Sunday, June 14, 2020
Directed by Jack Arnold
Written by Roger MacDougall and Stanley Mann, from a novel by Leonard Wibberley
Starring Peter Sellars, Jean Seberg, William Hartnell, David Kossoff, Leo McKern
I’ve talked about Jack Arnold, the king of 50s science fiction, several times in this blog. But Arnold did more than just SF horror. The Mouse that Roared was satirical humor, but with a science fiction bent.
The tiny duchy of Grand Fenwick, ruled by its Queen Gloriana (Peter Sellers), is suddenly facing financial ruin when an American winery comes up with a cheap imitation of the major export, Pinot Grand Fenwick wine. Despite pleas for help, the US does nothing, so the prime minister, Count Montjoy (Sellers) decides there’s only one thing to do: declare war on the United States. They have not the slightest expectation of winning, but since the US was generous to its enemies after WWII, they expect to be treated generously. Led by game warden Tully Bascomb (Sellers), who commands 20 soldiers armed with bows and arrows,* they land in New York City, during an air raid that leaves the streets empty. They happen to find Dr. Alfred Kokintz (David Kossoff), who has invented the quadrium bomb – which makes the atomic bomb look like a sparkler.
Bascomb seizes the bomb, along with Kokintz and his daughter Helen (Jean Seberg), and take them all back to Grand Fenwick. They have won the war. And their troubles begin.
As the cast list shows, this was a showcased for Sellers, who played the major roles. He switches nicely between the regal Gloriana, the upper class Montjoy, and the more common Bascomb. This seems to be his first major role in the US and he was unknown to US audiences at the time. Leo McKern** is nice as the leader of Montjoy’s loyal opposition party.
The movie is quite faithful to the book.*** It’s also very funny. One of my favorite gags is during a chase scene. The bomb is the size and shape of a football and has a hair trigger. The scene starts out and suddenly there’s a picture of the mushroom cloud. Then a narrator comes in and says, “Ladies and gentlemen, this is not the end of the film. However, something like this might easily happen, and we thought we should put you in the proper mood. And now, back to our story.”
The movie was a big hit and Sellers became a star. Jean Seberg never reached stardom,**** possibly because of blacklisting and eventually committed suicide. The FBI had gone after her for her politics and the situation may have contributed.
But the film itself is funny and entertaining. Wibberley, a prolific author, wrote four other “Mouse” novels with one, The Mouse on the Moon, also being turned into a film.
*Including soon-to-be-Doctor-Who William Hartnell as their gruff sergeant, a role he eventually was typecast in at the time.
**Rumpole, #2, and the Clang from the Beatles’ Help
***The only big difference is that In the book, Gloriana was a young and attractive woman who eventually marries Bascomb. Obviously, Sellers wouldn’t work in the role. Instead, they added Kokintz’s daughter as a love interest.
****She started out with a big production of Joan of Arc with Otto Preminger, but got terrible reviews, mostly because she was considered too inexperienced to handle the role. She later found success in France
Sunday, June 7, 2020
Directed by Victor Halpern
Written by Garnett Weston
Starring Bela Lugosi, Madge Bellamy, Robert Frazier, John Harron
I’m not a big fan of the modern zombie. They just don’t seem to be a scary threat. But the classic zombie of Haitian legend is a different matter. And one of the first of that that genre was White Zombie.
The movie begins as Neil Parker (John Harron) and Madeline Short (Madge Bellamy) stumble upon a strange ceremony as someone is buried in the middle of the road. Their carriage is later stopped by Legendre (Bela Lugosi), who takes a somewhat creepy look at Madeline then sends them on their way. They go to the house of their acquaintance, Charles Beaumont* (Robert Frazier).
Beaumont immediately falls for Madeline and goes to Legendre, who gives him a potion to give to her. He resists, but – as Legendre understands – his obsession gets the best of him and he poisons her so that she will be turned into a zombie to be his. It goes without saying that things do not work out well.
The age of the film certainly works against it, since the acting style is too stagy for modern viewers. But there is much of interest. There is a nice atmosphere of death and decay, and Madge Bellamy’s blank-faced stare as Beaumont tries to talk to her is chilling. And a lot of elements of it were taken by later horror films.
The most memorable scene is when Beaumont goes to meet Legendre in his sugar refinery. The zombies are the workers, dropping canes of sugar into a series of blades to be cut. Their blank faces – showing no emotion even when one of them falls to his death in the machinery – make it all look like a version of hell.
Lugosi is adequate as Legendre.**
The film was a big success financially, though panned by the critics. Even fans of it today may be put off by the wooden acting. But there are enough creepy moments to make its short runtime worth it.
*Coincidentally, also the name of an author who was one of the major contributors to The Twilight Zone
**I don’t care much for his acting: it always seems to stolid and wooden and lacking any sense of humor. He supposedly thought this was his best performance.
Sunday, May 3, 2020
Created by Mark Ravenhill, Gary Janetti
Written by Gary Janetti
Starring Ian McKellen, Derek Jacobi, Frances de la Tour, Iwan Rheon, Marcia Warren, Philip Voss
Overacting is an art. It’s hard to know the exact way to walk the tightrope so you’re producing just the right amount of hamminess that’s funny without being obnoxious. And one of the best examples of this was Vicious.
Freddy Thornhill (Ian McKellen) and Stuart Bixby (Derek Jacobi) are gay flatmates, living together for 48 years.* Freddy is an actor who made a living at it, but who never had a notable role.** Stuart is a former bartender and their relationship has settled in to their constantly sniping and insulting each other, though it’s clear that there’s some underlying affection. The friend Violet (Frances de la Tour) drops in, but things change when Ash Weston (Iwan Rheon) takes the flat upstairs. Ash is young and handsome and straight (and a little oblivious). At first, Freddy and Stuart are attracted to him, but they back off quickly and become friends. Rounding out the cast are Penelope (Marcia Warren), whose memory is not what it used to be, and Mason (Philip Voss), a friend who sees some of the egotism of the other two.
The writing of the show is merely OK, but watching McKellen and Jacobi and the rest deliver them with just the right amount of theatrical bombast. Much like Oscar Jaffee in Twentieth Century, the two of them bicker and manage to wring every bit of humor from every line.
Frances de la Tour may not be as well known as the two main leads, but she is a very successful stage actress and won several Olivier Awards and a Tony. Her film and TV appearances are usually smaller roles.*** I remember her for her turn with Robert Hoskins in Flickers.
