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About Jlewis

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  1. Are these buddy movies really movies about LGBT characters? Or are they mostly straight but made to be read in other ways by different audiences? One can debate this, but this is my take. This movie reminded me a lot of EASY RIDER with Dennis Hopper and Peter Fonda in that its makers took the "easy" way out by answering that question right away. Early on, we get the two "ladies of the evening" entertaining our fellows, although curiously Thunderbolt doesn't seem as enthusiastic about the one he is presented with as Lightfoot is with his. None-the-less it is implied that, like the so
  2. It is hinted that the robot itself kills Katharine Ross' character, but I do think that the concept of the story is better than the execution. It is a parody after all, not to be taken as seriously as the way it was ultimately presented in mystery-thriller form. The leader of the men's group owns a chemical medical company, which suggests a more believable plot i.e. drugs causing robotic behavior and the husbands spiking their wives' food. We also have the lady psychiatrist offering pills to calm our heroine down as if she may be in on the set-up. You think initially that this is the directi
  3. Some of these YouTube videos I stumble upon are only indirectly connected to these reviews, but they do provide fascinating topics for commentary such as... what makes a convincing love story on screen and which performers do it best, regardless of whether or not there's any chemistry once the cameras stop rolling. This particular one makes no mention of ROMEO & JULIET '68 (and I wish it had, since it does include two other sixties titles in the mix), but it does cover R&J '96 as well as WEST SIDE STORY and TITANIC. These are all observations of an acting coach. A couple comments
  4. Regarding the "plot holes". Funny thing... I was never bothered about the star crossed lovers not meeting each other beforehand since there can be all kinds of reasons, but more about the whole love at first sight business and the ridiculous faking of Juliet's death. Granted, I am sure such outlandish stunts were done in historical times. Since medieval societies pretty much kept the teenage girls hostage until they were married off, it is easy to guess why Juliet did not get out much before her 16th birthday. I think R&J '68 did a good job showing just how smothered she was by her family,
  5. Not to jump too far ahead, but I have always enjoyed it in my three or so viewings over the decades. It has its story-line flaws (for example, I find it strange that the kids aren't as observant of "something strange going on" as Mommy is), but it is such a fun relic of seventies cinema. Today the whole happy housewife premise may seem quaint since so much has changed in the world, especially now that we have a female vice president, but it reminds me a lot (as I will mention in my own comments) of INVASION OF THE BODY SNATCHERS. Both share a phobia about the dangers of conformity: people in a
  6. It appears that UCLA may have a copy in their archives but I don't know what the fees are to obtaining a digital transfer. https://www.worldcat.org/title/state-trooper/oclc/423531825&referer=brief_results https://www.cinema.ucla.edu/directory
  7. Two little tidbits... Love the publicity shot of Buddy Hackett in his Nehru jacket. That is one of those short-lived fashion statements that is so easily dated to a specific year since hardly anybody was sporting them before and after. For the earlier in '68 opening of ROMEO & JULIET (which we may tackle again despite you already reviewing it earlier), it appeared as if attending celebrity Richard Chamberlain couldn't decide whether he wanted to wear one of those or one of the 19th century frilly shirt and vest combos that another Richard, Richard Harris, was making fashionable about
  8. It is difficult to profile just one True-Life Adventure without commenting on multiple others. I really love that series, flaws included. This is a nice video talk fest on the series (and the "People & Places" travelogues) that was uploaded on YouTube 11 months ago but dated 2016. No clue how long these videos will stay uploaded due to copyright reasons and so forth. However they are so old and vintage that I doubt the Disney corporation fusses much over them. After all, they promote these old movies on Disney Plus and other money making outlets. Although the Milot
  9. This is not as good as having the View-Master reel set itself but, if you have glasses with a magenta/red lens covering your left eye and a green lens covering your right, you can get the full 3-D effect. It may also work if you have that special virtual reality lens many use with their iPhones to see 3-D material. The earlier TruVue 3-D renditions of several characters, including Bambi at the 4:30 mark.
  10. Jlewis

    Gays on the Tube

    Which reminds me of their suburban neighbors, the Gravitzes. There wasn't much chemistry between George Tobias' Abner and the two Gladys actresses Alice Pearce and Sandra Gould so it was sometimes hard to believe they were a married couple. In addition, George remained a bachelor all of his off screen life and that often has raised speculations, although he was at least buddy buddy with actress Milicent Patrick for decades. Abner was the one who was never concerned about what was going on in the Stephens household, suggesting that he had already seen it all and... maybe... even done in it all.
  11. Jlewis

    Gays on the Tube

    A lot of fun TV shows are covered by Matt Baume from an LGBT perspective. My only complaint about his take on BEWITCHED is that he uses colorized, rather than original black & white, excerpts from the earliest episode profiled. Running from 1964 through 1972, the series switched to filmed color in '66 when all three major networks (ABC being BEWITCHED's) offered the first all "in living color" Prime-Time line-up. That was the same year that GILLIGAN'S ISLAND, LOST IN SPACE, I DREAM OF JEANNIE, THE FUGITIVE and several others made the switch as well. They did air the B&W episodes f
  12. "In this remake of the well-known German original, the lead character is played by David Wayne and his name is changed to the more American-sounding Martin W. Meaning that our thirteenth letter could also signify his first initial." It suddenly dawned on me that a W can become an M when you flip it over.
  13. Eventually I got around to seeing the '26 version and I do consider it a better production in a number of areas. Not to pooh-pooh Colleen Moore, but Gish clearly is more motivated in her role here and this can be credited, in part, to the great Swedish directorial import, Victor Sjöström, now billed as Seastrom, at the helm. Although Hendrik Sartov is credited for cinematography and mighty Metro's Cedric Gibbons dominates the set direction (along with Sidney Ullman), this is essentially Seastrom's film in both look and style. However I should add that the well written title cards, with their r
  14. Good that you clarified that Eleanor was Gil's sister-in-law instead of his sister. I wasn't sure when watching it. Just knew she was "aunt" to the girls.
  15. As always, there is so much to learn about these old shows and their casts and you provided great material here. Interesting situation with Eric Fleming and Clint Eastwood. I do wonder... just wonder since I think about such things... because Eric died so suddenly in 1966, if he did see just how successful his co star was becoming. My guess is that they were pretty much on equal footing at that particular moment in time, career wise. Hard to tell. Those spaghetti westerns were more cult like in their following than they were international blockbusters. In fact, I think the third one did not m
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