Time Life awesomely follows up its recent (reviewed) epic DVD release of concerts, television shows, documentaries, etc. of Cher with the even more phenomenal "Dolly: The Ultimate Collection" celebrating the 50-year career of Dolly Parton. This perfect gift for any of the numerous demographics to which the modern queen of country appeals is only available by visiting the Time Life website. Being able to get away with just sticking a bow on the sturdy decorative box is a nice feature. 

The only disappointing aspect of the below well-produced and comprehensive Time Life promo. for "Dolly" is that it does not follow the company tradition of having the titles scroll across the screen over scenes of the American Idol of the hour belting out her hits and appearing in clips from the series and other productions featuring her that comprise this 19-DVD, 35-hour set.

The preaching to the choir aspects of this set are numerous episodes of the '70s daytime series "Dolly" and the '80s primetime variety show of the same name, the two '80s Christmas specials, and the concerts. This not to mention "Tonight Show" appearances and the seven episodes of "The Porter Wagoner Show" that provided Parton a big break.

Highlights of the '70s series include Parton peers/friends Emmy Lou Harris and Linda Ronstadt appearing in one episode and the parents and 12 siblings of Parton providing the entertainment in another outing. A terrifically bizarre duet of the Tony Orlando and Dawn hit "Knock Three Times on the Ceiling" with Kenny Rogers in another episode is must-see. 

The regular primetime "Date With Dolly" segment having Patrick Duffy and Parton co-star Burt Reynolds playing two of the gentlemen callers is just as much fun. This is not to mention the cold opens featuring the star in a bubble bath. Parton fully channels Carol Burnett with a twist by ending each episode with a witty Q&A session. The quick wit that Parton displays here fully reflect the spirit of her song "Dumb Blonde" in which this master of all media shows that she ain't no stereotype. 

All of this (and the rest) is great fun for those of us who are more familiar with the mainstream hits, film roles, and big and busty persona of Parton. Seeing the wide variety of her work, learning that she wrote the Whitney Houston hit "I Will Always Love You," discovering that "Islands in the Stream" apparently is a gay anthem, shows that she once was the hardest working woman in show business is enlightening.

The bonus disc that includes the BBC documentary "Dolly Parton: Here I Am" is a personal favorite in this enormous set (truly, no pun intended). It fills in many gaps as to the tale of growing up poor with 12 siblings, being a child country-music star, and moving to Nashville at 18 to fully become a star. 

An awesome "behind-the-scenes" segment tells the tale as old of time as to Wagoner getting jealous when Parton begins to eclipse him. The response of Parton makes it clear that she knows how to make her point without biting the hand that currently is feeding her. 

The segment on the film debut of Parton in "9 to 5" is one of the most interesting in "Here." We learn how producer/star Jane Fonda gets the idea to recruit Parton for the film and also get the perspective of co-star Lily Tomlin. This is not to mention the extent to which Parton nails the titular theme. 

The big picture this time is that watching even roughly one-third of "Collection" clearly demonstrates the perfection combination of charm, talent, shrewdness, and ambition that earns Parton the respect and admiration of even us damn Yankees. 

God to lovers of the eternal musical-comedy series of the '60s and '70s Time Life awesomely follows up its (reviewed) "Best of Sonny and Cher" DVD set with the September 15, 2020 release of "The Best  of Cher." 

The new bonus-dripping 8 discs take us from the late-70s "Cher" CBS musical comedy series, which is comparable to Laverne keeping the laughs coming after Shirley bails in the final season of their sitcom, to the 2013 Lifetime "Dear Mom, Love Cher" documentary. The latter has our enduring living legend reminisce with mother Georgia Holt. One spoiler is that this one shows that the apple lands directly under the tree.

The fun begins with the February 9, 1975 pilot episode of "Cher." The titular entertainer stays true to form by opening the show belting out a tune while (barely) dressed in one of seemingly infinite outfits that Bob Mackie has designed for her throughout the decades. This leads a little bit of a downer opening monologue in which Cher comments on her no longer living a pro Bono existence. 

An incestuous element of this series is that it is produced by George Schlatter; Schlatter also is the brains behind the (reviewed) late '60s-early '70s phenom "Laugh-In," which is out on DVD thanks to Time-Life. Schlatter contributes his two cents to "Cher" in a DVD bonus interview. 

The '70stastic guests that help Cher get her groove back are Elton John, Bette Midler, and Flip Wilson. Highlights include Flip Wilson alter-ego Geraldine attending a class-reunion with Cher hilariously tacky alter-ego Laverne. We also get Elton John singing a wonderful rendition of "Lucy in the Sky With Diamonds," joining Cher to rock out with one his classics, and doing a medley with Cher and Midler. 

Guests in subsequent episodes include soon-to-be Cher spouse Greg Allman, "Love Boat" darling Charo. "Laugh-In" star Lily Tomlin, "Carol Burnett Show" fall-on-the-floor-funnyman Tim Conway, "Charlie's Angel" Kate Smith, and  far too many other Disco Age A-listers to mention, 

The wonderfully bizarre April 3, 1978 "Cher...Special" begins with a Cher monologue that turns back time to when she feels like an ugly duckling teen and segues to her performing numerous parts in an extended medley of songs from "West Side Story." This leads to performances that range from country queen Dolly Parton to new wave group "The Tubes."

The March 7, 1979 special "Cher... and Other Fantasies" finds our star the apparent prisoner of an impish creature played by Elliott Gould. The Gould character repeatedly sends Cher into rooms in an office building from Heck. The vignettes involve situations such as Shelley Winters, who essentially is forced to eat dirt and returns the favor, playing a woman who sells angst. We also get Andy Kaufman as a bizarre version of Adam just arriving in The Garden of Eden.

The aforementioned "Mom" does a good job keeping the story of gypsy and tramp (but not thief) Holt light and entertaining. We additionally get interesting insight into (almost aborted) life of Cher. A mug shot of our gay icon is one of numerous vintage images. Learning at the end that all of this is an infomercial for the new album of Holt does make the audience feel duped.

The "Mom" disc includes a fun 1987 "Superstars and Their Moms" segments that greatly overlaps Mom. The most fun of this is seeing Carol Burnett as we mostly likely have never seen her before. 

An even more fun bonus on this disc has Cher and talk-show host James Corden playing truth-or-dare with some of the most disgusting food known to mankind. This one makes many of us wonder if we would emulate Cher in chowing down on a gag-worthy item to avoid saying one nice thing about Donald Trump. 

Music takes center stage over comedy and nostalgia in the August 1999 recording of the Cher MGM concert.

The big picture this time is that "Best" preserves numerous highlights from the "Star Wars" of celebrities in that the woman of the many hours is a goddess to three generations (and counting) of fans. This truly is one that the entire family can enjoy while (largely thanks to Trump) essentially subject to house arrest for the foreseeable future.

The Olive Films Signature division of  Olive Films June, 20, 2020 Blu-ray of the Milos Formam ("One Flew Over the Cuckoo's Nest," "Amadeus") 1979 film adaptation of the 1968 Broadway musical "Hair" is further proof that Olive reflects the criterion for DVD and Blu-ray releases of art house and cult films. 

This pristinely remastered Blu-ray presents the film in a scope and with a sound that is better than seeing it in a theater in 1979 and barely falls short of the watching a live-stage production. Folks who are only familiar with the play will notice several differences. Most of the alterations make sense, and all of them enhance the social conscience aspects of the production.

The awesomeness of "Hair" extends well beyond the iconic soundtrack (the title song, "Good Morning Starshine," "The Age of Aquarius," etc.) and the famed nude scene. This phenomenon has enough social commentary for three productions.

The opens with "Aquarius" accompanying aptly drab scenery of the Oklahoma countryside as local farmboy/draftee Claude Bukowski (John Savage) waits for the Trailways bus to take him to New York. His awkward goodbye with his father, who is torn between wanting his son to do his duty (and to not end up either in jail or Toronto) but knowing that he probably is going to die in Vietnam, perfectly represents that aspect of that era. The Blu-ray enchancement greatly highlights the contrast between the bland childhood of the central Okie and the commencement of his literal and figurative rude awakenings. 