I first saw Iwan Rheon in Misfits, where he was part of the original cast. He later gained prominence as Ramsay Bolton in Game of Thrones.
The series ran two seasons for a total of 14 episodes, with an additional series finale. Given the prominence of the actors, who were busy doing other things, too, it’s not surprising it didn’t continue longer, but the show was always filled with funny lines.
* McKellen and Jacobi actually had crushes on each other when the started out acting in the 1960s, but never told the other. Homosexuality was still criminal at the time, and talking about it could send you to prison.
**One of which was a monster on Doctor Who.
***She was Madame Maxime in Harry Potter and the Goblet of Fire.
Sunday, April 26, 2020
Members: Denis D’Ell (vocals, harmonica), Martin Murray (rhythm guitar), Allan Ward (lead guitar), John Lantree (bass), Anne “Honey” Lantree (drums, vocals)
“One-hit wonder”* is something of a pejorative term, often designating musicians who were talented but only managed to hit it big once. The Honeycombs only had one hit, but it’s a terrific song.
The group came out of London, founded by Martin Murray, who worked in a hair salon with Anne “Honey” Lantree. They brought in Honey’s brother John, and others and started playing in local pubs in February of 1964, just a Beatlemania was hitting the states. While performing, they attracted the attention of Ken Howard and Alan Blaikley, who were just starting out their careers, who gave them “Have I the Right?”
As the “Sheratons,” they were signed by producer Joe Meek, who produced a bunch of UK hits in the era. The record company changed their name to “The Honeycombs,”* and the song was released.
The song went to #1 in the UK and #5 in the US.
The band was notable for being one of the few with a female drummer. Honey Lantree became something of a star, with articles being written about her, concentrating on the novelty of a woman in a rock band – and one who was a drummer. She rightly considered herself a pioneer, but the interest was, sadly, due to the novelty.***
Alas, they had trouble doing a followup. Their next few singles were minor successes in the UK and didn’t break in the US.
They did, however become popular in Japan. Most of the group broke up in 1966. Honey (who started doing vocals) and John Lantree recruited new members, but only released one single. Despite some popularity in Japan, the group faded away.
The result was one great song.
*For a series of looks at one-hit wonder acts, look for videos by ToddintheShadows on Youtube, which are always fascinating.
**A pun on Honey’s job has a hairdresser: Honey combs.
***Some sneered that Honey was not actually playing drums. From videos, though it does look like she’s handling things, and drumming is really hard to fake for a lip sync. Still, she was derided as a gimmick.
Sunday, April 5, 2020
Directed by Frank Lloyd
Written by Reginald Berkley, from the play by Noel Coward
Starring Diana Wynyard, Clive Brook, Una O’Connor, Herbert Mundin, Frank Lawgon, Ursula Jeans, Joe Warburton
The Academy Awards have had a spotty record of getting things right over the years, especially in the early years when studios instructed their workers to vote for specific films.* It’s interesting to see how well they hold up today. Cavalcade – Best Picture of 1933 – doesn’t do badly.
Starting on the last day of 1899, it shows the lives of two families – the wealthy Marryots, and their servants, the Bridges – over the next thirty years. Jane Marryot (Diana Wynyard) Is always concerned about the well being of her husband Robert (Clive Brook), especially as war and tragedy affects them. Meanwhile Alfred Bridges (Herbert Mundin) and his wife Ellen (Una O’Connor) go out on their own running a pub and raising their daughter Fanny (Ursula Jeans), who becomes an entertainer. She eventually catches the eye of Joe Marryot (Frank Lawton).
|Herbert Mundin, Diana Wynyard, Clive Brook, and Una O'Connor|
It was especially nice to see Una O’Connor. She was a very successful character actress in the early days of Hollywood, best known at Minnie, the comic relief maid in Bride of Frankenstein. She had a distinctive look and appeared in over 80 films and TV shows, often as a maid. This is one time I caught her in a dramatic role, and she’s extremely good.
The rest of the cast are mostly unknown to modern viewers, but they all are just fine (though the acting is a bit stagy).
Noel Coward wrote several original songs for the play, including his standard “Twentieth Century Blues.”
Definitely strong dramatic entertainment.
*The Academy was originally set up as a yellow union – company run so that a regular union couldn’t get a foothold and make trouble. The awards were an afterthought.
**There also a scene that plays to a big reveal that is pretty obvious from the start. I imagine audiences of the time didn’t see it coming, but modern viewer might even laugh a bit at the way it’s handled.
Sunday, March 29, 2020
Directed by Will Becher, Richard Phelan
Written by John Brown, story by Mark Burton and Nick Park
Given the current situation, I’m always looking for light, funny fare to fill the days. I’ve also written several times about various films from Aardman Animations. So I was delighted to find an Aardman film that I had overlooked: A Shaun the Sheep Movie: Farmageddon.
This is the third time Shaun has appeared in films, starting out with the Wallace and Gromit classic, A Close Shave.* There also was the Shaun the Sheep Movie plus a series of TV cartoons. Shaun is a smart sheep,** who leads both the flock and also – in the background – everything on the farm. All of his appearances have no dialog. Characters speak in very expressive sounds, but no words. All is told by action, much like a silent film.
In the movie, a UFO lands near the village of Mossingham with a little rabbit-like alien in it. Shaun discovers him and helps him out, learning the alien has levitation powers with his long ears. After the alien, dubbed Lu-La, inadvertently creates crop circles, the Farmer decides to cash in by creating a theme park, Farmageddon, to raise money for a new harvester. Meanwhile, Shaun discovers Lu-La is only a child and wants to go back to his parents, while the Ministry of Alien Detection (M.A.D.) is hunting her down.
The movie is a delight a slapstick and visual humor, especially the final sequence where events at Farmageddon become far more alien than even the Farmer imagines.
Part of the fun are references to SF movies and TV shows. Doctor Who is there in many ways (of course, including a Dalek), and the alert viewer can see references to Close Encounters, the X-Files, Hitchhiker's Guide, 2001, Star Trek, and many others. But these are just icing on the cake: the film itself is wonderfully funny and the expressions of the sheep, the dog Bitzer, and the fantastically oblivious farmer would make it a great film even without those.
For animation fans, it’s a pleasant way to find something to laugh about.
