“‘M’ for Mankind”

This is rare that we have two stone-cold classics in “The Obsolete Man” starring our old friend, Burgess Meredith, the second season finale of Twilight Zone, and then we wrap it up tonight with “Two”, the third season premiere of Twilight Zone starring Charles Bronson and Elizabeth Montgomery. I couldn’t finish this season with only the one episode, as there were 29 episodes produced, so we had an odd number and decided to kick off the third season. I’m very happy to be joined by Mark Jeacoma, who stepped in and saved my ass for the episodes, “Mr. Dingle, the Strong” and “Static” – that was the favor, and this is the job, so I assigned him two, in my opinion, gold-standard episodes of Twilight Zone.

So here we are, at the end of this season, and we start with “The Obsolete Man” written by Rod Serling, directed Elliot Silverstein, starring Burgess Meredith and Fritz Weaver. This is a heavy-handed episode. You have this stark, expressionist lighting scheme in, I presume, a courtroom, some court of final judgment where Burgess is being tried or sentenced to death for the crime of being “obsolete”, the definition of which is no longer in use or no longer useful. I don’t know how they come to that conclusion, other than that he leads a insular existence in a furnished room, reading books, reading the Bible, and really he doesn’t seem to be bothering anybody, right?

Apparently this is a crime in this alternate universe. This is obviously a totalitarian regime, and the uniforms resemble those worn by Nazis or other types of fascist leaderships. Visually, the palette resembles Hitler, standing at an enormous podium or lecturn, high above the masses; Fritz Weaver appears as a god-like figure to the defiant Burgess Meredith.

Next up is “Two” starring Elizabeth Montgomery and Charles Bronson, before they became famous icons, courtesy Bewitched and Death Wish (interesting mash-up: “Deathwitched”). It’s Mark’s theory that we are witness to another alternate universe. It’s my supposition that we have a Cold War allegory extended into an undetermined future. Both theories work. I love both of these episodes; both expertly well-done. “Two’s” writer/director Montgomery Pittman would make another episode, “The Grave”, in the third season (but shot for the second season) starring a Who’s Who of actors from westerns.

Don’t forget to visit Mark’s sites, VHS Rewind! with Chris Hasler and On The Odd with Alex Saltz – it’s good stuff!

Written by David Lawler
Additional Commentary by Mark Jeacoma
Original Music by Alex Saltz, APS Mastering
Introduction Music: “You’re the One That I Want” (John Farrar).
Audio Clips: “The Obsolete Man”, “Two”

Recorded September 1, 2016

© BlissVille, David Lawler copyright 2016 for all original vocal and audio content featuring David Lawler and selected guests each episode. Original Music © Alex Saltz copyright 2015. This podcast, “That Twilighty Show About That Zone” is not affiliated with CBS Entertainment, the CBS Television Network, or The Rod Serling Estate. Any and all images, audio clips, and dialogue extracts are the property of their respective copyright owners. This blog and podcast was created for criticism, research, and is completely nonprofit, and should be considered Fair Use as stated in the Copyright Act of 1976, 17 U.S.C. section 107. It is not an official product, and it should not be sold nor bought; this is intended for private use, and any public broadcast is not recommended. All music clips appear under Fair Use as well. If you’re thinking of suing because you want a piece of the pie, please remember, there is no actual pie. We at BlissVille have no money, and as such, cannot compensate you. If anything, we’re doing you a favor, so please be kind. I do this ’cause it’s fun, and nothing else.

Running Time: 33:36

Advertisements

VINTAGE CABLE BOX: “Death Hunt”

Vintage-Cable-Box-Cover-Image

“That look on your face would turn good whiskey into sour piss.”

300px-Deathhunt

“Death Hunt” , 1981 (Charles Bronson), 20th Century Fox

“This motion picture is based on a true story” is written in schlocky big-and-bold red titles; Charles Bronson is “Death Hunt” – not quite, but wouldn’t it be cool if his given Christian name were, indeed “Death J. Hunt”, or whatever? I mean, talk about the coolness factor. Here we are in the wild, white Yukon with some splendid Steadicam-aerial photography and we’re thrust into a literal dog-fight. The year is 1931, so it’s probably not illegal yet. Bronson runs afoul of the locals involved when he rescues one of the dogs involved. You get that steely-eyed Bronson trademark gaze. He gives the owner (the great character actor Ed Lauter) $200 for the wounded dog and leaves.

Lauter isn’t having any of it. He takes up arms with an Alaskan version of a posse (among them Carl “Apollo Creed”/”Action Jackson” Weathers, William Sanderson, and Maury Chaykin) to apprehend Bronson. Bronson nurses the dog back to health, feeds him and bonds with him. The heavies case Bronson’s hunting shack, but he is ready for them, and he plugs one of them. Lauter alerts the authorities (in this case, Mounties Andrew Stevens and Lee Marvin, who knows Lauter is lying) and they lead the hunt for the so-called “Mad Trapper”.