Bukowski arriving in bright, sunny, colorful Central Park is comparable to Chez Gale crashing down somewhere over the rainbow. He soon encounters a "tribe" of Broadway/Hollywood friendly hippies led by George Berger (Treat Williams). (One spoiler is that the film version of "Hair" excludes a look at the treat of Williams and everyone else.)

The other fateful encounter at that time involves making extended eye contact with horseback riding debutante Sheila Franklin (Beverly D'Angelo). All three worlds collide with the hippie shenanigans/harassment of Franklin lead to Bukowski jumping on a horse and showing the entire group his mad riding skills.

In a manner that remains true to the vibe of two strange dogs literally and figuratively sniffing each other out during this entire portion of the film, Berger soon convinces Bukowski to abandon plans to visit the Empire State Building in favor of hanging out and smoking hash. Suffice it to say that our hero soon adapts to his new environment.

The next morning brings heavy symbolism as Berger defaces an image of Sheila in a highly meaningful way and then essentially whistles over a retreating Bukowski and convinces him to join the pack in crashing a party at Chez Franklin. Watching the long-haired tye-dye wearing interlopers and Bukowski in his ugly brown polyester suit from Sears among the impeccably dressed one-percenters cannot get any better until it does when a patriarch sends a wimpy preppy school boy over to confront the group.

The real fun begins when all assembled gather for a formal sit-down lunch and efforts to oust Berger leads to an elaborate "Coyote Ugly" style song-and-dance number. Seeing Charlotte Rae get into the spirit of things in full Edna Garrett fashion is the icing on the cake. (Another fun moment comes on recognizing the voice of Nell Carter ("Gimme A Break") emanating from a Central Park hippie.)

The aftermath involves a wonderfully enthusiastic "Chicago" style song-and-dance number involving the titular tune; this portion of the film also provides greater insight into Berger.

The hi-jinks continue until Bukowski and his fellow draftees undergo a purposefully humiliating induction procedure; this being "Hair," a hilarious raucous counter-culture song-and-dance number lightens the mood.

The film then moves in a different direction in every sense as Berger convinces his people (and a few tag-alongs) to take a road trip to the Nevada Army base where Bukowski is undergoing basic training. This leads to further counter-culture mischief with a surprise twist on the end that everyone knows is coming.

The ending is very true to the spirit of both the play and the film. The genocide of boys-next-door in Vietnam was to benefit the people who stayed at home. Further, going over there was a rite-of-passage that sobered up boys who either were cruising around suburbs and small towns in their American cars or were smoking hash and taking acid in the big city.

Either way, their deaths destroyed their futures and devastated all who loved them. This is not to mention the guys who made it back but still are damaged 50 years later.

Signature supplements all this with its standard high-caliber extras that make its sets true collector's editions. This begins with audio commentary by Williams as well as by assistant director Michael Hausman.

The 30-minute "The Tribe Remembers" has Savage, D'Angelo, and several tribe members reminisce about the film from the pre-audition to the post-release stages. The fun begins with the initial criteria for auditioning, continues with the "Chorus Line" style casting process, and ends with many cast members discusses this career-changing gig. The inarguably best story is that of the reaction of the  repressed Texan mother of one of the lost boys watching her baby croon about oral and anal sex.

Other bonuses include famed (pun intended) "Hair" choreographer Twyla Thorp discusses her work, and separate features on the style and the finished product. There also is separate discussion of Forman and an essay on "Hair." 

The star power in front of and behind the camera as to the 2019 documentary "Once Were Brothers: Robbie Robertson and the Band" is enough to make the Magnolia Pictures May 26, 2020 Blu-ray, DVD, and Digital releases of this tribute to that quintet must-see for the broad demographic to which it appeals. The underlying blockbuster-worthy tale seals the deal. 

The aforementioned behind-the-scenes talent includes executive producers Martin Scorsese, Ron Howard, and long-time Howard production partner Brian Grazer. Director Daniel Roher gives PBS darling Ken Burns ample reason to look over his shoulder.

The titular frontman is the tip of the iceberg as to the Hall of Fame musicians who make up the talking heads (sans David Byrne) in the film. We hear quite a bit from former "Band" member Eric Clapton, former frontman for the titular band of brothers Bob Dylan, and devoted fans Bruce Springsteen and Peter Gabriel.

The festival love that verifies that "Robertson" gets its material down pat includes a 2020 Palm Springs International Film Festival Best of the Fest award for Roher. The 2019 Whistler Film Festival expresses its regard via a World  Documentary Award win.

The following compelling trailer for "Robertson" highlights the charm and insight of Robertson, who narrates the film. We also get plenty of PG stories of sex, and drugs, and rock-and-roll that are de rigueur for any group of musicians. 

Robertson awesomely starts his tale as a Toronto teen in the '50s; this early tales remind us that the adolescents of the Great White North are just the same as the kids living south of their border.

The "When It Began" (apologies to disgruntled father-in-law Dylan) tale continues with Robertson sharing how he and future fellow "Band" mate Levon Helm come to join the Hawkmen of Canadian idol Ronnie Hawkins. The admiration that Hawkins expresses for Robertson in the documentary is one of many examples of a mutual admiration society in this feel-good film in an pandemic era. 

The "its complicated" nature of the relationship between Robertson and Helm drives much of the film; Team Scorsese chooses wisely in initially depicting Helm as an infectiously enthusiastic lad and going on to show how he succumbs to the Bieber Syndrome that seemingly infects every Disney Channel star. 

The Dylan connection also makes for good entertainment; we see how domestic and foreign audiences react to that rock god putting Team Robertson on the payroll; the course of that relationship is another aspect that screams for Howard to make a big-budget biopic about Robertson.

We further learn of the history behind Scorsese adopting this project; a segment in "Robertson" focuses on the "Band" 1976 concert film "The Last Waltz," which turns out to be a swan song for that group, that Scorsese films. A memory of Clapton as to that event further proves that Robertson is a guy with whom one would enjoy sharing a Molson.

The big picture this time is that films like "Robertson" strive for the same goal as this site; namely, to keep American pop culture alive for as long as possible. We are very lucky to be able to hear from this guitar hero. He was there at the beginning, successfully kept up with the times as they were a changin', and is still around to coherently tell his tale. This sadly literally makes him part of a rapidly dying breed.

Time Life more fully establishes itself as the king of DVD releases of '60s and '70s A-List celebrity variety shows with the February 11, 2020 DVD release of "I Got You Babe: The Best of Sonny and Cher." This 5-disc set  with a modern-era interview with Cher and other truly special feature joins epic sets of (reviewed) "The Carol Burnett Show," "The Jackie Gleason Show" and (reviewed) "Laugh In" in the Time Life catalog. 

Although "Burnett" and "Laugh In" are bigger hits, "Sonny" arguably better reflects pop culture and has greater influence over TV Land. This brainchild of lowest-common denominator genius Fred Silverman reflect the wisdom of "I Love Lucy."  Ala Desi Arnaz, Bono puts his ego aside to let his more appealing and talented spouse be the main attraction, 

On a related note, the playfully bickering husband-and-wife variety show format helps pave the way for similar '70stastic television fare that follows. The closest homage is "The Captain and Tennille," "Donny and Marie" also is very similar, and the influence extends to "Tony Orlando and Dawn."

Moving into the '80s, "Sonny" (ala "Lucy") ending when the stars experience irreconcilable differences also reflects "Happy Days"spin-off "Joanie Loves Chachi" ending for reasons that include Joanie no longer loving Chachi.

The "Sonny" set beginning at the beginning lets us see the genesis of the series; subsequent episodes in the set show how it evolves.

Two constants are Mr. and Mrs. Bono coming on stage at the beginning to sing a duet and give Cher a chance to deliver short, Italian, and fat jokes that reflect the era in which people have a sense of humor. Cher asking Sonny if he is a horny toad after he shares a review that states that he sings like a frog also is typical. Copious related humor that makes it clear that Sonny will be handling his romantic urges pro Bono that night are surprisingly racy for network television of the era.

