Vintage Cable Box: “National Lampoon’s Vacation, 1983”

“O God, ease our suffering in this, our moment of great despair. Yea, admit this good and decent woman into thine arms in the flock in thine heavenly area, up there. And Moab, he laid its down by the band of the Canaanites, and yea, though the Hindus speak of karma, I implore you: give her… give her a break.”

National Lampoon’s Vacation, 1983 (Chevy Chase), Warner Bros.

There’s no tradition like a new tradition, and I think I’m creating a new tradition. There are holidays, and there are holiday movies, and there are movies we play on certain holidays. We’ll watch A Christmas Carol or Scrooge or even Scrooged on or around Christmas. I know people who love to watch the Star Wars franchise movies on May 4th (we usually run them around New Years), but I have an idea for a Father’s Day tradition: National Lampoon’s Vacation. It is just about the perfect movie to play to commemorate the struggles of loving, responsible dads out there, and Chevy Chase is our embodiment of a hero despite his complete inability to achieve his goal. He has one goal: to take his family to “Walley World” (the most famous “Disney World” analog in the history of cinema).

Clark W. Griswold (Chase) is on a mission; a quest, a “quest for fun.” Roughly three-quarters of the way into the film, Clark sits down with his son, Rusty (Anthony Michael Hall), and shares a beer with him. As Rusty drinks the whole can down, Clark tells him about how he never had fun on all the vacations his father planned. This time, he’s determined to have fun and, at this point, he doesn’t care what he has to do to have that fun. His stubborn-streak and capacity for maintaining his composure in the face of his outright idiocy is truly inspiring to watch. Audiences tend to take comedy for granted: if it’s funny, it works. Chase’s performance is one of his most tragic, and he manages to create a fully-realized character even as the first frames of the film are unspooled. He takes Rusty to a dealership to get the new car, a “little sports thing,” for the trip. Salesman Eugene Levy cons him into buying the Family Truckster in “metallic pee.”

Clark plans out the whole trip on the computer. He has foreseen every contingency, every circumstance, every situation that might pop up, but that’s where the comedy kicks in. Comedy is like God, and we are the chorus. If you want us to laugh, tell us your plan. Of course, nothing works out as planned. They get off on the wrong exit in St. Louis. In one of the funnier (but also politically incorrect) sequences, Clark asks for directions back to the expressway, but is given a ridiculous runaround as his hubcaps are stolen and the words, “Honky Lips” are spray-painted on the Family Truckster. Next up is Dodge City, where he, unwittingly, antagonizes a barkeep who shoots him with blanks that causes their daughter, Audrey (Dana Barron) to go temporarily deaf. After that, they make the requisite trip to their white trash in-laws, headed by Cousin Eddie (Randy Quaid).

Staged publicity photograph!

Eddie and his family are there to frighten Clark and his wife, Ellen (Beverly D’Angelo) and keep them struggling in the middle class, paying taxes and behaving like good citizens. Eddie and his family represent those twisted few who fall between the cracks in a system designed to keep people trapped in collective “caste” systems in our nation. Clark loans Eddie some money to keep his crew afloat. From there, his finances are scuttled. Ellen is no help. While I absolutely adore Beverly D’Angelo (she’s very easy on the eyes, as they say), she is largely unsympathetic. I’m convinced her job, in the film, is to antagonize Clark, poo-poo his plans, and then cut him down when he suffers personal setbacks. Beverly, being a serious dish, makes it hard to stay mad at her. Eventually, she does give in to her husband’s lunacy, but only when she feels less desirable because of Clark’s infatuation with a “Mystery Girl” (Christie Brinkley) in a hot, red Ferrari who flirts with him on the open road.

Too often in today’s media and pop culture, fathers are given short shrift, treated as annoyances, regarded as morons with impossibly beautiful, open-minded, ethereal wives. It makes you wonder how these couples found each other in the dating pool, and then what made them decide to marry and have children. While Chase makes easy work of Clark Griswold, he also provides moments of reality and introspection in his wacky world. He bursts into tears at the thought of missing out on his children growing up. He wants to be desired, loved, and trusted, and he barely holds onto his sanity by way of the trip to “Walley World.” Director Harold Ramis directs a very funny script from John Hughes, with inspired bits from Levy, John Candy, Brian Doyle-Murray, and Imogene Coca that compliment the madness of his original source material: a short story he wrote for National Lampoon titled “Vacation ’58.” Released 34 years ago on July 29, 1983, National Lampoon’s Vacation is still one of the funniest movies ever made.