**His name is a delightful pun. After the unnamed sheep has all his wool cut off, Wallace decides to call him Shaun.
**The most dangerous of all animals.
Sunday, March 8, 2020
Created by Jonathan Entwistle, Christie Hall
Starring Sophia Lillis, Wyatt Oleff, Sofia Bryant, Kathleen Rose Perkins, Richard Ellis, Aidan Wojtak-Hissong
In my old age, I find myself watching more teen dramas and comedies.* Maybe it’s because my teenage years were not particularly dramatic. When someone recommended I Am Not OK with This, I decided to give it a shot.
The main character is Sydney Novak (Sophia Lillis), teen who is dealing with a complicated life. Her father has committed suicide without leaving a note, and her mother (Kathleen Rose Perkins) is trying to support Sydney and her brother Liam (Aidan Wojtak-Hissong), making her absent most of the day. Sydney’s only close friend is Dina (Sofia Bryant), who does make her life bearable, but Dina is moving away from her in order to date Brad Lewis (Richard Ellis), not noticing what a major jerk he is.
In among all this drama, there’s another twist: Sydney is developing a superpower.
When she loses her temper due to frustration – a common occurrence – she shows telekinesis, destroying things around her. Her nerdy neighbor Stanley Barber discovers her secret and works with her to try to control things. But – as the very first shot of the show indicates – things don’t go well.
Sophia Lillis is terrific as Sydney, who’s confused and conflicted and unsure about everything around her. She had a very subdued and cynical personality that’s perfect to portray her troubles. Wyatt Oleff’s Stanley tries hard to be helpful, but really doesn’t understand, while Sofia Bryant** portrays Dina as the one sunny thing in Sydney’s life. And Richard Ellis is terrific as the sleazy Brad, who is able to switch from charming to psychotic at the drop of a hat.
The show only ran seven episodes on Netflix and ended on a major cliffhanger. Hopefully, it will continue so we we can see more of Sydney and what is really going on with her. But any show that uses a song from Captain Beefheart on the soundtrack is something worth paying attention to.
*For instance, Sex Education
**I wonder if there’s confusion on the set with two main leads with the same name. There was also a recurring role for Sophia Tatum.
Sunday, February 23, 2020
Directed by John M. Stahl
Written by Nunnally Johnson from a novel by Arnold Bennett
Starring Monty Woolley, Gracie Fields, Laird Cregar, Una O’Connor, Eric Blore
Fame is fickle. Many major stars of the 30s and 40s are virtually unknown today/ This is especially true if they were stars outside the US and only had moderate success over here. Others had US success, but the memory of them is faded away because their films are fading away. Holy Matrimony is a perfect example.
Priam Farll (Monty Woolley) is considered England’s greatest artist, but he has no use for the fame and fortune, so he moves to a small house on the other side of the world to be left alone, accompanied only by his butler Henry Leek (Eric Blore). Farll is summoned to the UK to be knighted, but when they get there, Leek dies of pneumonia, and Farll decides to pose as Leek to avoid the bother.
He quickly realizes this is a mistake, but it unable to convince anyone of his real identity. He’s about to be arrested for disrupting his own funeral, when Alice Chalice (Gracie Fields) spots him. She had been corresponding with Leek with an eye to matrimony, and confirms his identity as Leek, who she has only seen in a photograph of Leek and Farll that didn’t specify who was who. Farll is attracted to Alice’s personality and marries her.
All is well until Leek’s real wife show up. And Farll decides he needs to support Alice better and returns to painting. His art is purchased by the unscrupulous art dealer Clive Oxford (Laird Cregar), who sells them as undiscovered works of Farll. Then things get complicated.
Monty Woolley was a close friend of Cole Porter* and a Broadway director. He became a major Broadway star playing Sheridan Whiteside in the classic “The Man Who Came to Dinner” and reprised his role for the film version. Here, he plays a similar character, a curmudgeonly man who refuses to compromise.
Gracie Fields, though, was a major star in the UK, primarily as a singer of music hall tunes. She became a movie star in 1931 with a series of hit films, all of which didn’t make much impression on this side of the pond. Holy Matrimony was her first US film, and was impressive enough for her to make several more. Her Alice is delightfully warm and understanding.
The film is populated by several of the great character actors of the time. Eric Blore made a career of playing butlers and was almost certainly the first people they thought of when the film came up. Una O’Connor, who plays Leek’s wife, was Hollywood’s favorite old biddy, and is most notable as the maid in Bride of Frankenstein. Franklin Pangborn (best known as the bank examiner in The Bank Dick) has a small role as Farll’s cousin and future science fiction icon Whit Bissell plays Leek’s son.
Then there’s Laird Cregar. This movie doesn’t quite let him display the urbane wit he showed in Heaven Can Wait, but he’s an interesting presence.
The movie was successful and the studio gave Fields a contract. Alas, she was unable to duplicate her success and eventually returned to England, where she was a beloved figure. Woolley never duplicated the success of Whiteside, though he continued to act.
*He appeared as himself in the Porter biopic Night and Day
Sunday, February 16, 2020
Directed by Joseph Pevney
Written by Dane Lussier from a novel by Jane S. McIlvaine
Starring Loretta Young, John Forsythe, Frank McHugh, Edgar Buchanan, Jimmy Conlin, Jane Darwell, Willard Waterman, Gladys George, Regis Toomey
Even the most obscure film can have some wonderful delights. It Happens Every Thursday is a small, unassuming movie that makes them most of what it had, and which has things that might surprise you.
Jane and Bob MacAvoy (Loretta Young and John Forsythe) are a couple with a young son and a baby on the way. Bob is a newspaper reporter who has dreams of publishing a small-town newspaper. When Jane spots a newspaper up for sale in California, she sees it as a dream come true, and convinced Bob to uproot themselves to buy it.
When they get to California, they realize that the advertisement . . . exaggerated. The circulation figure was inflated by real estate agent Fred Hawley (Frank McHugh), and the photo hides the actual appearance of the rundown building. The paper is operating, with Jake (Edgar Buchanan) and Matthew (Jimmy Conlin) getting it out each week on a press that breaks down regularly.
Jane and Bob decide to stick it out, with various promotions to increase circulation and make money.
The movie is low key* but surprisingly modern in many respects. One fascinating scene is when Jane goes to businessman Myron Trout to sell ad space, where he starts hitting on her. Jane deflects him in a way that is probably familiar even today.
The way Jane’s pregnancy is handled is also different. She is shown clearly pregnant in the opening scenes, but it is not referred to until several minutes of film time later. And while there is a scene where she gives birth,** it is early one and not a centerpiece of the film.