This is just the tip of the iceberg as to "offensive" humor of the show. Much of this revolves around black ensemble member Freeman King, who does not seem to mind jokes that include him saying that he likes watermelon pie. 

The first guest being Jimmy Durante both makes it clear that (ala "The Monkees") the Bonos are harmless hippies. This also shows that "Sonny" reflects the same wisdom as Burnett, who find that the best guests are the ones who can both sing and act. 

The style of humor on "Sonny" much more reflects the rapid-fire and politically edgy style of "Laugh In" than the more extended (and kinder and gentler) sketch format of "Burnett"; not that there is anything wrong with that.

"Sonny" borrowing from "Laugh In" extends beyond incorporating a party scene in which regulars and guest stars fire off one-liners. "Sonny" regularly has Cher lead an all singing all-dancing group of troupers in a bit that intersperses short skits around a central theme. An example of this is the Art Carney episode that parodies Army life through the years; there surprisingly is no reference to Vietnam.

A variation of the above is the well-known regular bit in which Cher sings her "Vamp" song accompanied by skits that feature femme fatales throughout the ages.

The aforementioned bonuses include an interview with "Sonny" producers Allan Blye and Chris Bearde; their reminiscences include future Congressman Bono saying at an early discussion of the show that he has more substance than his "stumblebum" TV persona. This is particularly clear as to an insightful Bono dominating the conversation in a 1970 interview for the talk show "Jerry's Place" that is another bonus feature.

The biggest takeaway from all this further borrows from Burnett; her wisdom related to her wit is that something this is funny remains eternally funny.​

Former "The Young and the Restless" hunk/rocker/notable sitcom guest star Michael "Flyman" Damian once more puts his diverse background to good use in producing/writing/directing "High Strung Free Dance." An interview with Michael spouse/partner-in-filmmkaing Janeen Damian on the theater-quality GVN Releasing February 4, 2020 Blu-ray of "Free Dance" shows the extent to which art imitates life. The ONLY "complaints" about this sequel are that it lacks the term "Electric Boogaloo" and does not recreate the awesome violin bow duel from the (reviewed)  original. 

One can only hope that there is a "High Strung 3" and that the tag line is "this time its personal." It is very clear that Michael, whom the behind-the-scenes BD extra tells us loves to move the camera, is not close to being too old for this "stuff." 

On a serious note, Damian also takes advantage of his decades of show business experience by following the general rule of making a sequel more grand than the original, He does buck the trend of a first sequel being horrible only to have the franchise rebound with the third entry. This creates great expectations as to the aforementioned next "High Strung" movie.

Damian (perhaps inadvertently) also reflects the wisdom of the mid-70s Saturday-morning series "The New Scooby-Doo Movies" that a fan base can handle a more mature offering than the series that brings them to the table. The post on "High Strung" notes that it seems to be geared to a tween girl audience but appeals to a broad age group, 

The final aside before fully discussing "Free Dance" is that the "cast of 1,000s" listed as producers of this crowdfunded movie shows that it would be cool to see your name on the silver screen. These contributions to indie films that value art over commerce also help talented folks such as Damian continue to "rock on."

The following trailer for "Free Dance" highlights how it is brighter, grander, and more adult than its excellent predecessor. 

"Free Dance" takes its name from the epic Broadway show around which the film revolves. The link with "High Strung" is that both films feature Jane Seymour as highly demanding dance instructor (ala Lydia Grant of "Fame" fame) Oksana in both films. One difference this time is that Oksana has a highly personal interest (and rocky relationship) as to central dancer Barlow (Juliet Doherty).

The asides this time are that we know that Seymour is not an ex-wife of Henry VIII but do not know whether Oksana considers Anna Karenina her favorite author.

Damian pays a wonderful homage to the past by bringing the epic '30s musicals back in a much bolder and brighter fashion in the 21st century. This more than justifies the physical-media release opting for Blu-ray.

This ode to yesteryear includes Barlow initially not making the cut as a background dancer for the titular extravaganza of fabled choreographer Zander Raines (Thomas "Harry Hook" Doherty of the "Descendants" franchise). Barlow not taking "no" for an answer puts right what once went wrong.

Our classic tale continues with deli delivery boy/aspiring pianist Charlie (Harry "Vampire Boy" Jarvis) getting his first lucky break in terms of one chance encounter connecting him with a reclusive retired famous pianist.  A subsequent series of fortunate (and one seemingly not-so-fortunate) circumstances leads to Charlie getting the gig as the on-stage pianist for the show, Barlow being his muse helps the production while contributing to backstage drama. 

Related asides this time are that casting Thomas and Harry reinforce that Michael (who casts "handsome devil "Nicholas Galitizine in the first film) has a good eye for talented British pretty boys and that Jarvis shares in an interview for another outlet that "Free Dance" prompts him to resume his piano studies after a long absence. His exceptional playing proves that he is an apt pupil; his youthful exuberance in the behind-the-scenes feature further reflects the love for his role that his performance conveys. 

Much of "Free Dance" centers  around the trauma and drama of rehearsing for the show, The vintage-style shifting fortunes of Barlow drive much of the action. 

All of this leads to the epic opening night; a twist during this frantic period will cause many viewers of this compelling film to yell out a word that rhymes with "witch" when it seems that nice guys once again finish last. 

Damian fully delivers as to the final performances that include an truly grand finale. This fully leading to a classic Hollywood ending removes any doubt that Damian honors the past.

Music videos on the Blu-ray further show the love of the art. 

The epilogue to all this is that the post on "High Strung" encourages folks to disregard embarrassment related to seeing a very good film that is geared to tween girls; there is ABSOLUTELY no cause for such concern as to "Free Dance." 

Warner Archive once more proves that B-movies can have "a"ppeal with the recent DVD release of the 1934 musical-comedy "Harold Teen," which is based on the comic strip of the same name. This delightful romp also illustrates the cross-pollination that is prevalent in the first half of the 20th century and is still alive today. 

Early 20th-century comic strips, as is the case regarding "Harold," have a proud history of getting films. radio shows, (sometimes hit Broadway musicals), and television series. "Harold" does fairly well as to getting two of these. In addition to two film adaptations, "Harold" gets a radio show. 

A VERY cool thing about the silver screen Harolds is that a 1928 silent version stars Arthur Lake of "Blondie" fame. That strip gets a a radio show, a one-season wonder television series in which  Pamela Britten of "My Favorite Martian," plays the lady of the lake, AND a plethora of films. One can only hope that Archive releases the earlier "Harold" film someday. 

The following Archive trailer, which the DVD includes, of "Harold" perfectly conveys the entertainingly wholesome (with a pinch of innuendo) all singing and all dancing fun of this nostalgic treat for all ages, 

The general vibe of "Harold" aptly is like fellow comic strip "Archie," which still is going strong in comic and television form today. Our titular approaching post-adolescent is an Olsen twin in that, like Jimmy Olsen of "Superman" fame, he is a goofy and clumsy recent high school graduate working at a newspaper.

In this case, Harold primarily writes witty snippets for the local rag of his hometown of Covina. 

Returning to the Archie parallels, Harold rides around in a jalopy and follows the pattern of guys who peak in high school by still spending much of his free time at the local teen hangout. In this case, it is the Sugar Bowl ice cream shop that, like "Archie," is owned and operated by a man known as "Pops."

The "Betty" of Harold "Teenzy" Teens is graduating senior Lillian "Lillums" Lovewell; his "Reggie" is romantic rival "Lilacs." 

This clearly Depression-era tale has the father of Lillums being unable to afford to send his daughter to college; he also is very concerned about a mortgage foreclosure. 

Further, the real villain of the piece is aptly named new banker in town H.H, Snatcher. His relatively benign evil is in the form of duping cub (in two senses of that term) reporter Harold., This older man first takes advantage of that rube by handing him a statement asserting the "good" intentions of this newcomer. This executive further pretends to befriend the lad to ensure that the local press is positive. 

