Tag Archives: Peter Graves

1980 Films, Comedy, Leslie Nielsen, Lloyd Bridges, Peter Graves

Airplane!-1980

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Airplane! -1980

Director Jim Abrahams, David & Jerry Zucker

Starring Robert Hays, Leslie Nielsen, Julie Hagerty

Scott’s Review #1,087

Reviewed December 2, 2020

Grade: A-

Airplane! (1980) is a landmark film in the spoof genre, leading the pack in the decade of silly (the 1980s) where films of this ilk and dumb comedies, in general, became a dime a dozen oversaturating the market.

While the film is unabashedly brainless with gags for miles, the jokes work, and the tasteless brand of humor provides plenty of belly laughs.

Better yet, Airplane! never ages, holding up incredibly well long after its initial release. It’s just perfect for a Saturday late-night watch, or when one needs cheering.

It’s in my Top 10 comedies.

When it was originally released, the timing was perfect to spoof by then the aging world of disaster films. I refuse to believe that Jim Abraham and the Zucker brothers had malcontent on their minds since they created a friendly and benevolent yarn that’s well-timed.

Good comedy is tough to find, but this film gets it right. The monotone dialogue said with straight faces is what makes the hysterics genuine and palpable.

Not unfairly, is to say that Airplane! is to disaster films what Mary Hartman, Mary Hartman was to daytime soap operas. A celebration and a clever wink to each, infusing much-needed light-hearted appreciation.

It’s fun to re-watch Airport (1970) and Airport ’75 with fresh eyes and a new perspective in parallel to this film.

Ted Striker (Robert Hays) is an ex-fighter pilot traumatized by the war, now working as a taxi driver. He is terrified of flying despite his previous occupation.

His girlfriend, Elaine (Julie Haggerty), conveniently a flight attendant, dumps him just before her flight from Los Angeles to Chicago.

Naturally, Ted throws caution to the wind and boards the flight in hopes of reconciling.

When several of the passengers and flight crew succumb to food poisoning, an inflatable named Otto must steer the plane toward Chicago.

The crew convinces Ted to muster up the courage to safely land the plane because Otto cannot do it and subsequently conquer his fear of flying. A perilous yet comical landing ensues, and Ted and Elaine happily reunite.

The plot is a direct steal from Airport ’75 when poor Karen Black’s flight attendant character famously is instructed how to land the aircraft. Until, in a sexist fashion, the men arrive to take control, sending her back to serve coffee. This is intentional and spot-on to show the ridiculous nature of that plot point.

The gags are legendary, the “Surely you can’t be serious”, “I am serious…and don’t call me Shirley” exchange the most famous one, always providing a laugh. The effortless dialogue as inane as it is somehow works exceptionally well and combines brilliantly with the pacing and delivery.

It’s like a long and wonderful episode of television’s Saturday Night Live.

The chemistry between Ted and Elaine is very strong, making the audience root for their eventual reconciliation though it’s obvious they will ride off into the proverbial sunset together.

Actors, Hays and Hagerty deserve tremendous praise for aligning the characters so well. Also of note, are the efforts of Leslie Nielsen and Peter Graves as Doctor Rumack and Captain Oveur, respectively.

Nielsen would subsequently become famous for spoof films, none of them as good as Airplane!

I’ll never profess to be a slapstick person, but Airplane! (1980) is one that I embrace, undoubtedly because of my love for disaster films and fondness for airplanes.

Advisable is to sit back, relax, and enjoy the zany ride that this satirical and very funny film offers.

1955 Films, Best Film of the Year, Charles Laughton, Lillian Gish, Peter Graves, Robert Mitchum, Scott's Top 100 Films, Shelley Winters, Thriller

The Night of the Hunter-1955

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The Night of the Hunter-1955

Director Charles Laughton

Starring Robert Mitchum, Shelley Winters

Top 100 Films #66

Scott’s Review #351

804679

Reviewed January 9, 2016

Grade: A

I would classify The Night of the Hunter (1955) as a fairy tale for adults. I categorized it as a thriller, but it certainly teeters on the edge of being a horror film. In addition to being a well-written film, it also contains breathtaking cinematography.

