Thursday, April 23, 2020

Tom Lester Passes On

Tom Lester, best known for playing farmhand Eb Dawson on the classic sitcom Green Acres, died on April 20 2020 at the age of 81. The cause was complications from Parkinson's disease. He was the last surviving cast member of Green Acres.

Tom Lester was born on September 23 1938 in Laurel, Mississippi. He attended Laurel High School and then the University of Mississippi, where he received a Bachelor of Science degree in biology and chemistry. He attended graduate school at the University of Southern Mississippi before leaving the university to pursue acting.

He made his acting debut in 1961 in the very first production of the Laurel Little Theatre, Born Yesterday. He moved to California where he befriended actress Lurene Tuttle, who appeared in many radio shows and TV shows. She was able to get him cast in a variety of plays. He made multiple appearances at the North Hollywood Playhouse. Among the plays in which he appeared was one in which producer Paul Henning's daughter Linda Kaye Henning, who would play Betty Jo Bradley on Mr. Henning's show Petticoat Junction. Because of this he became friends with Paul Henning. When Paul Henning was casting a new show set in the universe shared by The Beverly Hillbillies and Petticoat Junciton, he cast Tom Lester as farmhand Eb Dawson, largely because he knew how to milk a cow.

Green Acres proved to be a hit and Tom Lester appeared in very nearly every episode of the show. He also guest starred as Eb on several episodes of Green Acres and episodes of The Beverly Hillbillies. In the Seventies, after Green Acres left the air, Mr. Lester guest starred on episodes of Love, American Style and Marcus Welby, M.D. He appeared in the TV movie Charo and the Sergeant. He made his feature film debut in 1974 in Benji.

In the Eighties Tom Lester guest starred on episodes of Little House on the Prairie, Knight Rider, and Santa Barbara. He reprised his role as Eb Dawson in the television reunion movie Return to Green Acres. He appeared in the movie Intruder (1989). Since then he has appeared in the movies The Pistol: The Birth of a Legend (1991), Gordy (1994), and Campin' Buddies (2014). He was the voice of a radio announcer in the film Christmas Child (2004).

Both while he was on Green Acres and for years afterwards, Mr. Lester travelled the country as a Christian preacher. He also returned to farming and attended autograph shows and conventions, often in the role of Ed Dawson.

Tom Lester's acting career was not extensive, but he was also a delight to see on screen. On Green Acres he created one of the most memorable sitcom roles of the Sixties, that of childlike, but smart-alecky farm hand. He interactions with Oliver Wendell Douglas (played by Eddie Albert), who he insisted on calling "Dad," were often the funniest bits in any given episode. While Tom Lester would always be typecast as Eb Dawson, he could play other roles. He played the main villain's henchman Riley Bonner in  the movie Benji. In the Love, American Style segment he played a deputy sheriff who must deal with a young couple who bet on literally everything. Tom Lester had considerable talent and a gift for comedy. If he is remembered so well as Eb Dawson, it is perhaps because he performed the character so well.

Tuesday, April 21, 2020

The Late Great Brian Dennehy

Brian Dennehy, who appeared in such films as Silverado (1985), Cocoon (1985), and Romeo + Juliet (1995) died April 15 2020 at the age of 81.

Brian Dennehy was born on July 9 1938 in Bridgeport, Connecticut. His father, Edward Dennehy, was a a wire service editor at Associated Press. The family moved to Long Island, New York, where Brian Dennehy attended Chaminade High School. He began acting while still in high school, appearing in a school production of Macbeth. He attended Columbia University for a time on a football scholarship before serving five years in the U.S. Marine Corps. Following his service he resumed his education at Columbia University and received a Bachelor of Arts degree in 1965.

Mr. Dennehy began acting in regional theatre, taking a succession of jobs to make a living. He worked as a butcher, a truck driver, and a stockbroker at Merrill Lynch, a job he did not particularly like. He made his film debut in Looking for Mr. Goodbar in 1977 and his television debut in an episode of Kojak the same year. In the late Seventies he appeared in the movies Semi-Tough (1977), F.I.S.T. (1978), Foul Play (1978), Butch and Sundance: The Early Days (1979), 10 (1979) and Little Miss Marker (1980). He guest starred on episodes of Serpico; Lanigan's Rabbi; M*A*S*H; Lucan, The Fitzpatricks; Lou Grant, The Tony Randall Show; Dallas; Big Shamus, Little Shamus; and Knot's Landing. He appeared in the mini-series Pearl and A Rumour of War.