What’s also interesting is that Jane is clearly shown as the one taking charge. She comes up with the ideas, the money, sells the ads, comes up with promotion, and much else. She is the go-getter in the family, which is unusual for the time. And she is by no means perfect, making mistakes but managing to help Bob recover from them.
There is also a subplot about what is clearly supposed to be a bordello, also surprising given the time frame.
The cast is just fine. Loretta Young is charming and lively throughout, while Forsythe is quietly practical. Of course, it’s great to see Edgar Buchanan, playing the same sort of character as he played in Petticoat Junction. Frank McHugh, a film veteran at the point is fun to see, even if the role doesn’t give him much to do.
The film was Loretta Young’s last. She moved on to television, including hosting her own anthology show. And several of the actors also moved on to television. John Forsythe starred in Bachelor Father and did both his own show and, eventually Dynasty. He also was the voice of Charlie in Charlie’s Angels. Jane Darwell, who plays one of the townspeople also switched to TV, but did have one final memorable movie role: the lady feeding the birds in Mary Poppins.
Director Joseph Pevney also moved to TV and directed several of the best Star Trek episodes, including “The Trouble with Tribbles,” “City on the Edge of Forever,” “Amok Time,” “The Devil in the Dark,” and “Wolf in the Fold.”
While the movie is clearly not a classic, there’s plenty to enjoy.
And, as a personal note, the movie title reminds me of my hometown weekly, which also was published on Thursday.
*It was based on an autobiographical novel, which might explain some of the elements.
*Discretely. There were the 50s.
Sunday, February 9, 2020
I’m a big fan of concept albums. There’s something very exciting about seeing a group trying to write an entire album of songs with a thematic link. But most concept albums are serious (if not bombastic). One of the few that manages to be funny is The Turtles Present the Battle of the Bands.
The Turtles were a California-based group that started out performing surf rock. They signed a contract with the small label White Whale records and began to record. Sensing that surf rock was losing popularity, their first album leaned toward protest rock, with three Bob Dylan songs, plus “Eve of Destruction.” Most of the album was made up of covers.
Then the Lovin’ Spoonful came along. The group was intrigued and wanted to get away from the protests and into lighter, feel-good fare. And, on their third album they hit the jackpot: “Happy Together” was a number one hit.* They then had a number 3 hit with “She’s Rather Be With Me.”
They had hit the big time, but, of course, there were storm clouds. White Whale had no other successful acts. So the pressured the group to put out another hit.
Meanwhile, Howard Kaylan, the group’s front man, was becoming more ambitious. He wanted to write more of the songs** and to get the rest of the band involved in the songwriting. The result was The Turtles Present the Battle of the Bands.
The concept was a clever one. The album was ostensibly about various different groups all performing in a battle of the bands.*** So you had the fake groups The Atomic Enchilada, Quad City Ramblers, The Fabulous Dawgs, The Cross Fires.**** The inner gatefold showed these groups – all the Turtles – in different costumes. They ran a gamut of musical styles, from surf music, to R&B, to Bluegrass, to psychedelic rock.
In response to White Whale’s pressure to produce a hit, the group wrote a song with the dumbest lyrics they could, a satirical looks at the pop love songs of the day. Of course, as luck would have it, the song, “Elenore,” was a major hit, making everyone happy.
The record also included “You Showed Me,” a song by the early Byrds that had not been previously recorded. It also made the charts.
One of the slyest jokes was the song “I’m King Kamanawanlea (We’re the Royal Macadamia Nuts),” the title of which came from a risque schoolyard joke of the era.
Despite the two hits, the album only did middling sales. Perhaps the mix of styles was an issue: people who didn’t get the joke were not interested in songs that weren’t in the genre they preferred.
The group did one more album, Turtle Soup, produced by Ray Davies, but that got good press but failed to crack the charts. At that point, the group broke up, though White Whale put out an album of B-sides and whatever could be found in the studio.
Volman and Kaylan (along with drummer Jim Pons*****) joined the Mothers of Invention.****** White Whale, refused to let them use the Turtles name, or even their own, so they were billed as “The Phlorescent Leech and Eddie.” They were featured and given a large part in Zappa’s 200 Motels. As “Flo and Eddie,” they did several moderately successful humorous albums. Eventually, they got the rights to their own names back, but by then Flo and Eddie was too well-established to change.
*Knocking the Beatles out of the #1 spot.
**Their two hits were written by outside songwriters, as were most of their songs on the albums. Of note was that they recorded at least one song written by Warren Zevon.
***This was a common concept in the 60s, where several local groups would perform one evening, with a prize given to those who the audience liked best (judged by applause at the end). It’s a common plot element of any TV show or movie featuring a rock band, from Josie and the Pussycats to School of Rock.
****An early name of the group.
*****Who later quit music to work for PR with the New York Jets, and designed the logo the team used in the 1980s.
*****One nice irony: on the Mothers’ first album, the liner notes disdainfully quoted a record executive who wanted to make the Mothers as big as the Turtles.
Sunday, January 26, 2020
Created by Laurie Nunn
Starrring Asa Butterfield, Gillian Anderson, Emma Mackey, Ncuti Gatwa, Connor Swindells, Alistair Petrie, Tanya Reynolds, Patricia Allison
Netflix has such a vast array of show that some excellent ones get lost in the shuffle. One that I’ve heard very little buzz about is Sex Education, even though it’s absolutely delightful.
Otis Milburn (Asa Butterfield) is a teenager in the UK equivalent of a high school. His mother, Jean (Gillian Anderson), is a sex therapist, and Otis has overheard a lot of her sessions through an air vent by his bed. A classmate, Maeve Wiley (Emma Mackey) sees him answering questions from other classmates and offers a business arrangement: She will book appointments and Otis will counsel the other students. It, of course, leads to complications.
The show manages to mix uproarious comedy with powerful drama. It’s extremely frank and very realistic in the way it shows teens dealing with sex and emotions.*
The strength is in the characters. Otis is well-versed in the theories of sex, but has no actual experience, complicating matters. And his mother is portrayed as very open and sex positive – but with no respect for Otis’s boundaries, bringing up subjects that no teen boy wants to talk about with his mother. Some of the funniest scenes are her trying to be so completely understanding of things that Otis does not want brought up.
Maeve is smart, but categorized as a bad girl because she doesn’t go along with the rules of the school. Eric Effiong (Ncuti Gatwa) is gay and open about it, leading to bullying and other issues. Lily Inglehart (Tanya Reynolds) writes fan fiction porn, and is the one most willing to cut through other people’s bullshit.