Sourced from the original 1983 Warner Bros “clamshell” VHS release, which was among our first movie purchases on tape. The movie continued to receive different format releases, and is available in Beta, DVD, Laserdisc (using the same art design as the clamshell release) and Blu Ray formats. The accompanying essay gives us a crisp synopsis while promoting the National Lampoon legacy. “After 2,000 miles of madcap calamities, the Griswolds ultimately arrive at Walley World. Again, alas, their quest for “fun” is riotously derailed in an action-packed comedy finale.” I have both the original Warner clamshell, and the recent Blu-Ray release. This is very interesting to me, because while I complained about the pan-and-scan format of a movie like Sudden Impact (filmed with the Panavision process), what we see in Vacation is what was shot; an open-matte format that gives us more visual information than the Blu-Ray release, which crops the top and bottom of the image in order to fill the 16:9 viewing area of modern televisions.

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. 

Vintage Cable Box: “National Lampoon’s Class Reunion, 1982”

New VCB Logo

“Most likely to die crossing the street.”


National Lampoon’s Class Reunion, 1982 (Gerritt Graham), ABC Motion Pictures

This is one of those very rare occasions where I remember enjoying a movie immensely when I was a kid, and then looking back at it as an adult and thinking it has either not aged well, or it was my eleven-year-old brain that supplied most of the guffaws. It could’ve been that I had seen Class Reunion right after seeing Vacation (now considered a comedy classic) and was not impressed.

I’ve never been to a class reunion. Never been invited. Because of the reckless and impulsive behavior of my mother, we often found ourselves packing and leaving so I never had the opportunity to finish in schools, nor was I privileged to have a stable mailing address. I’ve certainly seen enough movies and television shows about class reunions. My wife was invited to class reunions, but she didn’t have a much of a desire to attend, either. Something about those gatherings seems sad to me. It’s a reminder of age, having to grow up, having to not be what you were when you were young.

Some of those sentiments are touched upon in National Lampoon’s Class Reunion, though very briefly because this is a silly comedy/spoof of horror movies. Several movies of this type were released in this time period, notably Saturday The 14th, Love At First Bite, and Student Bodies. Attendees gather for the 10-year class reunion at Lizzie Borden High. The cast is filled with familiar names and faces like Stephen Furst (Flounder from National Lampoon’s Animal House), Miriam Flynn (who would appear in National Lampoon’s Vacation the following year) and Michael Lerner (from Barton Fink).

NATIONAL LAMPOON'S CLASS REUNION, Fred McCarren, Zane Buzby, 1982. (c) ABC/ Courtesy: Everett Colleciton.

The participants in the class reunion festivities are being knocked off, one by one, and suspicion points to a less than popular kid (played by Blackie Dammett) named Walter Baylor, who was humiliated by this circle of kids on one fateful night ten years before. Gary Nash (Fred McCarren), formerly the guy everybody forgot – even his best friend – takes charge and leads the investigation, with the help of a mysterious doctor (Lerner). Along the way he attempts to woo the girl he was in love with: Meredith (gorgeous Donna Dixon look-alike, Shelley Smith).

John Hughes started writing for the National Lampoon print magazine in 1979. His first television credit came in the form of Delta House, the failed Animal House spin-off. He wrote Class Reunion, which tanked at the box office, but he followed it with three brilliant comedy scripts: Mr. Mom, National Lampoon’s Vacation, and Nate and Hayes with David Odell (a personal favorite of mine), which earned him a three-picture directing deal with Universal.

Looking at the picture recently, I noted that despite the otherwise funny and talented cast, Class Reunion lacked true comic timing. There is no focus, no lead character to propel the story, nor someone we can identify with. The director, Michael Miller, shoots everything in wide shots to assemble his cast, and good comedy screams for close-up shots to break up the tedium. The jokes fall flat, which is odd for John Hughes. The warmth and humor of his later work is missing here, and this script would be his only dud in the early eighties. His creative output was astonishing. He worked fast, and his pictures were economical. His unofficial retirement began in 1994, and he passed away in 2009 at the age of 59.

Next time, we take a look back to the classic era of horror movies on Vintage Cable TV, starting with 1983’s Psycho II!

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.