In the Eighties Mr. Dennehy appeared in the movies Split Image (1982), First Blood (1982), Never Cry Wolf (1983), Gorky Park (1983), Finders Keepers (1984), The River Rat (1984), Cocoon (1985), Silverado (2985), Twice in a Lifetime (1985), F/X (1986), The Check Is in the Mail... (1986), Legal Eagles (1986), The Belly of an Architect (1987), Best Seller (1987), The Man from Snowy River II (1988), Miles from Home (1988), Indio (1989), Georg Elser - Einer aus Deutschland (1989), The Last of the Finest (1990), and Presumed Innocent (1990). On television he had a recurring role on Dynasty in the show's first and second seasons and the lead role on the sitcom Star of the Family. He guest starred on the shows BBC2 Playhouse, Cagney & Lacey, Hunter, Tall Tales & Legends, Faerie Tale Theatre, and Miami Vice. He appeared in the mini-series Evergreen. 

In the Nineties Brian Dennehy appeared on Broadway in the productions Translations and Death of a Salesman. He won the Tony Award for Best Actor for the latter. He appeared in the movies F/X2 (1991), Gladiator (1992), Tommy Boy (1995), The Stars Fell on Henrietta (1995), Romeo + Juliet (1996), Out of the Cold (1999), and Silicon Towers (1999). On television he had a lead role on the TV series Birdland. He appeared in the mini-series To Catch a Killer, A Season in Purgatory, Dead Man's Walk, and Nostromo.

In the Naughts Brian Dennehy had the lead role in the television series The Fighting Fitzgeralds and a recurring role on the sitcom Just Shoot Me. He guest starred on the shows The Agency, The West Wing, The 4400, 30 Rock, Rules of Engagement, and Rizzoli & Isles. He appeared in the movies Summer Catch (2001), Stolen Summer (2002), She Hate Me (2004), Assault on Precinct 13 (2005), 10th & Wolf (2006), The Ultimate Gift (2006), Welcome to Paradise (2007), War Eagle, Arkansas (2007), Cat City (2008), Righteous Kill (2008), Every Day (2010), Meet Monica Velour (2010), The Next Three Days (2010), and Alleged (2010).  He was the voice of Django in Ratatouille (2007).  He appeared on Broadway in Long Day's Journey into Night, Inherit the Wind, and  Desire Under the Elms.

In the Teens he had regular roles on the TV shows Public Morals and recurring roles on Hap and Leonard and The Blacklist. He guest starred on the TV shows The Good Wife and The Big C. He appeared in the movies The Big Year (2011), Twelfth Night (2012), Knights of Cups (2015), The Seagull (2018), The Song of Sway Lake (2018), and Driveways (2019).  He appeared on Broadway in Love Letters.

Brian Dennehy was truly a modern day character actor. Throughout his career he portrayed a wide variety of characters including heroes, villains, and everything in between. He was a villain in First Blood, playing the corrupt Sheriff Will Teasle. In Silverado he played Cobb, another corrupt sheriff. In F/X Mr. Dennehy played a more heroic role, that of police detective Lt. McCarthy, who finds more than he bargained for when he investigates a murder. Through the years Brian Dennehy played such a wide range of roles that it is difficult to say he was identified with any particular role. In Belly of an Architect he played Stourley Kracklite, whose life and health both begin to deteriorate. In the Miami Vice episode "Amen...Send Money" he played a televangelist. He played diverse historical figures, including John Wayne Gacy, Clarence Darrow, and the voice of Babe Ruth in the animated feature Everybody's Hero (2006). Brian Dennehy was an extremely talented actor capable of playing a wide array of roles and always gave a good performance.

Monday, April 20, 2020

TCM Classic Film Festival Special Home Edition in Review

In most years it would usually be some time this week that I would write a post featuring links to the many blog posts that TCM Classic Film Festival attendees have written about the festival. I do this because it is a way that those of us who cannot attend the festival can experience it vicariously. Sadly, with the ongoing COVID-19 pandemic it became necessary for Turner Classic Movies to cancel this year's TCMFF (as the festival is often abbreviated by TCM and their fans alike). To make up for the festival's cancellation, TCM then scheduled the TCM Classic Film Festival Special Home Edition, which TCM described as "...an on-air celebration of TCM Classic Film Festival movies and moments from the past decade that fans can enjoy from the comfort of their homes." Beginning on Thursday, April 16 at 8:00 PM Eastern/7:00 PM Central and running through Sunday, April 19, the TCM Classic Film Festival Special Home Edition was three days of the best programming ever on the cable channel.

Of course, the TCM Classic Film Festival Special Home Edition did not simply consist of movies. TCM also aired interviews and tributes from past festivals, such as the tribute to Eva Marie Saint at the 2014 film festival and the tribute to Peter O'Toole form the 2012 film festival. TCM also provided fans with a good deal of material for social media. This included a video kick off from all five TCM hosts, video memories of the hosts about their various experiences at past festivals, and a number of tributes and interviews from past festivals.