You can’t really single out any one person in the cast. All are excellent, but it’s especially gratifying to see Gillian Anderson do deadpan comedy.
The second season just dropped and seems to move in a more dramatic direction,** but it’s still showing the difficulties of sexual and romantic relationships.
*The frankness may be offputting to some, but it can be extremely funny.
**Though I laughed hardest at a scene in the first episode of the second season when Jean is trying to advise Otis.
Sunday, January 19, 2020
Directed by Lothar Mendes, Alexander Korda (uncredited)
Written by H.G. Wells
Starring Roland Young, Ralph Richardson, Ernest Thesiger,
I’ve been poking around the Internet Archive, looking for movies to write about and came upon The Man Who Could Work Miracles. I’d seen parts of it over the years, but this was my chance to see the entire thing.
It starts out with a group of Celestial Beings who wonder if the human race would be better off if they could perform their own miracles. The pick George McWhirter Fotheringay (Roland Young), a clerk in a department store, as their first experiment. George discovers he can merely request something and have it come true. It starts out small, with candles and rabbits. George thinks it might be the basis for a magic act. But, as he learns more, he begins to think bigger. The Vicar, Mr. Madig (Ernest Thesiger), thinks he should use it to help humanity, while Colonel Winstanley (Ralph Richardson) feels it will be a disaster.
It is based on a story by H.G. Wells, who is the only writer credited. The movie is filled with discussions of miracles and their pros and cons, reflecting Wells’s politics.
Young portrays George as a slightly thick character, with a blinkers on about the possibilities of his gift.He can’t seem to work out the implications of possibilities of his gift without others pointing them out to him.* Thesiger** plays the role of the Vicar with earnest idealism, while Richardson hams things up at bit as Winstanley.
One scene that I remember well from when I first saw it was when George gets mad at a cop and tells him to “Go to Blazes!” The policeman finds himself in a very hot place, and starts to take notes.***
The movie’s special effects were top notch for their time, and somewhat innovative. There’s a lot of things appearing out of nowhere, of course, a trick that dates back to George Melies, but other scenes were state of the art for the time. There’s one where George tidies up the store that is particularly impressive.
The movie got mixed reviews when it opened, and I can see that – it gets bogged down in philosophy while the humor is generally mild. But overall it’s a fairly entertaining concept.
*Young is best known for portraying Cosmo Topper, the same sort of befuddled character.
**Best known as Dr. Pretorius from Bride of Frankenstein.
***The original story has “Go to Hades,” but the censors wouldn’t allow that.
Sunday, January 12, 2020
Directed by Arthur Dreifuss
Written by Edward Dein (screenplay), Arthru Hoerl (story)
Starring Lee Tracy, Tom Brown, Tina Thayer, Evelyn Brent
Full Movie at the Internet Archive
Many people don’t understand what a B movie was in the days of the studio system. Since the studios owned the theaters, they were in constant need of product and a B movie was one with a lesser-known cast, cut to run in a shorter time to make for a double feature, often in small, neighborhood theaters whose audiences were all within walking distance.That didn’t mean they were necessarily bad, and there are always some nice little films in that classification. The Pay Off fits into this category.
It starts out with the murder of a special prosecutor and one of the suspects has an airtight alibi: he was playing poker at the home of wisecracking reporter Brad McKay (Lee Tracy). McKay goes on the case and discovers Tina Thayer (Phyllis Walker) may have an important clue. Aided by Guy Norris (Tom Brown) and distracted by femme fatale Alma Dorn (Evelyn Brent), McKay slowly ferrets out the mystery.
The role fits Lee Tracy like a glove. He made a career of playing wisecracking reporters, both on screen and on Broadway.* He definitely takes center stage and it’s surprising that his career didn’t make more of a splash, other than perhaps because the stereotype grew old after WWII.
Like most movies of this type, the plot moves along briskly with a few twists here and there.
Director Arthur Dreifuss made a few dozen B movies, but never moved on to anything more. Most of the cast didn’t break through, but the result is a nice little bit of entertainment.
*He played HIldy Johnson in the original production of The Front Page.
Sunday, December 8, 2019
Directed by Peter Avanzino
Written by Mike Reiss
Starring: Dennis Haysbert, Jerry Stiller, Sean Hayes, Jason Alexander, Kevin Michael Richardson
The Christmas season is inundated with specials. Which are good from the point of view of the network that commissioned them. You can trot them out every year and get an audience big enough to make them worthwhile. It’s unusual for a special to have only one or two broadcasts, and especially strange when the show is as good as How Murry Saved Christmas.*
The story – set entirely in verse and narrated by Dennis Haysbert – is set in the town of Stinky Cigars, where all the symbols of holidays live. Characters like the Easter Bunny, Cupid, George Washington and Abraham Lincoln go about their lives, with the name of the town keeping outsiders away. And, of course, Santa Claus (voice of Kevin Michael Richardson). Murry Weiner (Jerry Stiller) is the cranky old man who runs the town diner, but when Santa suffers a concussion due an invention of Edison Elf (Sean Hayes), Murray become the only one who can deliver the presents.
It’s a witty version of the story, aimed at adults. Mike Reiss was a writer for The Simpsons and wanted to have the same sort of irreverent attitude. He certainly succeeded and the verses are terrific.
The show was run on NBC in 2014 and got poor ratings, with a lot of people complaining that it wasn’t for kids.** They ran it again the next year, but cut it from an hour to a half hour. Now it is possible to fit a long story into a half hour slot,*** but you can’t do it by indiscriminately slashing it in half. In any case, I haven’t seen it on the air since, though it can be found online.
But the show managed to mix a great deal of humor with the Christmas spirit, and even has some clever songs.**** If you’re looking for a grownup Christmas cartoon, this is well worth watching.
*Saving Christmas is probably the top plot of any Christmas special, if you don’t count remakes of A Christmas Carol or It’s a Wonderful Life.
**Too many people don’t understand that animated films are not necessarily children’s fare – to their loss, alas.
***There’s an excellent radio version of The Maltese Falcon using the main cast from the Bogart movie that is a marvel of condensation.
****Especially the song of the exploited elves.
Sunday, December 1, 2019
Directed by William Wellman
Written by Ben Hecht from a story by James Street
Starring Carole Lombard, Fredric March, Walter Connolly, Charles Winninger
The screwball comedy was a glorious subgenre of the 1930s, a series of romantic comedies based up an off-beat situation that get their laughs by wild plotting and characters. One of the more overlooked films in the genre is Nothing Sacred.
