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Tag: Pamela Reed

Deadly Whispers: Tony Danza’s Odd Turn as a Murderous Father

Tony Danza and Pamela Reed in Deadly Whispers.

Imagine Tony Danza in a frilly dress and sun hat, clutching a parasol and drawling “Fiddle-dee-dee! Ashley Wilkes told me he likes to see a girl with a healthy appetite!” and you’ll have some idea of the absurdity of his casting in Deadly Whispers (1995). The extent to which he mangles an exaggerated Southern accent is hard to overstate; when he says “Yo missin’ The Waltons” (rather than “You’re missing”) only 10 minutes into the movie, you might laugh harder than you ever did at Who’s the Boss?

Unfortunately for Danza, Deadly Whispers isn’t supposed to be funny. In this thinly veiled dramatization of the 1987 murder of Kathy Bonney, he plays Virginia salvage yard owner Tom Acton, the last person to see his troubled teenage daughter Kathy (Heather Tom) alive before she disappears. A high school dropout who answers the phones at Tom’s business — he doesn’t need the help but refuses to let her out of his sight — she defiantly teases her hair and bares her midriff in pursuit of a married coworker.

Kate Jackson Does Time in Inmates: A Love Story

Killer Bees were nothing compared to hard time.

Kate Jackson’s incarcerated again in Inmates: A Love Story (1981), and while it’s frustrating that her love interest is Perry King and not Meg Foster, we must learn to accept it and move on with our lives. (Gluttons for punishment will recall that Foster was King’s lesbian love interest in 1978’s seven-layer dip of offensiveness, A Different Story, in which he also played gay, but that’s a rant for another day.) If you can manage your disappointment, even as Jackson wears flannel and performs garbage duty, you’ll be rewarded with a bizarre, mostly enjoyable telefilm with a rare early ’80s lesbian subplot.

Jackson’s Jane Mount (no comment on the butch surname) is doing “a nickel to a dime,” as she puts it, at the Greenleaf State Co-Correctional Institution, an experimental coed facility. The men and women bunk in separate areas but fraternize in the cafeteria, prison yard and other shared spaces. Sexual contact is a verboten but couples pair off anyway, which is how Jane’s closest friend, young Grace (an affecting Fay Hauser), becomes pregnant. When Grace spots the baby’s father canoodling with another inmate, Jane tells her to leave and approaches the cad with her cafeteria tray — and a trademark mischievous Jackson smile that signals he’s about to receive a helluva comeuppance.

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