The online material related to the TCM Classic Film Festival Special Home Edition did not end with the many videos TCM posted to the various social media platforms. On Twitter there were several live tweets, some organized by TCM themselves and some by TCMParty, the group of fans (of whom I am one) who live tweet to movies on TCM using the hashtag #TCMParty. On Friday I hosted the TCMParty for A Hard Day's Night (1964), tweeting my usual trivia that I do when the movie airs on TCM. I figure that will be as close as I will ever come to introducing a movie at the TCM Classic Film Festival! That night TCM host Alicia Malone live tweeted Creature from the Black Lagoon (1954). Among the other live tweets included Eddie Muller for They Live By Night (1949) on Saturday (this was very special, as Eddie said he would never live tweet), and on Sunday Maureen Lee Lenker for Singin' in the Rain (1954) and Floyd Norman himself for Floyd Norman: An Animated Life (2016). The live tweets were very enjoyable, particularly as I got to interact with many old friends that I hadn't seen at TCMParties of late.

Both Turner Classic Films and TCM fans attempted to bring as much of the feel of TCMFF to the weekend as they could. Turner Classic Films actually created tickets for TCM Classic Film Festival Special Home Edition. Many fans posted photos of the various fashions they would have worn to the festival this year. On Twitter many of us fans joked about various films being at Grauman's Chinese or the Egyptian or poolside at the Roosevelt and stopping by Musso and Frank Grill or Mel's Drive-In for food.  Some past TCMFF attendees organized Zoom sessions so that they could chat as they would at the actual festival.

Creature of habit that I am, one of the things I liked about the TCM Classic Film Festival Special Home Edition is that it did not disrupt TCM programming as much as one might think. Turner Classic Movies aired cult classic Grey Gardens (1975) Friday night at 1:30 AM Eastern/12:30 AM Central, roughly the same time that TCM Underground airs.  On Saturday night TCM aired Night and the City (1950) at 11:45 PM Eastern/10:45 Central, roughly the same time that Noir Alley airs each week.

As to the line-up of films, I think it is one of the best line-ups Turner Classic Films has ever programmed. Among my favourites that aired over the weekend were The Seventh Seal (1957), Sounder (1972), A Hard Day's Night (1964), North by Northwest (1959), Some Like It Hot (1959), Creature from the Black Lagoon (1954), Mad Love (1935), Safety Last! (1923), They Live By Night (1949), Network (1976), Casablanca (1942), Night and the City (1950), The Lady Vanishes (1938), Auntie Mame (1958), Singin' in the Rain (1952), and Baby Face (1933).

From where I stand, the TCM Classic Film Festival was a resounding success. In fact, it was so successful that it is interesting to consider what it might mean for the future of the festival. Given Governor of California Gavin Newsom has said that social distancing measures could remain in place until early to mid-2021, it is possible that next year's TCM Classic Film Festival could also be one that unfolds virtually. Beyond that, it seems possible to me that even once the TCM Classic Film Festival returns to Hollywood, that we might still have the TCM Classic Film Festival Special Edition in some form. While TCM might be unable to air many of the films shown at the festival, they could still air many of the films to which Warner owns the rights (which a good many) simultaneously as they are shown at the festival. Of course, this means those who do not attend could see many of the introductions and interviews that we once had to wait to see on TCM Backlot or the TCM YouTube channel. I have to also wonder that we might not see TCM much more active on social media outlets during the festival, much as they were during this year's TCM Classic Film Festival Special Home Edition.

Regardless, the TCM Classic Film Festival Special Home Edition is the most fun I have had in a long time. It came at a time when I was feeling very down (not because of the COVID-19 pandemic, but due to other matters in my life) and it helped lift my spirits in a way I wouldn't have expected. I am sure that the TCM Classic Film Festival Special Home Edition did the same for many others. Turner Classic Movies has long been a way that its fans have had of getting through rough patches in their lives, and this time was no different. What is more, TCM has always had a very special connection to its fans, to the point that many fans often regard their hosts and others at TCM as friends. Once again, TCM came through in what is a very dark time for many of us.

Thursday, April 16, 2020

The Abominable Dr. Phibes (1971)

(This post is part of the Vincent Price Blogathon hosted by Cinematic Catharsis and Reelweegiemidget Reviews)

Among the legendary horror movie actors, Vincent Price was utterly unique. Unlike Bela Lugosi, Boris Karloff, and Sir Christopher Lee, he never played monsters. Unlike Peter Cushing, he rarely played monster hunters. Instead Vincent Price played mortal men caught up in circumstances not necessarily of their own making. He played his share of heroes, including Dr. Warren Chapin in The Tingler (1959) and Dr. Robert Morgan in The Last Man on Earth (1964). More often he played villains, including Professor Henry Jarrod in House of Wax (1954) and Frederick Loren in House on Haunted Hill (1959). His speciality was playing individuals, who through circumstances or through the ill intent of others, had been driven beyond the brink of sanity. 