Wally Cook (Fredric March) is a reporter for The Morning Star in New York, on the outs with his editor, Oliver Stone (Walter Connolly) after his big scoop turned out to be a hoax he fell for. In order to repair the paper’s reputation, he spots an article about Hazel Stone (Carole Lombard), who is dying of radium poisoning and goes up to her home in Warsaw, Vermont, to cash in on the sob story. But just as he arrives, Hazel learns from her doctor Enoch Downer (Charles Winninger) that the tests were wrong, and she’s perfectly healthy. As she leaves, Wally spots her an offers her a trip to New York. Hazel, who always wanted to visit the city, goes along. She is wined and dined and celebrated for her bravery as Wally begins to fall in love with her.
The movie – written by former newspaperman Ben Hecht, who I’ve discussed before – is designed to be a cynical look at the newspaper game. Hazel becomes caught up in all the honors, until she is riding a tiger she can’t easily get off.
Lombard is, as always, wonderful, and March puts in another fine performance. He’s not usually noted for his comedy chops, but manages to pull it off.
Modern audiences can spot Margaret Hamilton from The Wizard of Oz as one of the residents of Warsaw.
The movie did poorly at the box office. I think a main flaw is that it takes too long for the hoax to be revealed to the world. There was a lot of comedy to be milked out of the situation of trying to deal with the issue, but it’s pretty much missed and ends with a results that’s a bit too glib.* Still, it’s worth seeing for Lombard’s performance
*To modern eyes, there are also a few things that don’t sit well.
Sunday, November 24, 2019
Directed by George Beck
Written by George Beck from a story by Beck and Frank Tarloff
Starring Farley Granger, Shelley Winters, William Demarest, Francis L. Sullivan, Margalo Gillmore, Lon Chaney Jr., Hans Conreid, Elisha Cook, Jr., Sheldon Leonard, Alan Jenkins, Marvin Kaplan
Character actors are the bread-and-butter of old time Hollywood, coming on for small roles and making them memorable. When I spotted the cast list for Behave Yourself, I knew I had to see it for the actors alone.
In the film, Bill Denny (Farley Granger) is desperate for an anniversary gift for his wife Kate (Shelley Winters) to prove to his mother in law (Margolo Gillmore) that he hasn’t forgotten.* A stray dog follows him home. Due to a mixup (this movie’s stock in trade), Kate thinks the dog is the gift. The problem is that the dog Archie is specially trained to deliver some sort of contraband to a couple of buyers, Shortwave Bert (Sheldon Leonard) and Max the Umbrella (Marvin Kaplan). Other criminals also want the package, including Gillie the Blade (Hans Conreid), and Pinky (Lon Cheney Jr.) and Albert Jonas (Elisha Cook Jr). Denny tries to return the dog, but after Jonas is murdered, the police, led by office O’Ryan (William Demarest) get involved.
The cast here is filled with great character actors. If the mere mention of their name doesn’t ring a bell, here’s a rundown.
- Farley Granger starred in two Hitchcock classics, Rope and Strangers on a Train. it’s odd to see him doing comedy.
- Shelly Winters won two Oscars after this and is best known today for her role in The Poseidon Adventure. In this early part of her career, she was cast as a blonde bombshell,** but she got away from it in order for people to recognize she was more than just a sex symbol.
- William Demarest was memorable in The Miracle of Morgan’s Creek and other Preston Sturges films, but he’s better known as Uncle Charlie in My Three Sons.
- Margolo Gillmore had a solid Hollywood career but was a major Broadway star in the 20s and 30s.
- Sheldon Leonard is best known for his small role in It’s a Wonderful Life (“Look at me. I’m making angels.”) but was even more successful as a TV producer, with shows like I Spy, Andy Griffith, Dick van Dyke, and Gomer Pyle.
- Lon Cheney, Jr. The Wolf Man,et. al.
- Elisha J. Cook, Jr. Wilmer in The Maltese Falcon, et al.
- Hans Conreid. Voice of Snidley Whiplash and many others. In this, he puts on an English accent!
- Marvin Kaplan. Longtime TV character actor and voice of Choo Choo in Top Cat.
The movie is fun, if sitcom-like. Plenty is made of the fact that Bill always shows up when someone is murdered.
This was director George Beck’s only film, though he did continue on as writer for TV and movies. The movie seems to have been successful at the box office, thought not a smash, and seems to be overlooked in lists of films of the year. It’s in the public domain now, and is available at archive.org.
*Of course, he has.
**Indeed, there are many indications in the film that Bill is frustrated by Archie because the dog prevent him from getting time alone with his wife.
Sunday, November 17, 2019
Written and performed by Dean Friedman
Being a one-hit wonder is no disgrace. It takes a lot of talent to get a recording contract and both talent and luck to have a hit. Dean Friedman only had one song that made it on the US charts,* but it was a delight.
“Ariel” is a song about meeting a girl and becoming lovers, but it’s filled with charm and clever lyrics.
Part of its charm was that it was set in Paramus, NJ, where Friedman grew up, and there are many references to it and to the NYC area. Indeed, there are several lines in the song that only someone from the area would understand.** Plus there is some clever wordplay, like in the line “I said ‘Hi,’ she said, ‘Yeah, I guess I am.’" Or “I was messing around with the vertical hold.”***
The song got a lot of FM airplay, and reached 26 on the charts. One issue was that the record company was new and hadn’t pressed enough copies to meet the demand.****
Freidman was not able to duplicate that success, but continued to record and perform and also wrote some music for TV.
*Though he continued to record and is still performing today.
**For instance, there’s a line about the “Friends of BAI,” a reference to WBAI, a listener supported station in the area.
***A control on TVs of the era, unneeded now. But in the context of the song, it also meant he was holding her.
****See what I said about luck.
Sunday, November 3, 2019
Starring Sheila McCarthy, Paule Baillargeon, Ann-Marie MacDonald
One of the nice things in the days of video stores was the ability to find oddball movies that you never heard of. You could glance at the boxes on the walls and find things that were obscure, or old, or too independent for the big studios. That’s where I stumbled upon I’ve Heard the Mermaids Singing.
Poly Vandersma (Sheila McCarthy) is a klutzy young woman who ekes out a living doing temporary secretarial work, her job choices hindered by the fact she’s a lousy typist. But she is hired for a permanent position by Gabrielle (Paule Baillargeon), the owner of a private art gallery. When Gabrielle ex-lover Mary (Ann-Marie MacDonald), things start to get complicated.
