ve explored in recent weeks, Jackson never made a holiday telefilm. But her springtime race across the snowy, windswept Alaskan wild will make you shiver, and it’s not just the subzero temperatures that are deadly—there’s also a killer on the loose.

Jessie Arnold (Jackson, also executive producing) is a former sled-dog musher whose competitive career ended five years earlier, when she narrowly escaped death in a savage storm. Since then she’s become one of the state’s premier dog breeders, developing a new breed of Huskies for racing purposes. Her pack is poised to make its Iditarod debut with her newly sober brother, Robbie Pierce (Philip Granger). When he’s lured to his death by a shadowy figure, Jessie has no choice but to enter the race, competing not only as a tribute to Robbie but because she’ll lose both her kennel operation and custody of son Matthew (Kevin Zegers) if she doesn’t bring home the $50,000 grand prize.

Holiday Blu-ray Haul

Thanks for hanging in there while I’ve been busy with a family situation. Next week I’ll return with some new reviews.

We live in an increasingly digital world, but one of my enduring traditions is to set aside a little cash each month so I can splurge on physical media, particularly DVDs and Blu-rays, during holiday sales. Here’s my 2022 haul, which was split between Kino Lorber Classics and Vinegar Syndrome.

From Kino Lorber I purchased Blu-ray editions of Andrei Tarkovsky’s The Sacrifice; Marcel Carné’s Port of Shadows; James Ivory’s adaptation of E.M. Forster’s gay classic Maurice (which currently streams on Tubi); Bertrand Tavernier’s The Clockmaker of St. Paul; and The Films of Maurice Pialat: Volume 1, which collects the French auteur’s Loulou, The Mouth Agape and Graduate First.

My selections from the catalogs of Vinegar Syndrome and its partner labels included Paul Schrader’s Patty Hearst (also on Tubi) and a slew of LGBTQ+ titles: the Canadian documentary Forbidden Love: The Unashamed Stories of Lesbian Lives; Saturday Night at the Baths; What Really Happened to Baby Jane? And the Films of the Gay Girls Riding Club; Two Films by Arthur J. Bressan, Jr. (Passing Strangers and Forbidden Letters); Equation to an Unknown; and L.A. Plays Itself: The Fred Halsted Collection.

With the exception of Patty Hearst, the Vinegar Syndrome titles generally aren’t the sort I’ll rewatch, unlike the Kino Lorber releases. But I’m pleased to help support the preservation of forgotten and overlooked gay and lesbian cinema in some small way. And I was particularly tickled to find Halsted represented. An iconoclastic gay pornographer and enthusiastic sadist, his pioneering early works were acquired by the Museum of Modern Art. After viewing one of his films, Salvador Dalí allegedly muttered “new information for me,” a commentary I hope to one day echo in a review of a Lifetime movie.

I have no connection to Kino Lorber or Vinegar Syndrome and earn no commissions from purchases made at either site. Prices are higher now, post-sale, but if you monitor Kino Lorber’s website you can periodically score great films for $10 (or less) apiece.

Jaclyn Smith Believes in Santa in The Night They Saved Christmas

Jaclyn Smith with her brood in The Night They Saved Christmas.

There is no greater ’80s holiday fantasy movie than A Smoky Mountain Christmas (1986), with its savory squirrel stew blend of witchcraft, fairy tales, backwoods orphans, country music stardom and poisoned maybe-lesbian pies. But once you’ve completed your annual viewing of that Dolly Parton classic, you might consider checking out The Night They Saved Christmas (1984), another family-oriented telefilm that will leave you staring at the screen in confusion, murmuring “What the jingle hell is this?”

Nearly as bad as Santa Claus Conquers the Martians, it essentially hinges on whether an oil company will slaughter Santa and his elves (who number in the thousands) for a shot at greater riches. But there’s so much more to it than that, nearly all of it bleak and depressing. The Night They Saved Christmas doesn’t only inspire ’80s nostalgia because of its sophisticated robot toys, parents on the verge of divorce, fashionable winter jumpers and references to Saudi involvement in American oil. It’s also a heartwarming reminder of our constant proximity to ruthless annihilation in the waning years of the Cold War.

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