Among the most complicated characters Vincent Price ever played was Dr. Anton Phibes in The Abominable Dr. Phibes (1971) and its sequel, Dr. Phibes Rises Again (1972). Like many of Mr. Price's character, Dr. Phibes was a man driven mad by tragedy, in his case the untimely death of his wife. Unlike many of Mr. Price's characters, it is difficult to describe Dr. Phibes as a hero or a villain. Having lost his wife during a surgery, Dr. Phibes was scarred and left mute when he experienced a car crash in trying to get to her at the hospital. Unfortunately, rather than file a malpractice suit against the doctors involved in his wife's death, Dr. Phibes kills them one by one using means inspired by the ten plagues of Egypt. Dr. Phibes's motivation is then understandable to anyone who has experienced the death of someone they love, although he goes about dealing with his grief in ways that most of us would find, well, abominable.

Dr. Anton Phibes was the creation of William Goldstein, who co-wrote the screenplay for The Abominable Dr. Phibes with James Whiton. The genesis of Dr. Phibes was in a series of dreams that Mr. Goldstein had over the course of a week. After the last night of dreams, he wrote all of them down and then contacted James Whiton to see if the dreams could form the basis of a movie. Mr. Whiton had already written episodes of Voyage to the Bottom of the Sea and The Man From U.N.C.L.E. William Goldstein and James Whiton's screenplay eventually found its way to Ronald S. Dunas, a real estate man who had moved into film production. It was Ronald S. Dunas who brought the screenplay to the attention of James H. Nicholson of American International Pictures.

Before settling on the title The Abominable Dr. Phibes, the film had the working titles of Dr. Phibes and The Curse of Dr. Phibes. It was in a September 1970 article in Variety that it was reported that the film would be produced by Albert Fennell with Ronald Dunas, although ultimately it would be produced by Mr. Dunas and Louis M. Heyward, who had written for both The Gary Moore Show and The Ernie Kovacs Show and went onto become AIP's Director of Overseas Productions in London. He had already produced such classic horror movies for AIP as The Oblong Box (1970). 

Of course, much of the appeal of The Abominable Dr. Phibes is seeing two legends from the Golden Age of Hollywood pitted against each other. While Vincent Price played Dr. Anton Phibes, Joseph Cotten played Dr. Vesalius, the head of the team of doctors that had performed surgery on Dr. Phibes's wife. While Dr. Vesalius remains one of Joseph Cotten's best known roles, he was not the first actor considered for the role. Initially the role was offered to legendary horror actor Peter Cushing, who had to decline because of the recent death of his wife Helen.  

Dr. Phibes's vocal cords having been damaged in his automobile accident, the character required prosthetics to be able to speak. Because of this, as well as the heavy make up required of the role, all of Vincent Price's lines would be dubbed in post-production. This led to a complaint from Joseph Cotten that he had to remember his lines, while Mr. Price's lines would be dubbed in post production. Vincent Price simply replied to Mr. Cotten's complaint, "Yes, but I still know them, Joe." Vincent Price was known throughout his career for his remarkable memory, able to memorize not only his own lines, but those of every other character in a screenplay. Despite Joseph Cotten's complaint, according to Louis M. Heyward, Joseph Cotten was a total gentleman. He knew his lines perfectly and devoted all of his considerable talent to the role.

The role of Dr. Phibes required Vincent Price to spend several hours each day having his make-up applied. In order to make Joseph Cotten more comfortable on the set, Vincent Price would often joke around with his fellow veteran actor. As a result, Mr. Price's makeup would sometimes have to be reapplied.

The Abominable Dr. Phibes was directed by Robert Fuest, who had directed several episodes of the classic British spy TV series The Avengers. The plot of The Abominable Dr. Phibes already resembled the plot of a typical episode The Avengers, with individuals dying in bizarre fashions. It was in a large part because of Robert Fuest that the movie feels a lot like an episode of The Avengers, albeit one set in the 1920s.  In addition to the movie's touches of humour, it also features lavish sets and rich cinematography that would not be out of place in an episode of The Avengers.

The Abominable Dr. Phibes was filmed from November 2 1970 to January 1971. Most of the film was shot at Elstree Studios in Borehamwood, Hertfordshire, with various scenes being shot around both London and Hertfordshire. Dr. Phibes's mansion was the Rosary Priory High School in Herfordshire at the time the film was shot and had previously been Caldecote Towers Hotel (it is now Immanuel College). Highgate Cemetery in London was the final resting place of Dr. Phibes's wife.