Made in the mid-1950s, it is shot in black and white and tells the tale of good versus evil in a small town. The film is a masterpiece and one of my all-time favorites.

The film is creepy but intelligent, and director Charles Laughton is responsible for the immeasurable success of the film, though the film was not a success upon release. It has only been as the years passed that it has finally received its due admiration.

The film is way ahead of its time.

It is based on the 1953 novel by Davis Grubb.

The time is the 1930s in rural West Virginia, set along the Ohio River. Ben Harper, a local family man, robs a bank and hides the stolen money inside his daughter’s doll.

His son and daughter (John and Pearl) are central characters in the story. Caught, Ben is out of the picture leaving his wife, Wilma (Winters), vulnerable and alone.

A serial killer, Reverend Harry Powell (Mitchum), a misogynist, is on the loose disguised as a preacher. In prison with Ben, he knows the money is hidden and is determined to find out where. He has designs on wooing Wilma.

When dire events occur, John and Pearl are left along the river to seek refuge with a kindly older woman, Rachel Cooper (Lillian Gish).

The film is a combination of majestic, haunting, and artistic. Each scene seemingly glows as the dark black and white colors mix gorgeously and tranquil, despite the dark tone of the film’s subject matter.

The Night of the Hunter also has a visual dream-like quality. During one pivotal scene, we see a dead body, submerged at the bottom of the river. The scene is horrific with the bulging eyes and the bloating beginning to set in, but the scene is so creatively beautiful as well.

The flowing hair of the victim, and the posture, is a mesmerizing scene and stick with you for some time.

Poetic, and a sense of good versus evil, clearly laid out as Powell has two words imprinted on the knuckles of each hand- “L-O-V-E” and “H-A-T-E”.  These words create the basis of the film as both words can be applied to the characters.

My favorite scene is when John and Pearl travel along the Ohio River in flight from their rival. The shapes of the trees mirrored with the flowing river are just incredible to see and I can watch this scene again.

A thriller, written intelligently well, with creativity for miles, is a recipe for pure delight. Director, Laughton, only directed this one film and encouraged creative collaboration and participation from his actors, and it shows in the resulting masterpiece.

The Night of the Hunter (1955) has influenced countless directors.

1953 Films, Billy Wilder, Don Taylor, Otto Preminger, Peter Graves, Robert Strauss, War, William Holden

Stalag 17-1953

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Stalag 17-1953

Director Billy Wilder

Starring William Holden, Don Taylor

Scott’s Review #5

994592

Reviewed June 16, 2014

Grade: B

Stalag 17 (1953), a film by famed director Billy Wilder, tackles the theme of POWs during World War II.

This film reminds me of the acclaimed television show M*A*S*H (1972-1983) in that the comedy elements are similar (men in drag, a light subplot of one soldier’s obsession with Betty Grable).

However, this film is heavy on the drama side and a deep cynicism that network television shows cannot match.

A group of American soldiers is held in a POW camp by Germans. Somehow any escape plan is realized by the Germans. A whodunit ensues to find out who the mole is and his motivations. Liberties are taken- I doubt the real German soldiers would be as nice as they are depicted in the film.

William Holden stars as the cynic of the camp and the likely suspect, but is he the culprit?

This film is a hybrid of other Wilder films- the cross-dressing theme in Some Like it Hot (1959) is depicted and shades of the darkness of Sunset Boulevard (1950) (also starring Holden) appear.

The black and white are effective in eliciting the confinement of the camp.

A quality film though a predictable “seen this all before” element nagged throughout.

Oscar Nominations: 1 win-Best Director-Billy Wilder, Best Actor-William Holden (won), Best Supporting Actor-Robert Strauss