A very creepy "Child Bride" element enters the picture when H.H. starts courting Lillums to the extent of buying her a wedding dress. Meanwhile, his partner-in-cradle robbing comes to town and is charged with getting Harold out of the way.

An interesting casting note is that Eddie Tamblyn, father of "West Side Story" star Russ Tamblyn, plays aptly named four-years and counting high-school freshman Shadow, Russ stars in the excellent (reviewed) "Son of a Gunfighter," which is in the Archive catalog. 

Also in true Depression-era style, all this leads to the nicest kids in town planning (and performing as a grand finale) an elaborate "collegiate" musical, An amusing aspect of this is that none of these teens are enrolled in college. 

Of course, the boy gets the girl and everyone who deserves a happy ending gets one. This Hollywood ending is desperately needed in a period in which our chief executive likely will find himself ousted without a golden parachute and that those who bring about his demise likely will learn the wisdom of the Chinese proverb about being careful about for which you wish, These days, it is likely that the new boss will be same as the old boss. BILL GATES IN 2020!!!

The plethora of special features in the Warner Archive July 16, 2019 Blu-ray release of the 1933 James Cagney musical-comedy "Footlight Parade" is the most obvious bonus regarding this highly enhanced film. This movie-industry history lesson in this film ala the theme in "Singin' in the Rain" of the transition from silents to talkies is the icing on the cake as to "Footlight." 

The overall quality of the all-star "Footlight" earns it inclusion in the National Film Registry in 1992. 

The following clip of a "Footlight" trailer does the film justice. This begins with including a cat fight that unarguably is the best moment in the whole movie. We further get a sense of the grand-scale of this let's put on three shows extravaganza courtesy of Busby Berkeley complete with an Esther Williamsesque water ballet number years before she begins her career.

One relevant context for "Footlight" is that the central story reflects the increasingly popular film industry being the video that kills the "radio star" in the form of live-stage productions that cost Depression-era audiences much more to attend. Another driving force is making and setting "Footlight" in the period in which the 1930 Hays Code is beginning to be enforced. 

We meet musical-comedy producer Chester Kent (Cagney) as he is beginning to realize that he is facing obsolescence. His first saving grace is forming a partnership with a couple of shrewd businessmen. The brilliant idea behind making these men unlikely bedfellows is making live-stage prologues a lagniappe to help fill movie theaters. 

Things first get amped up when an Eureka moment causes Kent to realize the benefits of economy-of-scale. A series of unfortunate circumstances related to corporate espionage leads to a do-or-die effort to produce three lavish numbers in as many days and to prevent "Gimbel's" from discovering what "Macys" is up to. The tactic of Kent includes a literal lock-down to prevent any loose lips from sinking his ship.

Other backstage drama includes the same form of creative accounting that has made headlines in the modern era, Ruby Keeler playing stenographer turned star/love interest Bea Thorm to crooner with his own backstory Scotty Blair whom Dick Powell portrays, Joan Blondell as Gal Friday/potential love interest to Kent, and Claire Dodd as tough broad/gold-digger Vivian Rich. 

It is equally amusing that Code commentary includes objection to a wholesome (but thoroughly silly) alley-cat number of Keeler and Powell but not a peep as to a bit involving Powell and comic-relief Francis (Frank McHugh) demonstrating a number intended for Thorn and Blair.

All of this culminates in the aforementioned lavish number. "Honeymoon Hotel" is the most entertaining in that it is the most racy and perverse. The overall theme is that the titular lodging establishment facilitates extra-marital activity. The fun includes a troupe of "brides," and much of the perversion comes ala Krofft lttle person Billy Barty playing an odd child whose frantic antics include scurrying away after accidentally ending up in bed with Thorn, 

"By a Waterfall" is an elaborate water ballet that provides the aforementioned Williams vibe; this easily has the most precise and impressive choreography of the three. 

The grande finale "Shanghai Lil" plays very true to the "show must go on" spirit of both "Footlight" and the era. This one has the leading man singing and dancing his way through a dive bar in search of the titular soulmate. It is highly suggested that the other women in the joint have plenty of two bits for their brews. This leads to a "Coyote Ugly" style dance number on top of the bar.

Considering many of the themes of "Footlight," it is highly apt that the audience is exhausted and satisfied at the end of this never-a-dull-moment film.

The Blu-ray extras start out strong with a 15-minute documentary titled "Footlight Parade: Music for the Decades." Gleeful King of Raunch John Waters and others share their perspectives, which largely mirror those in this post. We also get several highly relevant interesting factoids. 

A quartet of vintage Warner cartoons ties into the documentary by illustrating the comment that that studio gets good use from songs created for musicals by also centering animated shorts around them. Archive providing the standard disclaimer regarding the racist nature of older cartoons does not prepare the audience for the scene in the highly offensive "One Step Ahead of My Shadow" in which two of the Orientals (my people call them Asians) that populate most of this one double down by doing an Amos and Andy impression; they do stop short of using blackface.

"Vaudeville Reel #1" includes the standard acrobats, child star, etc of this form of entertainment. The absence of the act titled "The Aristocrats" is an obvious omission. 

An amusing aspect of all this is that Archive honors a major theme of "Footlight" by making this masterfully restored release a bargain for movie lovers or simply anyone who is seeking roughly 2.5 hours of escapist fun that includes an epilogue. 

The Breaking Glass Pictures June 18, 2019 DVD release of the 2018 "coming-of-age age war musical" period piece "Kanarie" fully demonstrates the regard of Breaking for the spirits of both Pride and the '80s. The film also shows that not learning the lessons of apartheid and government-condoned homophobia back them are condemning us to repeat aspects of both 35 years later. 

The following YouTube clip of a "Kanarie" trailer does just as well highlighting all of the three seemingly incompatible elements of the film as writer/director Christiaan Olwagen does blending them.

"Kanarie" opens on a high note; 18 year-old Johan is having great fun wearing a wedding gown and clowning around with his sister. This glee leads to a dare for Johan to walk down the street of his small conservative town in that garb. The rest of the story is that the parents of that excitable boy/fan of Boy George and Depeche Mode are prominent pillars of the community. 

All starts out well and leads to one of a few fantasy musical numbers that are straight out of the MTV of the era. Things come crashing down in a way to which all of us who have shed off our repressions and expressed pure joy only to have the real world provide an abrupt rude awakening can relate. 

The expression "out the frying pan, into the fire" is very apt regarding the news that awaits Johan on his return from his walk-of-shame. He learns that his number has come up and that he must enter the South African army for his two years of service. The rest of the story is that this is an era in which the actual battle regarding apartheid is at a peak. 

Johan receives less-than-anticipated relief when his musical talents earn him a spot in the titular South African Defense Forces Church Choir. That group travels around performing for the folks back home. The rude awakening this time is that the military is very effective at reminding the songbirds that they still are soldiers.

The next scenes evoke strong thoughts of the 1988 Neil Simon semi-autobiographical non-musical war movie "Biloxi Blues." That film has Brooklyn draftee Jerome (Matthew Broderick) traveling to the titular Southern city for basic training before being shipped off to show Mr. Hitler that the nephews of Uncle Sam have something to say about how The Little Corporal is running things. 

Like Jerome, Johan boards a train for his first military home away from home. Both boys also travel with those who at least will be near (if not dear) to them for the foreseeable future. In the case of Jerome, this is rotund high-voiced hyper-active (queen?) Ludolf and their (not-so-little) corporal, whose behavior screams for him to become a victim of friendly fire. 

One difference is that Johan and his band (pun intended) of brothers is headed to the Valhalla Air Force Base in Swartkop.

Beyond that, the similarities between "Biloxi" and "Kanarie" are so strong that one must think about whether come elements are from the former or the latter. An example of this is a white soldier in "Biloxi" concealing that one of his parents is black. Another "Biloxi" scene has two gay soldiers getting caught in the act prompting a witch hunt. 