Because Dr. Anton Phibes was a concert pianist with degrees in music and theology, music plays a big role in The Abominable Dr. Phibes. Such diverse pieces of music as "War March of the Priests" by Felix Mendelssohn, "What Can I Say After I Say I'm Sorry?," "Darktown Strutters' Ball," and "Charmaine" appear throughout the film. That having been said, much of the music in The Abominable Dr. Phibes is anachronistic. While the film appears to be set in the Twenties, it features songs written after that decade, including "Close Your Eyes (1933)," "Elmer's Tune (1941)," "All I Do Is Dream of You (1934)," "You Stepped Out of a Dream (1941)," "A Hundred Years from Today (1933)," and "One for My Baby (and One More for the Road) (1943)." While an instrumental version of "Over the Rainbow," written specifically for The Wizard of Oz (1939), plays over the closing credits, it is background music, as opposed to other anachronistic pieces of music that are played within the movie itself (for instance, "Elmer's Tune" on a music box).

Although The Abominable Dr. Phibes is now considered one of the greatest horror movies ever released by American International Pictures, according to Louis M. Heyward, AIP co-founder  Samuel Z. Arkoff hated The Abominable Dr. Phibes and even wanted his name removed from the movie. He had very little faith that the film could be a success. Initially, The Abominable Dr. Phibes was not a success. Marketed through a tongue in cheek campaign centred on the tagline, "Love never means having to say you're ugly! (a parody on Love Story's "Love never means to have to say you're sorry"), The Abominable Dr. Phibes did poorly at the box office. Fortunately, AIP switched to a more traditional, straight-forward marketing campaign and The Abominable Dr. Phibes proved to be a hit.

In fact, The Abominable Dr. Phibes proved to be such a hit that a sequel was planned. Screenwriters William Goldstein and James Whiton proposed a sequel titled The Brides of Dr. Phibes. Louis M. Heyward rejected The Brides of Dr. Phibes, and then turned to Robert Blees to write the sequel.  Dr. Phibes Rises Again was released in 1972.  Dr. Phibes Rises Again proved successful enough that more sequels were considered. Other proposed sequels included Dr. Phibes in the Holy Land, The Son of Dr. Phibes, Phibes Resurrectus,  Dr. Phibes, Phibes Resurrected, and The Seven Fates of Dr. Phibes. Sadly, none of these sequels ever made it to production.

These proposed sequels were not the only attempts to revive Dr. Phibes. In the mid-Seventies, Louis M. Heyward and William Goldstein proposed a TV series to NBC which would have featured Dr. Phibes fighting crimes using his considerable talents in makeup and technology. The network passed on the project.

While Dr. Phibes would never return to the big screen following Dr. Phibes Rises Again and would  never have his own TV series, the character would eventually be resurrected. Dr. Phibes's creator, William Goldstein, revived the character starting with the novel Dr. Phibes - In the Beginning in 2011, co-written with his son Damon J. A. Goldstein. Since then, the two men have written Dr. Phibes Vulnavia's Secret, Dr. Phibes, Dr. Phibes Rises Again!, and Dr. Phibes - The Androbots.

The Abominable Dr. Phibes stands as one of the most famous of AIP's later movies as well as one of AIP's greatest horror movies. It seems likely that its success is due to multiple factors. It is one of the most effective horror movies of the Seventies. It features some very frightening scenes, including several horrifying deaths. At the same time, however, it features touches of humour, with neither of the lead characters (Dr. Phibes and Dr. Vesalius) ever being the object of that humour. The movie's cast is certainly one of the reasons for much of its success. Both Vincent Price and Joseph Cotten give sterling performances. What is more, the cast includes such talents as Peter Jeffrey, Hugh Griffith, and Terry-Thomas. Certainly Robert Fuest's direction is responsible for much of the movie's success. Mr. Fuest was able to blend horror, humour, and music together in a way that it seems perfectly natural and yet unlike any movie before it.

Of course, most of all it is perhaps the character of Dr. Anton Phibes that is responsible for the success of The Abominable Dr. Phibes. It is with good reason that Dr. Phibes is listed in the closing credits alongside Dr. Vesalius as one of the protagonists. Despite being responsible for several terrifying deaths throughout the film, Dr. Phibes is not a villain. Instead Dr. Phibes is a figure with whom anyone that has lost someone they dearly love can sympathise. Dr. Phibes lost the one person he loved more than anyone else in the world, his beloved wife Victoria, and at the same time was horribly damaged physically himself. It is not merely out of anger that Dr. Phibes strikes against those he believes to be responsible for Victoria's death, it is also out of what must be overpowering grief. Given how much Dr. Phibes loved Victoria, it probably came as no surprise that the plot of the second movie, Dr. Phibes Rises Again, sees him seeking to resurrect her. While Dr. Phibes commits some very atrocious acts in The Abominable Dr. Phibes, he then remains a sympathetic figure. At his core, Dr. Anton Phibes is simply a man who was deeply in love with his wife and remains so even after her death.