The movie’s story depends on Bronson staying one step ahead of his pursuers, which he does with aplomb. He is skillful and resourceful, but unfortunately an act of self-defense is added to his perceived list of crimes. It’s amazing to me (looking at the movie now) how quickly this narrative moves. We have to remember, the movie was made at a time when action/adventure movies didn’t have to be nonsensical, bloated epics. The editing is lean, action-oriented and economical. The scenes between Marvin and Bronson ooze testosterone. Both men have desperation in their eyes. Marvin wants an end to the violence. Bronson just wants to be left alone.

Death Hunt

When Marvin and Stevens’ caravan of vengeance-minded soldiers set out to capture the Trapper, he rigs his property with booby-traps, digs a trench in the middle of his cabin, and positions his guns at strategic points. The Peckinpah-inspired scenes of violence are well choreographed, and the liquored-up, tense dialogue of Lauter’s posse is hilarious. Marvin’s character is lost in his own idealistic past while Stevens represents a future of two-way radios and explosives.

The men constantly put each other through frenetic games of machismo, and all Bronson can do is shake his head and listen to their endless tirades. In the middle of the long Alaskan night, they blow up his cabin with dynamite, and he is forced to take to the snow, but not before cutting down most of them. Ultimately, the posse divide into separate groups, so that they don’t have to split the reward money. They kill each other off as a result of their incompetence until it finally comes down to Marvin and Bronson.

Charles Dennis Buchinsky appeared in “House of Wax” with Vincent Price. His first lead role was in Roger Corman’s “Machine-Gun Kelly”. He became a ubiquitous presence in revenge fantasies, starting with Michael Winner’s “Death Wish” (spawning four sequels), “Hard Times” as well as becoming a staple for Cannon Films (along with Chuck Norris) with “10 to Midnight”, “Murphy’s Law”, and “Kinjite: Forbidden Subjects”.

Our first cable box was a non-descript metal contraption with a rotary dial and unlimited potential (with no brand name – weird). We flipped it on, and the first thing we noticed was that the reception was crystal-clear; no ghosting, no snow, no fuzzy images. We had the premium package: HBO, Cinemax, The Movie Channel, MTV, Nickelodeon, CNN, The Disney Channel, and the local network affiliates. About $25-$30 a month. Each week (and sometimes twice a week!), “Vintage Cable Box” explores the wonderful world of premium Cable TV of the early eighties.

NEW PODCAST: “More Inappropriate Knock-Knock Jokes”

kirk_gorn_cannon

 

Tonight, we’re going to be talking about the 2014 documentary, “Electric Boogaloo: The Wild, Untold Story of Cannon Films”.

I just wanted to share this really funny, but accurate description of the movie, “The Wizard of Oz” from a newspaper, I don’t know how they let this slip through when it was printed, maybe it was the writer’s last day on the job and he decided to screw with the paper, but the description for the movie, as written is – “Transported to a surreal landscape, a young girl kills the first person she meets and then teams up with three strangers to kill again.” Sounds like a Cannon movie! It’s brilliant.

It seems any curiosity from the eighties, any bit of nostalgia will be squeezed into a juice and distilled as a documentary. Cannon Films was more than a curiosity course. It was a symbol of rough and ready independent filmmaking, the combined talents of Menahem Golan and Yoram Globus, cousins who made movies in Israel, but they came to America with a dream!

Before the main titles, we get a couple of soundbites from the likes of Bo Derek and Richard Chamberlain and they are not speaking with much in the way of affection. They almost make Golan-Globus seem incompetent, but then the titles roll and we see that there is obvious homage to some of the posters, some of the design and also, Michael Dudikoff. It was good to see Dudikoff, and he looks great. He’s aged well.

Some of the actors speak of Golan and Globus with disdain; there’s this one actress who shrieks, “this is not what I signed up for!” She’s enraged. She signed on for a movie called “The Happy Hooker”, I’m sorry, what did you think you were signing on for? A kids movie? Apparently Golan and Globus were out of their minds for thinking that people liked sex and nudity in films.

There’s a nice little profile of director Michael Winner, whom I always enjoyed.   I watched a lot of Michael Winner films on Cable TV, but the actors and producers  that are being interviewed make him out to be a sadist, almost evil with his unusual demands, his sense of style.  I mean, speaking personally, as a filmmaker, he’s completely out of his mind.  “The Nightcomers”, “The Sentinel”, “Death Wish” and then his Cannon output, wow!  But they’re kind-of speaking ill of the dead a little.  He’s not around to defend himself.