Johan and Ludolf soon meet and bond with Wolfgang Muller, who shares the enthusiasm of Johan for the pop music of the day.

Much of the good humor of "Kanarie" comes courtesy of scenes with the stereotypical host families with whom they stay while on tour. These include a motherly type and a Mrs. Robinson who clumsily tries to seduce the lads.

It is during this period that Johan and Wolfgang truly become brothers at arms. The problem is that Johan is uncomfortable about even accepting (let alone embracing) that he is gay. He puts this in the context that Boy George is keeping at least one foot in the closet. 

Of course, all this leads to final act drama as Johan faces the dual pressures of being in the military and singing in a church choir. The means by which he receives at least a quantum of solace shows that there was more enlightenment than generally considered in the mid-80s. 

The bigger (and highly relatable) picture this time is that virtually all of us experience a first or second coming-of-age on concluding our high-school career. We experience the larger world by entering college, enlisting in the military, or immediately becoming a wage slave. The common lessons that come with these experiences is that we must adapt or perish and that that does not always come with the luxury of to thine own selves be true. 
'
Olwagen nicely expresses the times that are a changing in the South African in the '70s and '80s and what makes his characters from that era tick in an insightful DVD extra, This feature also provides good behind-the-scenes secrets. 

Olive Film once again simultaneously lives up to its guiding principle "cinema lives here" and proves that we're not worthy with the separate Blu-ray and DVDs releases of two cult classics on June 25, 2019. The 1965 beach-musical "How to Stuff a Wild Bikini" is the topic du jour.

The equally good (and equally they don't make 'em like that anymore) occult thriller "The Believers" (1987) is a topic for early next week. Blu-ray does films justice, but the bright and sunny musical "Bikini" particularly looks and sounds spectacular in that format.

Doing "Bikini" any justice at all (pun intended) requires much more space than this forum can provide. Suffice it to so that it has every element (and more) of the beach movies of the '60s. You cannot help but feel good while watching it. This is not to mention the star-studded cast of A- and B-Listers that rivals the ensemble of the 1963 "Cannonball Run" style comedy "It's a Mad, Mad, Mad, Mad World."

Comparing "Bikini" to an episode of the wonderfully, zany, madcap kidcom "The Monkees" of the same era provides additional context. Both shows feature the nicest kids in town enjoying the sun and surf of California as they rock out at the drop of a hat while contending with comical villains and square adults. Yes, they are too busy singing to put anybody down. 

The closest modern equivalent is the way-cool movie-within-a-movie "Wet Side Story" that is a major element in the Disney Channel "Teen Beach Movie" franchise starring "Austin and Ally" star/real-life rocker Ross Lynch. The inexcusable delay in releasing the long-promised "Teen Beach Movie 3" is disappointing., 

Veteran beach movie and "Bewitched" director (as well as real-life husband of "Bewitched" star Elizabeth Montgomery) William Asher provides "Stuffed" additional '60scom cred. Further, "Stuffed" centering around the work of Tahitian witch doctor Bwana (Buster Keaton) is only one way that Asher pays homage to his day job. The other connection is too awesome to spoil.

We further get "The Many Loves of Dobie Gillis" star Dwayne Hickman keeping the TV Land spirit alive. The occasions on which Hickman, as literal man in the gray flannel suit Ricky, breaks the fourth wall evokes wonderful memories of "Gillis."

Beach-movie goddess Annette Funicello rounds out our top three as virtuous beach bunny Dee Dee. This character supports the theory that dames ain't nothin' but trouble.

Our story begins with Dee Dee beau Frankie (Frankie Avalon) serving naval reserve duty in Tahiti; his getting restless with a native girl triggers thoughts that the girl back home may conclude that what is good for the goose may be worth a gander. 

The island girl then brings Frankie to Bwana; the two men strike a not-so-gentlemanly deal whereby Bwana will provide the titular bikini, babe Casandra with which to stuff it as a decoy for the Moondoggies back in Cali, and a deep undercover spy to both keep tabs on Dee Dee and to serve as a rooster blocker. The other side of the bargain is that Frankie makes a daily payment for the rendered services. 

Some of  the rest of the story is that Ricky and madman Peachy Keane (Mickey Rooney) make the scene in the quest to find the girl and the boy next door to be the wholesome image of a motorcycle company. This honor goes to the couple that wins a motorcycle race. Their competition includes reformed biker Eric Von Zipper (beach-movie veteran Harvey Lembeck), who zeros in on Casandra as the one whom he wants. 

Hilarity ensues as Ricky pursues Dee Dee, the beach boys (including Bonehead) woo Casandra, and Von Zipper and his gang enact their evil scheme. 

All of this culminates in the titular contest with strong elements of the cartoon of the era "The Wacky Races." Dirty tricks galore keep the fun going. This leads to the related bestowing of the modeling contract and the right boy getting the girl. One should keep in mind that Frankie getting Annette is not set in stone.

The joint first and lasting impressions while watching Warner Archive's Blu-ray release of the 1962 Doris Day musical "Billy Rose's Jumbo" are that they do not make 'em like that anymore and that it is amazing that Blu-ray can make a metrocolor film from an era in which that technology was cutting edge look so sharp. The second first impression is that including the auteur's name in the title does not follow the same tendency of those films being not-so-good ala "Stephen King's ..." or "Tyler Perry's ..."

The  all-star leading cast of "Jumbo" consists of multi-talented Day as Kitty Wonder, the multi-talented daughter of circus owner Anthony "Pop" Wonder. The true show business legend Jimmy Durante plays Pop, and the back cover art on the Blu-ray set reports that he is in the cast of the 1935 original Broadway production of "Jumbo." Pop is one of the then-69 year-old Durante's final film roles.

Well-known funny lady Martha "The Big Mouth" Raye, who is best known to gen Xers as Benita Bizarre on "The Bugaloos" and Mel's mother on the sitcom "Alice," plays Durante's most loyal performer/fiancee of 14 years Lulu. She is also known for suing David Letterman over an off-color joke at her expense.

Pop's gambling addiction and an ongoing campaign by rival circus owner John Noble to either acquire the film's titular character, who is a widely talented performing elephant, or drive the roughly turn-of-the-century Wonder Circus out of business keep Kitty very busy regarding ensuring that the three-ring show goes on. Textbook definition character actor Dean Jagger, whose credits include the awesome storyteller in the very special "The Partridge Family" Christmas episode, plays the not-so-noble Noble.

The fact that true jack-of-all-trades and master-of-several Sam Rawlins, played by Stephen Boyd, arrives at a particularly tough time for the Wonder Circus seems to be too good to be true turns out to be the case. The audience learns half-way through the film that Sam has the daddy of all ulterior motives for helping the Wonders.

The award for most fun cameo goes to a pre "The Addams Family" John Astin as an eccentric bi-plane pilot. 

Day et al do a great job with the Rodgers and Hart score; our Archive friends have located and restored the original Overture, and the toe-tapping starts with "The Circus on Parade." A traditional circus parade aptly accompanies this one.

It is also fun to discover that the classic "The Most Beautiful Girl in the World," which is reprised several times, is from this show. The even-more catchy, and equally reprised, tune "Sawdust, Spangles, and Dreams" is equally memorable. 

As Archive shares, beyond legendary showman Busby Berkeley stages the dazzling circus performances. These feature genuine circus performers. Of course, Jumbo steals the show.

The following clip, courtesy of YouTube, of "Jumbo's" trailer (which the Blu-ray set includes) provides a good sense of the film's fun with only minor spoilers. It also demonstrates the sharp contrast between the standard definition version of the film and the spectacular Blu-ray enhancement.

Wrapping up the four-part series of reviews on the uber-diverse Olive Films August 16, 2016 Blur-ray/DVD releases that has dominated Unreal TV this week with the very groovy psychedelic 1968 dramedy "Wild in the Streets" arguably saves the best for last. This is because this satire regarding granting the actual disenfranchised the vote is very relevant in what arguably is a satirical actual presidential campaign makes it the most relevant of the four.