It has been nearly fifty years since the release of The Abominable Dr. Phibes. Today Dr. Anton Phibes remains one of Vincent Price's best known roles and The Abominable Dr. Phibes one of his best known films. While Dr. Phibes might never have been resurrected again on the big screen after Dr. Phibes Rises Again, through the continued popularity of the film the character will never die. 


Tuesday, April 14, 2020

The Late Great Mort Drucker

Mort Drucker, who worked on movie and television show parodies for Mad magazine for literally decades, died on April 9 2020 at the age of 91.

Mort Drucker was born on March 22 1929 in Brooklyn, New York. He attended Erasmus High School.  While he was a talented artist from when he was young, he did not become serious about it until after he graduated high school. Comic book legend Will Eisner was a family friend, and it was on Mr. Eisner's recommendation that he was hired as an assistant to Bert Whitman on the comic strip Debbie Dean in 1947.

Afterwards he was hired by National Periodical Publications (even then known informally as "DC Comics") as a retoucher. At DC, Mort Drucker worked on a variety of titles including, the feature "Rancho Pancho" in Romance Trail. He also worked as a ghost on Paul Webb's single panel comic strip The Mountain Boys published in issues of Esquire. In 1950 he began freelancing for various comic book publishers, including St. John (where he worked on Abbot and Costello) andDell (where he worked on Western titles). At DC Comics he provided covers for Fox and the Crow.

It was in 1956 that Mort Drucker went to work for Mad magazine. His early work at Mad was often illustrating articles written by such comedic luminaries as Sid Caesar and Bob & Ray. He was the very first artist to illustrate Mad magazine's long running feature "Ads We'd Like to See." It was with a parody of the TV show Perry Mason, "The Night Perry Masonmint Lost a Case," published in Mad no. 48 (July 1959), that Mort Drucker's talent for parody was fully realized. The parody set the pace for every movie and TV show parody published in Mad afterwards. While movie and TV shows had been parodied in Mad before by such luminaries as Harvey Kurtzman, Jack Davis, and Will Elder, "The Night Perry Masonmint Lost a Case" established Mort Drucker as the magazine's parody artist of choice.

Mort Drucker also continued working for DC Comics. He worked on both The Adventures of Martin & Lewis (which later became The Adventures of Jerry Lewis) and The Adventures of Bob Hope, and other humour characters as Buzzy, Everything Happens to Harvey, Here's Howie, and Swing with Scooter. He worked on several war titles, including All-American Men of War, G.I. Combat, Our Army at War, Our Fighting Forces, and Star Spangled War Stories. He provided art for horror and science fiction titles, including House of Mystery, House of Secrets, Mystery in Space, Strange Adventures, and Tales of the Unexpected. At DC he also worked on All-Star Western, My Greatest Adventure, and Tomahawk.

Mort Drucker did a good deal of illustration beyond Mad and DC Comics. He illustrated children's books, as well as such political satire books as John F. Kennedy Coloring Book, The Ollie North Coloring Book, and Farewell Tribute to Ronald Reagan Coloring Book. He illustrated movie posters for the films Casino Royale (1967), It's Alive (1974), American Graffiti (1973) and Finders Keepers (1984). He created artwork for the opening credits of the short-lived Seventies series Syznick. He also illustrated album covers, including The Bears' self-titled debut album and Anthrax's State of Euphoria. He did illustrations for advertisements for Heinz Ketchup, Seagram's Vodka, the U.S. Postal Service, and Whirpool refrigerators, among others.

Between 1984 and 1986 Mort Drucker and James Dumas had their own syndicated gag strip titled Benchley, which centred on a fictional assistant of Ronald Reagan by that name. 

Mort Drucker retired from Mad in 2006, after fifty five years. This made him the artist with the longest uninterrupted run at the magazine. Of artists who did not write their own articles, Mort Drucker had more bylines in Mad than any other.