This is not a plot-driven movie. Most of its joys are from McCarthy’s performance, which is utterly charming. As the movie progresses, she learns to be just a bit more competent.
The film was Canadian, and has often been listed among the greatest Canadian films of all time.
McCarthy went on to have a long career in TV and film. Most recently, she appeared in The Umbrella Academy as Agnes, the owner of a diner.
Sunday, October 27, 2019
Created by Nat Hiken
Starring, Fred Gwynn, Joe E. Ross, Beatrice Pons, Paul Reed
A 60s sitcom can go pretty far with a catchy theme song. Gilligan’s Island has become a cultural touchstone because of its song. And one of my favorites is from an early 60s comedy that was pretty good on its own: Car 54, Where Are You?*
The show was conceived by Nat Hiken. Fresh from his success with The Phil Silvers Show (aka Sgt. Bilko), he went to another group of men in uniform: the New York city police force.
The show follows the life – you couldn’t really call them adventures – of Gunther Toody (Joe E. Ross) and Francis Muldoon (Fred Gwynn), two partners who are also best friends. Gunther was married to Lucille (Beatrice Pons) while Francis was a bachelor. Their boss was Captain Paul Block (Paul Reed). Toody and Muldoon didn’t often deal with any actual crimes, with the show focusing on their relationship, life as a cop, and their home life.
The show was a success from the start, getting good ratings** and winning three Emmys. In the second season, the cast added Al Lewis as Leo Schnauser, but the show ended after that year.
Fred Gwynn, of course, moved on to be Herman Munster (with Al Lewis) and a TV icon. But that part really didn’t fit the man. A graduate of Harvard – where he was editor of the Harvard Lampoon, he also was an accomplished artist, writing and illustrating The King Who Rained and its sequel A Chocolate Mousse for Dinner. He was able to show a more subtle comic gift as the judge in My Cousin Vinnie.
As for Joe E. Ross . . . well, his life was a mess. He had started out as a burlesque standup comic, and his act was as blue as it could be. Hiken, however, liked the way he looked and hired him for Phil Silvers and Car 54. The success of the show went to his head. He became arrogant and didn’t bother to learn his lines. Hiken even planned to drop him and replace him with Al Lewis, but Ross begged to stay in the role. Even so, he alienated everyone on the set and went back to comedy when it was over. He later returned to TV with It’s About Time, mostly because its producer didn’t talk to anyone who worked with him.
However, Ross was excellent as Toody, his catchphrase “Ooh, Ooh”*** making him a hit. He wasn’t really a strong actor, but he made the show work.
One thing I noted is the willingness to cast Black actors as police officers. It didn’t raise a lot of attention at the time, but the fact that the police force was integrated was something you hadn’t seen on TV back then. Nipsy Russell and Ossie Davis were not more than background actors with a handful of lines each show, but seeing Black people in the background as though it were no big deal was a big step forward.
The show was shot in New York City. Police cars of that era were painted green and white and, in order to keep people from thinking Car 54 was a real police car, it was painted red and white, which looks the same on black and white film. It helped avoid confusion.
The show pioneered using a different opening sequence. Toody and Muldoon would be doing different things while driving. It wasn’t changed every show (like The Simpsons) but it did change every few episodes.
The show only ran two seasons. The stress of running all aspects of the show, coupled with having to deal with Ross, affected Hiken’s health and he died in 1968. But the short run meant it was rarely shown in syndication.
*The final line “Khrushchev's due at Idlewild” may see inexplicable today, but at the time of the show, Nikita Khrushchev was head of the Soviet Union. “Idlewild” was the airport that is now known as JFK.
**Helped by its timeslot after Walt Disney’s Wonderful World of Color and before Bonanza.
***It seems to be a phrase he often used in real life, too.
Sunday, October 20, 2019
Created by Harry Redmond, Jr., James Carl Hall
Starring Larry Pennell, Ken Curtis
In the 50s and early 60s, local station had to look to find programming in the early evening. Network prime time began at 7:30 weekdays, and there was often only a half-hour news broadcast at 6:00. So various producers jumped in to provide programming for the missing hour, half-half hour dramatic shows that were cheap for them to produce. Ripcord was one of these.
Much like Whirlybirds, the show highlighted a new bit of aviation technology – the parachute. Used in the military before that, parachuting became more mainstream, and producer Ivan Tors jumped onto the trend.
The show featured the adventures of Ted McKeever (Larry Pennell) and Jim Buckley (Ken Curtis), who ran a skydiving business. Most of their assignments was to use skydiving as a way to get to places where other forms of transportation could not.
One striking thing about the show today is that it used real stunts: people were actually skydiving.* It had an element of danger. Indeed, one stunt – a transfer from one plane to another, went wrong and the two planes hit each other and crashed to the ground. Luckily everyone was safe, skydiving to the ground, and the footage was used in a couple of later episodes.
By 1963, fewer of this type of show was being produced. Syndicated game shows – which could be made more cheaply – replaced the dramas, and the slots for them started drying up. The show was cancelled after two seasons.
Actor Ken Curtis, however, landed on his feet. Cast as Festus in Gunsmoke, he appeared in over 300 episodes of the show. Larry Pennell was less successful, but continued to work fairly regularly, with recurring parts in The Beverly Hillbillies and Lassie.
*Usually stuntmen, of course.
Sunday, October 6, 2019
Written and Directed by James Broughton
When I first got to college, there was a student-run film series. The person running it that year had a pattern: Wednesday films were art films or obscure classics, while the weekend films were relatively recent films that had been in theaters only a few months previously. I liked that arrangement, since it let me find films I never would have heard of otherwise.
One of their Wednesday programs was a series of short films. I don’t remember any of them except for The Bed, which stayed with me for years.
The movie starts out with a shot of an old brass bed rolling down a hill and coming to rest in a meadow. And then . . . things happen.
The movie has no story. It’s a series of vignettes, without dialog, where the viewer can read into it whatever they want. There are hints of celebration, love, death, birth, joy, and the just plain surreal.
And – the source of the movie’s fame – nudity. Lots of it, male and female. Sometimes it leaned toward the erotic, but it mostly showed an open and innocent attitude toward the human body. The visual elements (aside from the obvious) made it especially fascinating.