"Wild," which has a wonderful LSD vibe sound track, opens with '60s style surreal scenes of the oppression/abuse and subsequent drug activity and related rebellion during the childhood and teen years of later counterculture rocker 24 year-old Max Frost. Dreamy Christopher Jones of "Ryan's Daughter" does a terrific job playing Max as someone mainstream enough to (initially) not scare parents while being enough of a rebel to be a teen idol in this era of free love.


Using what seems to be the living room set of the wholesome '50s sitcom "Leave it to Beaver" for the childhood home of Max is almost as awesome as casting top-billed Shelley Winters as his status-obsessed (and later borderline-incestuous) typical '60s housewife mother Daphne.


The action soon shifts to the palatial estate where multi-millionaire commodity Frost lives with his entourage/band. These include adorable 15 year-old Yale Law graduate/accountant/guitarist Billy Gage (who looks as if he is one of My Three Sons). Richard Pryor does well in his early film career role as hilariously named drummer Stanley X.


Classic TV fans will enjoy seeing Kellie Flanagan of the '60s fantasycom "The Ghost and Mrs. Muir" as the young daughter of Fergus. As a first aside, Flanagan states during a May 2015 Unreal TV interview that "Wild" star Hal Holbrook is extremely caring and nice. As a second aside, Flanagan gets one of the best lines in the film during her final scene in which she takes Frost to old school.


"Youthful" 38 year-old California Congressman/U.S. Senate candidate Johnny Fergus (played by a wonderfully youthful Holbrook) recruiting Max and the band to play at a campaign rally gets those kids thinking about the real-world issue regarding 18 year-olds being eligible to be drafted and sent to Viet Nam but not being allowed to vote until they are 21. A related thought is that the majority of the American population is 25 or younger.


These events soon lead to Fergus losing control of Max, who begins an aggressive campaign to lower the voting age to 14 as shown in an awesome video courtesy of YouTube. This, in turn, lead to other satirical reforms that take the '60s concept of not being able to trust anyone over 30 to a hilarious extreme. The expert handling of this includes every scene with Fergus and Frost having the other appear much taller than the latter and looking like father-son interaction.


The related hilarity includes what can be considered weaponized LSD, an outraged senior in every sense U.S. Senator witnessing the free-spirited debauchery at Chez Frost, and the straight-laced teen son of Fergus engaging in the cutest form of rebellion ever. 


Like all great satire, this exagerated version of reality in "Wild" works because it uses a talented writer and director to determine what likable and/or absurd characters say and do. Being given power is a fantasy of the young, and absolute power corrupts absolutely regardless of who yields it.


On a larger level, "Wild" is fun nostalgia for folks old enough to remember psychedelic cinema and a great look at the "ancient" past for folks who have never seen a corded telephone.

Random Media reinforces its love for the offbeat regarding the January 15, 2019 VOD & DVD releases of the 2018 musical dramedy "Tommy Battles the Silver Sea Dragon." This tale of a 20-something (director/writer Luke Shirock) Walter Mitty with more issues than The New Yorker pulls off the tough trick of making a highly experimental film a delight. An even more notable aspect of "Tommy" is that it proves the merits of filmmaking that honors the tradition of valuing art over commerce. 

Personal appreciation of "Tommy" relates to its similarities to all-time fave  "Colma The Musical." That one has recent high-school grads in the titular working-class suburb of San Francisco sing and dance as they deal with poseurs and other harsh realities. 

The following YouTube clip of a "Tommy" trailer highlights the surreal vibe that runs throughout the film; this promo. also demonstrates how this movie can be considered "Law and Order Rock." This is not to mention the glimpse of a hilarious scene in which Tommy turns a thrift store into his playground.

The symbolism in this mostly sung flick begins with the opening images of a full-frontal Tommy walking out of the ocean; his clothes magically fly to him and perform a reverse Full Monty. 

The action takes off a few minutes later when a sleeping Tommy is awoken and quickly dragged Gestapo-style out of his home. He then is thrown into the stereotypical black sedan where he is driven to a court building for a perp. walk followed by the commencement of a trial for the murder of his ex-girlfriend Carolyn.  The singing prosecutor, the warbling defense attorney, and the jury being a literal chorus provide the smoking gun that we are in for a wild ride.

Conflicting evidence regarding Tommy having accidentally shot his brother several years early provides solid  proof both that we cannot believe everything that we see and that the subconscious mind of our main man drives much of the action, Subsequently learning about the real life of this reel character explains the confusion. 

The presentation of evidence rehashes the course of the Tommy/Carolyn relationship from their cute meeting at the prom, through their impromptu "Young Hearts" fleeing from their childhood home, to their honeymoon period, and then to the stage between love and goodbye. This leads to the final exit that is the center of the judicial proceedings. 

The nature of this nightmare dreamscape makes the heavy psychological elements very apt. It also reminds of the extent to which our childhoods shape us. 

The narrative technique of making this a musical is equally appropriate. As folks who are familiar with the genre know, this form of expression typically expresses strong emotions such as the ones that Carolyn heading out into the city triggers in the man who is not deaf, dumb, or blind regarding this development. 

As stated above, Shirock hits all the right notes in presenting this story in this manner. It is unlikely that you will find another quite like it and definitely not one that succeeds any better. 

The Warner Archive November 27, 2018 Blu-ray release of the 1974 musical-comedy "Mame" allows  fans to judge this one for themselves. This film is based on the stage-version of the 1958 Rosalind Russell comedy "Auntie Mame," which based on a story by and about Patrick Dennis.

One sadly undisputed aspect of this film is that having Lucille Ball having a very raspy and deep voice at this point in her career should have precluded having her playing any role that requires singing. The same is true regarding Bea Arthur, who reprises her role as best frienemy stage actress Vera Charles from the 1966 Broadway production. (Yes, I know that God will get me for that.)

"Mame" begins at the end of the Jazz Age; the titular society girl is living it up and thinks that the party will never end until she receives an almost-literal wake-up call during The Crash of '29. This sets the stage (pun intended) for Vera to delver one of the best lines in the play by stating that she is glad that she never set aside any money.

The rest of the story is that The Crash also comes soon after prim-and-proper orphaned nephew Patrick and his frumpy nanny Agnes Gooch (Jane Connell) come to live with his auntie. The foresight of his late father allows Patrick to attend a respectable boarding school and largely avoid the bad influence of his only living relative. 

Meanwhile, Lucy puts her brand of comedy to good use as Mame is required to cut back and to attempt several jobs to keep the roof of her luxurious townhouse over her head. This quest for full employment brings her in contact with future husband/savior Beauregard Jackson Pickett Burnside, "Music Man" Robert Preston, who is best-known to modern audiences for his role in "Victor/Victoria," excels in every aspect of his performance as Beauregard. He gets the bonus of performing "Loving You," which is written for the film. 

Lucy again shines on her trip to the Burnside plantation to meet the mother (Lucille Benson) of Beauregard. Hilarity ensues when a woman scorned and general southern hostility toward damn Yankees combine to set up Mame for a fall. However, that New Yorker wins over the crowd by showing that she is more than a one-trick pony. This leads to the chorus singing the title song that lauds the titular free spirit.

A notable segment that follows is a montage that shows Patrick first growing from a cute and studious lad to a dreamy horndog high school boy and then a skirt-chasing college man. A very cute Bruce Davison of 258 IMDb credits plays that version of Patrick. 

This maturity sets the stage for the final conflict. Patrick is engaged to textbook WASP woman Gloria Upson from Connecticut. This Junior League stereotype and her family are ultra-conservative to the extent of only barely concealing their prejudices. Of course, this does not sit well with bon vivant Mame, 

Stereotype Lucy once again appears in a scheme near the end of the film. She hilariously exposes the nature of the Upsons both for personal satisfaction and to provide Patrick a wake-up call.

Of course, Mame and Patrick get a Broadway/Hollywood ending.