There can be no doubt that Mort Drucker was the master of celebrity parodies. He had a particular gift for caricaturing several celebrities all in one panel. What is more, he could capture the spirit of an celebrity in such a way that the celebrity was immediately recognisable. There was very little exaggeration in his work. What made Mort Drucker's movie and television show parodies even better is that they were very cinematic, with attention to angles, lighting, and other details. Mort Drucker was so good at what he did that he even had fans among the very celebrities he parodied. Both Speaker of the House Tip O'Neil and President Ronald Reagan were fans of his work on Benchley. Other cartoonists recognised Mr. Drucker's talent. Charles M. Schulz once said, that  he"...draws everything the way we would all like to draw." It was perhaps George Lucas who summed up Mort Drucker's long and acclaimed career best, calling him, "...the artist that defines Mad for me." There can be no doubt that Mort Drucker defined Mad for many others as well.

Sunday, April 12, 2020

Happy Easter 2020

Here at A Shroud of Thoughts I am well aware that there are those who prefer cheesecake to chocolate eggs, so here are this year's pinups!

First up is Dorothy Jordan dressed as a bunny!

Here is Pat Hall with a real bunny!

Here is Angie Dickinson with a creepy bunny!

The leggy and lovely Mary Tyler Moore with a bunch of bunnies!

And finally, here is Ann Miller who is watering her lilies. It is also Ann Miller's birthday! She was born today in 1923.

Happy Easter!

Wednesday, April 8, 2020

The 30th Anniversary of Twin Peaks

It was thirty years ago today that Twin Peaks debuted on ABC. Created by television writer Mark Frost and motion picture director David Lynch, Twin Peaks only a ran a little over a year, but it launched a media franchise that lasts to this day. It also revolutionised American broadcast television.

Twin Peaks centred on the small town of the same name located in the state of Washington. Initially it followed the investigation of Special Agent Dale Cooper (Kyle MacLachlan) and Sheriff Harry S. Truman (Michael Ontkean) into the murder of homecoming queen Laura Palmer (Sheryl Lee). The show was unusual in that it was one of the few network television dramas of the time outside of soap operas to have a serialized storyline. It was also set apart from other shows in that it combined several different genres, including detective fiction, supernatural horror, soap opera, and even camp.

As mentioned earlier, Twin Peaks was created by Mark Frost and David Lynch. Mark Frost was a well-established television writer who had served as story editor on the show Hill Street Blues. Of course, David Lynch was the director of such motion pictures as The Elephant Man (1980) and Blue Velvet (1986). The two men met when they were working together on a screenplay about the life of Marilyn Monroe based on the book The Goddess: The Secret Lives of Marilyn Monroe. The project never moved forward and Messrs. Frost and Lynch afterwards worked on a comedy screenplay titled One Saliva Bubble, which also never got off the ground. It was David Lynch's agent, Tony Krantz, who suggested that he do a television show. Mr. Lynch was not enthusiastic about doing a television show, but Mr. Krantz encouraged him to do a television show "...about real life in America—your vision of America the same way you demonstrated it in Blue Velvet."

Initially Mark Frost and David Lynch decided the show would be set in the plains of North Dakota and would even be titled North Dakota. It was after they screened the movie Peyton Place (1957) that they changed the show's location to the Pacific Northwest and the title of the show to Northwest Passage. The murder of Laura Palmer that provided the impetus for much of Twin Peaks was inspired by an actual unsolved death. Mark Frost had been told by his grandmother, Betty Calhoun, about Hazel Irene Drew, who had been murdered in Sand Lake, New York in 1908. Miss Drew was a 19 year old blonde who worked as a governess for a local professor and who, from the expensive clothing she wore and her reported relationships with various men, appeared to lead a double life. Her death received national attention and remains unsolved to this day.

Mark Frost and David Lynch pitched what would become Twin Peaks to ABC and they received the go-ahead to make the series pilot. While Bob Iger, who had become head of ABC Entertainment after the network had picked up the project, liked the pilot, there were those ABC executives who were nervous about it and a few who thought the show would either never make it to the air or would simply air as a seven hour miniseries. As it was, ABC need not have worried. Twin Peaks debuted on April 8 1990 to good ratings. The pilot movie was watched by 33% of the television audience at the time. While Twin Peaks would not maintain such incredible Nielsen ratings, it proved to be very popular. In fact, in its first season Twin Peaks was something of a phenomenon, comparable to the "Davy Crockett" mini-series on Disneyland in the Fifties or the TV series Batman in the Sixties.

Indeed, in 1990 it would have been very difficult to avoid coverage of Twin Peaks. The show was featured on the covers of such magazines as Playboy, Rolling Stone, Time, and TV Guide. As might be expected, Twin Peaks inspired its share of merchandise. The Secret Diary of Laura Palmer was published in September 1990. It was followed by The Autobiography of F.B.I. Special Agent Dale Cooper: My Life, My Tapes and Welcome to Twin Peaks: An Access Guide to the Town in 1991. The soundtrack to the TV series was also released in September 1990. Just as Batman in 1966 before it, there was a good deal of unauthorised Twin Peaks merchandise on the market, particularly T-shirts.