Given the fact I had very little experience with nudity other than classical art and Playboy, this element was something new. But director/writer James Broughton used it in as non-titillating manner as possible, making it seem innocent and matter of fact.
Broughton came to prominence as a poet after WWII, and made occasional short films. He appears in this one as a saxophonist playing in a tree. The Bed brought him notice* and won several awards at film festivals. He springboarded its success to make several other movies in the ensuing years. But nothing had the same success.
*It was his first film in 15 years.
Sunday, September 29, 2019
Directed by Gordon Douglas
Written by Abby Mann, from a novel by Roderick Thorp
Starring Frank Sinatra, Lee Remick, Ralph Meeker, Jack Klugman, Tony Musante
The hard-boiled detective has to move with the times. By the time the 1960s came along, the changed cultural scene gave new possibilities, and one of the results was The Detective.
Joe Leland (Frank Sinatra) is an incorruptible New York city cop who is called in to investigate a murder. The naked corpse has been mutilated, hands and other body parts cut off. When his housemate Felix Tesla (Tony Musante) is found it all falls into place and Tesla is sent to the chair.
But Leland has his doubts. And when he investigates a second, seemingly irrelevant case, a suicide that seems a bit fishy, he begins to unravel a more complex set of facts that connect the two.
The movie reveled in its grittiness, touching on subjects that couldn’t have been tackled before, like drug abuse and corruption. Most notably, it was willing to talk about homosexuality. Now, it was hardly a balanced portrayal, even if some of the characters were sympathetic. I doubt it holds up very well, but the fact that it was portrayed directly was new in 1968 and some of that might be because they didn’t think the public was ready for a nuanced look.
This was one of Sinatra’s better roles. He seemed to really throw himself into a character instead of just playing himself and his Joe Leland is tough and no-nonsense, with some hints of vulnerability.
The movie was a success, but has slowly faded away. It might be too cringeworthy to get through today.
One side note: author Roderick Thorp wrote a sequel about the further adventures of Leland. It was forgotten for twenty years, until someone took the bare bones of the second novel and planned to make a movie about that. The problem was that Sinatra was given first shot at the role in any sequel. Sinatra looked at the script and knew he was too old to play the lead, who had been turned into an action hero. Bruce Willis took it instead, and Die Hard became a classic.
Sunday, September 22, 2019
One of the joys of having SiriusXM in my car is listening to Old Time Radio. There are some great old radio shows on there, and I began to notice a name popping up all the time in the credits, an actor who made a belated move into TV toward the end of the career, hampered by his appearance. But in the radio days, just about every drama seemed to have an appearance by William Conrad.
Conrad was born in Louisville, KY and, after the war, became a fixture on radio. He estimated he played more than 7500 roles, and I doubt that’s much of an exaggeration. His deep voice made him a natural for authoritative roles.
His best known role was that of Matt Dillon in the radio version of Gunsmoke. He was perfect in the part, creating a vivid character who fought for law and order, and allowing no nonsense from anyone. Conrad was almost turned down for the part, the producers thinking his voice had been too familiar after all his radio performances, but they changed their mind after the audition.
But when Gunsmoke was adapted for television, Conrad wasn’t considered for the role.
In Hollywood, physical appearance is key, and Conrad was too heavy set. He didn’t fit into the image of a leading man, so was passed over* in favor of the more conventional leading man in James Arness. The radio show continued in parallel, but as radio drama started fading out, Conrad found it harder to get work. His talent got him jobs in movies, usually as a henchman.
But voiceover work became his meal ticket. He was in demand as a narrator for various shows. The most memorable of these were in the various incarnations of Rocky and Bullwinkle, where he narrated their adventures.** Conrad was perfect in the role, and it was one of the times the funny side of him shows.
Finally, in 1971, Conrad made it to TV stardom in the Quinn Martin detective show Cannon, which set up a backstory to explain his physical bulk. The show was a hit, running five seasons, showing many people the man behind the voice – even if they didn’t know the voice.***
Conrad later starred in a failed Nero Wolfe series, and then had another five-year run with Jake and the Fatman, while still keeping his hand in narration work. He died a couple of years after the show ended, leaving a body of work that anyone would be proud of.
*As was the rest of the radio cast. In his early days, Conrad was just a little bit blocky, but he gained weight as time went on. Photos of him during the Gunsmoke days indicate he was already a bit heavy, plus he was not conventionally handsome at any point.
**Also the adventures of Dudley Do-Right
***Cannon was on a couple of years before I learned that the “Bill Conrad” in the Rocky and Bullwinkle credits was the same guy.
Sunday, August 4, 2019
Worse, it was on a negative refusal plan. They’d send you a card every month. If you didn’t return it, their choice for the month was automatically shipped and billed to you. You had to buy a certain amount of records to end the service. and if you forgot to return the card, you’d get a record you didn’t want. The overall cost of the records was far more than buying them in a store.
That was when I discovered the Record Club of America.
Their ads were simple. You paid a membership fee (under $1) and bought a couple of albums at very low prices. Then, every month, you’d get a catalog. But you could just ignore it: you would only be sent an album if you requested one.
It seemed a great deal and I signed up.
Of course, there were reasons why things were so cheap. The Record Club (out of York, PA), pressed their own albums under the license of the record company.*** The results were not as good as the authentic album, but back then no one really paid attention to the slightly worse recording quality. One album I got skipped badly. But the customer service was good: they would send you a new one if you let them know the problem.
They also sold regular copies of the albums, usually the ones that weren’t popular enough to license. But the did feature albums that they pressed themselves.
There was a downside to this: when they pressed an album, they couldn’t return it to the record company for credit, so if they misjudged the popularity, they were stuck.
Things, though, started to go bad. The company was sued by the NYS Attorney General, calling the membership fee a scam. I thought that was ridiculous: it was a one-time fee that still made the record cheaper than anything else.
Then the company cut corners that were less laughable: they started pressing records without getting permission. It may have been that they were licensed to press a certain number but pressed more than that to keep up with demand. The record companies (rightfully) didn’t like that, and suddenly, they couldn’t press their own records.
The company switched to 8-tracks when they were big, but it wasn’t enough. It went under in the mid-70s. From a couple of reports, it seems that the old warehouse existed at least until 2011, the records still visible in the windows.
*My father sold records in his store, though I doubt he made much money with them, and my brothers and I were his biggest customers (at wholesale). But since the records were all returnable, they lost nothing but the space for them.
**I see 13 records for $2.85 online.
***A small sticker would announce that it was manufactured with permission.