The special features include the theatrical trailer and an eight-minute promo. that celebrates Lucy starring in the film.

The epilogue is that a mediocre film starring Lucy and featuring Bea Arthur is better than the best film that is a showcase for virtually any current Hollywood royalty. 

A delay posting this review of the Shout! Factory November 6, 2018 separate DVD and Blu-ray releases of "The Sound of Music Live" (SOM) is collateral damage from circumstances beyond the control of Unreal TV. Your not-so-humble reviewer ached to honor the spirit of NBC airing the Julie Andrews film every Thanksgiving, Speaking of NBC, a nice surprise regarding this production is that it is NOT the Carrie Underwood version that that network aired in 2013. This one far outshines that noble experiment.

The bottom line regarding this SOM is that it provides a good chance to compare it to the Andrews version and to compare the film and stage variations of the story. Of course, the movie having Penny Robinson and Spider-Man in it gives it a big leg up. 

The better news regarding timing is that ample opportunity remains to give your favorite theater geek or child the the Shout! release for Christmas or merely to play it on an endless loop to keep the kids out of your hair. The FLAWLESS picture and sound (which look very 3Dish when played on a 4K machine and watched on a 4K set) screams to buy the Blu-ray version. 

British television network ITV aired this SOM on December 20, 2015; the twofer aspect is the broadcast being part of both the holiday programming of the network and a desire to air "event" specials. It is reported that the objectives of creative director Corky Giedroyc include this version being closer to the original stage production than to emulate the movie. An aspect of this is maintaining the political aspects that center around the Nazis increasingly taking over Austria.

The following YouTube clip of an ITV promo. for SOM nicely conveys the spirit of both the production and the literally behind-the-scenes feature on the Shout! release. 

The newer version is entertaining from stem to stern and maintains a perfect pace. Further, hearing all the classic songs provides a warm and fuzzy sense of nostalgia. "How Can Love Survive" is not in the film, but is in stage productions. 

The infamous "you can't face" line in a scene in which Maria receives a reality check continues to amuse those of us who embrace our inner 12-year-old boy. It is a near certainty that EVERY actress who portrays Mother Abess focuses on very carefully enunciating that dialogue, 

Two songs stand out in SOM. The "Sixteen Going on Seventeen" duet of eldest Von Trapp daughter Liesl and current delivery boy/future fascist pig Rolf has good charm and humor. It seems that the affection between those all Austrian kids is genuine.

All the kids steal the show in the first presentation of "So Long, Farewell." They are being sent packing during a party at Von Trapp Haus and perform the song as their exit strategy. The choreography and the performances of the Von Trapp Singers this time actually outshines the film version. It is a bit more lively and amusing. 

Describing SOM as understated is only intended to put it in context regarding the film. Kara Tointon ("Mr Selfridge" and "EastEnders") projects the same level of "Keep Calm and Carry On" emotion throughout; she also has a wonderful voice and seems to literally hit every note but does not put her heart and soul into the songs ala Andrews.

Similarly, Julian Ovendon (Downton Abbey) plays Captain Von Trapp with far less emotion and passion than Christopher Plummer. This sadly prevents feeling any connection with this central character.

As mentioned above, the bigger picture is the rise of Nazism in Austria. Watching this production as an adult in 2018 puts a whole new perspective on the story. 

Being an adult in 2018 also screams for escaping the increasing level of fascism and dystopia in the world by watching a new version of a childhood favorite. Keeping the flame alive by watching it with a keyboard kid provides hope that memories of a kinder and gentler period will persist.

The Time Life September 21, 2018 2-disc Blu-ray release "Rock & Roll Hall of Fame Encore" perfectly illustrates the evolution of this company traditionally known for '70s-era fare such as book series about World War II and albums featuring the music of the '50s and '60s. The television ads from that period further reflect the Disco Age by inviting customers to call Judy the Time Life operator on a toll-free line to place an order. "Encore," along with the reviewed Time Life "In Concert" Blu-ray set, fully proves that this is not your father's Time Life.

The participants in the 2010 - 2013 inductions ranging from ABBA to Tom Waits, and including The Hollies and Public Enemy, illustrates both the range of the inductees and that the programs have something for everyone from 8-to-80. A personal note that MUST accompany each of these Blu-ray sets is being a bunkmate of former Del Fuego/V.P. of Education for the Hall Warren Zanes; one spoiler is that that summer is entirely free of any Liverpool handshakes or even cries of "Farrah Fawcett." 

The rest of the story is that older brother/Del Fuego/current kiddie rocker Dan Zanes was a doo woping potato peeler with The Kitchenettes. A cassette of Dan and and autographed photo remain in one of several boxes labelled "stuff" in the basement. 

The bigger mandatory picture is that these ceremonies remind us that true American Idols are not people with the looks and the luck to win a three-month reality show contest. The Hall inductors and inductees remind us that the latter spend years working their way up to selling out stadiums. An inducrtor using slightly more colorful language in referencing one inducted band appearing on stage only wearing a strategically placed sock tempers the sense that hard work is the only way to hit it big. 

Randomly choosing the 2012 ceremony to watch for this review worked out exceptionally well. A keynote speech comments that the event marks a return to Cleveland after a move to New York. A shout-out to Ohio governor John Kasich in that speech prompting boos reflects the political divide that is far worse 6 years later. The speaker defending Kasich by noting his support for bringing the ceremony back to Cleveland shows that some people have the proper perspective.

An energetic last-minute surprise opening by Green Day starts things off on exactly the right note (no pun intended.) The song "Letterbomb" and the group both reminding the crowd that "this is fucking rock-and-roll" shows that music is one place where being unrestrained and uncensored is integral to the experience. 

Late bluesman Freddie King being the first inductee reflects the aforementioned diversity of the Hall; having Billy Gibbons and Dusty Hall of ZZ Top make the induction speech shows how genres can meld together and how music reflects a continuum in which the prior generation pays it forward by mentoring the new kids and giving them the break that sets them on the road to stardom.

The John (do not call him Cougar) Mellencamp induction speech for '60s folk-rock legend Donovan is the best from that category in the evening, The initial theme is the fan love that conveys sincerity and that expresses sentiments regarding which us mere mortals can relate. Mellencamp going on to discuss meeting Donovan in the midst of a literal recording session melee is hilarious and is a good "Behind the Music" story. 

This sets the stage (no pun intended) for Donovan to accept the honor in a fun and heartfelt speech. The Blu-ray liner notes share that this is only time that an inductee has read a poem in such an acceptance. 

Many fans also can relate to the pure fan-oriented induction speech by Chris Rock. Rock discusses getting turned on to The Red Hot Chili Peppers after attending an earlier performance of theirs instead of the concert of the intended group. Rock hilariously discusses wondering if the unusual look of the Peppers is standard for white groups. Black and white people with similar experiences can put themselves in the shoes of Rock.

The other inductees include the Ron Wood and Rod Stewart band Small Faces/Faces and The Beastie Boys. 

Aside from being outsiders with a better than front-row seat for the ceremony by musicians for musicians in what essentially is a grand-scale reunion and jam session back at the hotel after a gig,

​The best thing about these Time Life sets is reminding us of the bands that we loved growing up and of becoming fans of new groups from the first note. A strong personal memory is of being a high-school sophomore invited to join two seniors for ice cream; the excitement continued with the guy who was driving popping a cassette in the player of the family station wagon and commenting that it a great new group called The Police. 

he spectacularly clear images and incredible audio of the Time-Life April 24, 2018 Blu-ray release "Rock and Roll Hall of Fame: In Concert" requires watching it. The perfectly lit dark black background with the blue neon and the flawless enormous slides look fantastic, and the top-notch audio system could not sound better. This warrants inducting Time-Life in the Hall.


Stating that you feel as if you are in the front row is not hyperbole. The very user-friendly main menu easily allowing skipping ahead to a desired induction or specific song in a set (and then keeping the party going without forcing you back to the menu) is beyond awesome.