Unfortunately, the success of Twin Peaks would not last. Ratings for the show declined with the second season. Worse yet, ABC pressured Mark Frost and David Lynch to resolve the murder of Laura Palmer. With the resolution of Laura Palmer's murder, ratings for Twin Peaks would fall even further. Eventually ratings for Twin Peaks were so bad that ABC placed the show on indefinite hiatus. It was after a letter writing campaign that ABC decided to air the show's final six episodes, which were burned off during the summer. After being one of the most successful shows of the 1989-1990 season, Twin Peaks was cancelled in the 1990-1991 season.

As to what led to the cancellation of Twin Peaks in its first run, there were multiple reasons. Chief among these was the fact that ABC moved the show around the network's schedule. Sadly, changing time slots often hurt a show's ratings. As mentioned above, the resolution of Laura Palmer's murder also led to a drop in the show's ratings. With the murder solved, many viewers likely lost interest in the show. Both Mark Frost and David Lynch believe that the resolution of Laura Palmer's murder is what killed the show. Complicating matters further, following the resolution of Laura Palmer's death, Twin Peaks was often pre-empted by coverage of the Gulf War. 
While there can be no doubt that inconsistent time slots, the resolution of Laura Palmer's murder, and consistently being pre-empted by Gulf War coverage took their toll on Twin Peaks, there may be another reason the show declined in the ratings. Twin Peaks was very much a fad, not unlike Batman in the Sixties. Like Batman, Twin Peaks received phenomenal ratings when it initially aired. And like Batman, ratings declined dramatically in its second season. In this respect, both Batman and Twin Peaks took the same course as most fads, from the hula hoop to pet rocks.  In the book Fads, Follies, and Delusions of the American People by Paul Sann, it is noted that often the more intensely a fad is adopted, the shorter its duration will be. Viewers embraced Twin Peaks almost immediately and there was already a good deal of press coverage and merchandise in its first few months. Having been embraced by viewers so quickly and so intensely, it was perhaps inevitable that viewers would eventually grow tired of the show and stop watching it. Quite simply, the Twin Peaks fad ended.

While ABC had cancelled the show, Twin Peaks was hardly gone. A prequel movie,  Twin Peaks: Fire Walk with Me, directed by David Lynch, was released in August 1992. In 1993 cable channel Bravo began airing reruns of Twin Peaks. While no new Twin Peaks material would emerge following Fire Walk with Me, the show's fandom remained active and effectively kept the show alive.

It would be the continued popularity of Twin Peaks that would lead to a third season on the premium cable channel Showtime. The new season debuted on Showtime on May 21 2017 and included eighteen new episodes. The new season brought with it new Twin Peaks merchandise, including the books The Secret History of Twin Peaks and Twin Peaks: The Final Dossier.

For a show that lasted only a little over a year, Twin Peaks would have a  lasting influence. Prior to Twin Peaks, outside of primetime soap operas, there were only a few shows with extended storylines, among them Hill Street Blues, St. Elsewhere, Crime Story, and Wiseguy. Twin Peaks went even further with its serialised storyline than many of the shows before it, to the point that many have counted it as a primetime soap opera. As one of the earliest American television shows with serialised storylines, Twin Peaks would have a lasting impact on television series from The X-Files to Lost to Mad Men.

Along with Miami Vice and Crime Story, Twin Peaks was also among the first television shows to put an emphasis on cinematography. Twin Peaks looked very much like a feature film. In this respect, Twin Peaks can be considered a forerunner of modern television shows, which tend to look much more cinematic than many television shows made in the Fifties, Sixties, Seventies, and Eighties. In fact, many more recent shows have borrowed liberally from Twin Peaks in everything from its use of space to tracking shots. Twin Peaks may have been shot in the traditional television aspect ratio of 4:3 and using analogue technology, but it was by far the most cinematic television show up to that time.

In the years since Twin Peaks aired its influence has continued to be felt on television shows. The mystery comedy Pscyh did a tribute to the show with its episode "Dual Spires," which not only contained several references to Twin Peaks, but included many of its cast as guest stars. While Riverdale is loosely based on Archie Comics characters, it also owes a good deal to the show. In fact, Mädchen Amick (who played Shelly on Twin Peaks) is even a member of the cast of Riverdale. Twin Peaks has been referenced on shows from The Simpsons  to Gravity Falls.

Twin Peaks lasted all too briefly. Even with the revival on Showtime there are only 48 episodes. Still, it had an impact much larger than many shows that ran much longer. Even now, Twin Peaks continues to have an impact.