Two aspects of this set make it personally cool. The first is a link with the "friend from camp" sitcom plot. This storyline typically has a supporting character being unable to get a ticket for a rock concert only to have the lead share that a member of the band is a friend from camp.


The ensuing varying degrees of hilarity typically revolve around the lead being thwarted in efforts to get promised tickets and/or a backstage visit. The climax often involves the rock deity showing up to the intense delight of the starstruck character and equally excited studio audience or laugh track.


The relevancy of this is having shared a summer-camp cabin with former Hall "suit" Warren "Dave" Zanes, whose rock star cred. comes from being a member of the Del Fuegoes.


Current Z Rocker/former Del Fuego Dan "Ray" Zanes simultaneously worked in the camp kitchen and sang doo wop that summer. The Unreal TV archives include what may be the first recording of Dan singing.


Righteous dude Warren currently is literally opening the door to his Jersey home as part of online fundraising to get his latest album out. BTW, your not-so-humble reviewer can get all the tickets that you need when Warren plays Boston. :-)


The final aside regarding this experience is that learning about the copious sex, and drugs, and rock-and-roll among the camp staff required returning to work a decade later. Personal experience regarding that trifecta related to one of the three.


The wider relevance relates to a long-term hatred of "American Idol." The two major peeves regarding that program extend well beyond it being a reality show. One huge bone of contention is that the hard-luck stories are valid bases for sympathy but should be completely irrelevant in a singing contest.


The more relevant basis for loathing "Idol" is an equally long-held belief that winning a contest that lasts a few months does not warrant the title of "idol." Many friends have heard my manifesto about the singers and the bands that deserve that accolade spending years playing dive bars and traveling in broken-down vans before achieving comparable fame to the latest "Idols." The speeches in the Hall induction ceremonies verify this statement.


The "Hall" set contains the full induction ceremonies from 2014-2017. One can only hope that Time-Life does not make us wait four years to see the 2018 event. The inductees ranging from Cat Stevens to the Paul Butterfield Blues Band to Cheap Trick (which sadly disappoints regarding their set), to Nirvana, to Ringo Starr provides some sense of the range of the inductees. Honorees Joan Jett & The Blackhearts arguably deserve the award for the best set.


The first induction speech in the set also is the best one of all speeches. Chris Martin of Cold Play does an awesome job using good humor and fan admiration honoring Peter Garbiel. Hearing English boy Martin share the story of being blown away buying his first Gabriel cassette in Paris and then wandering The City of Light listening to it is relatable to every fan. A somewhat similar story is being a boarding school sophomore getting the twin thrills of seniors inviting me to sneak off campus and this covert adventure involving buying ice cream. An indelible memory is the driver putting in a cassette and telling us that it is a new band called "The Police."


Rob Thomas of Matchbox 20 gets the best line of any ceremony. He spends much of his 2016 speech discussing the hard-rocking elements of "Chicago" to the extent of expertly imitating that new inductee. This leads to him telling the audience members who label "Chicago" as their mother's band that he wants to  (expletive deleted) party with their mother. An equally cool aspect of this is that 37,000,000 online votes is what get "Chicago" in the Hall. One can only hope that "Squeeze" fans demonstrate the same initiative.


Another highlight comes regarding Paul McCartney inducting Ringo Starr in 2015. His funny and heartfelt speech both supports the "Idol" theory and proves that time heals all wounds; whether it wounds all heels is another matter. Seeing McCartney perform with his former bandmate is the only way to end this ceremony; NOTHING could have followed that act.


The footnote to this discussion of the "Hall" set is that it includes music for virtually every taste, honors rockers who do not get money for nothing, and provides a chance to hear speeches that literally run from the sublime to the ridiculous. One challenge is to not hurl obscenities at Michael Stipe copiously bitching about playing in a band during his induction of "Nirvana."
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The Olive Films February 27, 2018 DVD of the 1979 film adaptation of the 1968 Broadway musical "Hair" is further proof that Olive reflects the criterion for DVD and Blu-ray releases of art house and cult films. This release coinciding with separate Blu-ray releases of the very different Burt Lancaster films (the soon-to-be-reviewed) "The Birdman of Alcatraz" and (the reviewed) "The Hallelujah Trail" further proves this.


As a first aside, the Lancaster releases follow simultaneous Olive Signature extras-laden Blu-ray releases of the Cary Grant films "Father Goose" and (the reviewed) "Operation Petticoat."


As a second aside, this remastered DVD presents the film in a scope with a sound that is better than seeing it in a theater in 1979 and is ALMOST as good as watching a live-stage production.


The third aside is that folks who are only familiar with the stage musical will notice several differences. Most of the alterations make sense, and all of them enhance the social conscience aspects of the production.


The awesomeness of "Hair" extends well beyond the iconic soundtrack (the title song, "Good Morning Starshine, "The Age of Aquarius," etc.) and the famed nude scene. This phenomenon has enough social commentary for three productions.


Director Milos Forman ("One Flew Over the Cuckoo's Nest" and "Amadeus") "Hair" opens with "Aquarius" accompanying aptly drab scenery of the Oklahoma countryside as local farmboy/draftee Claude Bukowski (John Savage) waits for the Trailways bus to take him to New York. His awkward goodbye with his father, who is torn between wanting his son to do his duty (and to not end up either in jail or Toronto) but knowing that he probably is going to die in Vietnam, perfectly represents that aspect of that era.


Bukowski arriving in bright, sunny, colorful Central Park is comparable to Chez Gale crashing down somewhere over the rainbow. He soon encounters a "tribe" of Broadway/Hollywood friendly hippies led by George Berger (Treat Williams). (One spoiler is that the film version of "Hair" excludes a look at the treat of Williams and everyone else.)


The other fateful encounter at that time involves making extended eye contact with horseback riding debutante Sheila Franklin (Beverly D'Angelo). All three worlds collide with the hippie shenanigans/harassment of Franklin lead to Bukowski jumping on a horse and showing the entire group his mad riding skills.


In a manner that remains true to the vibe of two strange dogs literally and figuratively sniffing each other out during this entire portion of the film, Berger soon convinces Bukowski the Okie to abandon plans to visit the Empire State Building in favor of hanging out and smoking hash. Suffice it to say that our hero soon adapts to his new environment.


The next morning brings heavy symbolism as Berger defaces an image of Sheila in a highly meaningful way and then essentially whistles over a retreating Bukowski and convinces him to join the pack in crashing a party at Chez Franklin. Watching the long-haired tye-dye wearing interlopers and Bukowski in his ugly brown polyester suit from Sears among the impeccably dressed one-percenters cannot get any better until it does when a patriarch sends a wimpy preppy school boy over to confront the group.


The real fun begins when all assembled gather for a formal sit-down lunch and efforts to oust Berger leads to an elaborate "Coyote Ugly" style song-and-dance number. Seeing Charlotte Rae get into the spirit of things in full Edna Garrett fashion is the icing on the cake. (Another fun moment comes on recognizing the voice of Nell Carter ("Gimme A Break") emanating from a Central Park hippie.)


The aftermath involves a wonderfully enthusiastic "Chicago" style song-and-dance number involving the titular tune; this portion of the film also provides greater insight into Berger.


The hi-jinks continue until Bukowski and his fellow draftees undergo a purposefully humiliating induction procedure; this being "Hair," a hilarious raucous counter-culture song-and-dance number lightens the mood.


The film then moves in a different direction in every sense as Berger convinces his people (and a few tag-alongs) to take a road trip to the Nevada Army base where Bukowski is undergoing basic training. This leads to further counter-culture mischief with a surprise twist on the end that everyone knows is coming.


The ending is very true to the spirit of both the musical and the film. The genocide of boys-next-door in Vietnam was to benefit the people who stayed at home. Further, going over there was a rite-of-passage that sobered up boys who either were cruising around suburbs and small towns in their American cars or were smoking hash and taking acid in the big city.


Either way, their deaths destroyed their futures and devastated all who loved them. This is not to mention the guys who made it back but still are screwed up 50 years later.


The DVD extra is the extended theatrical trailer.
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