Star Trek – tape 1401

The first thing on this tape is an introduction to the original pilot episode of Star Trek – The Cage. It looks suspiciously like I recorded it off another VHS tape, which I probably did. There’s a few talking heads on it, and it’s introduced by then current Captain Patrick Stewart.

Of course, Gene Roddenberry was there, still alive at that time.

Nichelle Nichols

Walter Koenig

Even Shatner was there.

And George Takei, although presumably on different days.

I don’t think Leonard Nimoy did a new interview for this special. All his interview pieces look like archive pieces. Here he’s talking about directing one of the movies, I’m assuming Number IV from the screen behind him.

After this intro, recording switches to BBC2 and their broadcast of The Cage. So I clearly wanted a first generation recording of it rather than my second generation dub. Before that, there’s a trailer for Teenage Diaries.

The Cage is interesting as a historical piece, but it’s best enjoyed after watching the rest of the series, I think. That way, you can enjoy spotting all the ways in which things were tweaked between this and the series proper. Not just in the obvious cast changes, but also in the way language is used to describe the ‘scientific’ ideas. The phrase ‘Time Warp Speed’ is used, things like that.

There’s also the casual sexism, despite the programme laudably having a woman as first officer. It’s very blokey in parts.

But, as I’ve observed before, the Talosians really are one of the best Alien races the show ever did.

BBC Genome: BBC Two – 19th August 1992 – 18:00

Before the next episode, there’s the end of a random looking Dean Martin and Jerry Lewis film Artists and Models.

There’s a trailer for TV Hell.

Then The Man Trap. This wasn’t the first episode filmed – that was Where No Man Has Gone Before, which is noticeable for having uniforms more similar to the Pilot’s constumes. The Man Trap is actually a rather dull story about a salt vampire that can change its appearance to look like the person you most desire. Naturally, when we first meet it, it’s as a woman, who also happened to be an old flame of Doctor McCoy.

Its true form is not very pretty.

And the episode kind of skips over the bit where the other colonist basically says “Yeah, well that Salt Vampire did kill by beloved wife, but then it pretended to be her, so I let it move in with me.” That’s very weird.

BBC Genome: BBC Two – 26th August 1992 – 18:00

Before the next episode, there’s the end of From The Edge.

Then, Charlie X, definitely a classic. A teenage boy is dropped off on the Enterprise, having been rescued from a colony where everyone else there had died. It soon becomes clear that, as well as being desperately socially awkward, he also has some magical psychic powers, and can make almost anything happen. Which is not much fun since he’s a petulant teenager with a massive chip on his shoulder and a grotesque sense of entitlement.

Even though the plot shares a great deal with a famous Twilight Zone episode, it’s still pretty scary. Entitled teens are scary enough, but ones with literally world-changing mental powers are terrifying. I also vividly remember being quite scared by the way he glares and rolls his eyes up when doing his mind magic. As a youngster these things make a large impression.

Also in this episode, Uhura sings, although her musical zingers aimed at her crewmates might be judged a little insensitive. These days she’d be sent on a course.

I like the way that Charlie is an accurate representation of entitlement. Apart from the mind powers he could be any twitter troll, unable to talk to women as people, then taking their justified rejection of his as a slight. He’d totally be a MAGA guy.

I like the way Kirk is written as the surrogate father, having to be stern, but trying to be understanding. Although I think forcing him to learn Judo dressed in bright red leggings was probably not a wise parenting move. The last thing a nerd wants is time in the gym.

BBC Genome: BBC Two – 2nd September 1992 – 18:00

After this, recording continues, with a trailer for Stingray and The Man From Uncle.

Then, an episode of Wayne’s World – well, an isolated sketch from Saturday Night Live.

This one starts with a rundown of the top ten babes. Sigh. But then there’s a dream sequence where they meet Madonna, shot in the same style as her then movie.

 

BBC Genome: BBC Two – 2nd September 1992 – 18:50

The tape ends just after this.

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Predator 2 – Horizon – tape 1407

It’s over to Sky Movies for Predator 2.

This was an interesting choice for the filmmakers. Presumably Schwarzenegger was unavailable, and they made a choice not to retread the jungle setting of the original. But I can’t help feeling that taking it from the jungles of South America and putting it in ‘the jungle’ of Los Angeles was a metaphor that led to some questionable choices.

It’s set in ‘the future’ – 1997 when the film was released in 1990. It’s not really ‘future’ future, but it does let them present Los Angeles as a gang-infested battleground, practically a war zone. There’s also a heatwave, because the first film established that the Predator only comes on the hottest years.

This is a very violent film, as was the original, but here it feels messy and unfocused. It opens in the midst of a massive shootout between cops and gang members. Loads of cars blowing up and people holding machine guns in both hands.

Everyone shouts a lot, and there’s a large amount of swearing. The late 80s and early 90s hit peak swearing in movies. My feeling is that you don’t get it as much any more. I suspect that’s because action movies tend to be made to appeal to a wider (and therefore younger) audience. At the time I don’t think it bothered me, but now I notice it more. Die Hard 2 is another example, although I like that one a lot more than I like this one.

It’s got a good cast of 90s stars, though. There’s lead Danny Glover, stepping into Schwarzenegger’s big shoes. He’s another interesting choice, not necessarily the obvious action star, despite his Lethal Weapon credentials, and in his favour he never says “two weeks to retirement” at any point in the film.

The lovely Bill Paxton plays another cop, always trying to wisecrack.

Musician turned actor Ruben Blades plays Glover’s partner. It’s no surprise that the film adheres closely to action movie rules by bumping him off early in the story.

Robert Davi plays Glover’s boss, who’s a hardass with a stick up his ass and a stickler for the rules.

Gary Busey (or ‘boozey’ as he’s called by the announcer at the start of the recording) plays the mysterious leader of the team searching for the Predator, causing jurisdictional issues with Glover. I honestly can’t believe that there wasn’t a police thriller in the 90s titled Jurisdictional Issues.

Maria Conchita Alonso is another of Glover’s colleagues.

In a small part, there’s former Firefly star, now hateful woman-hater Adam Baldwin as one of Busey’s cabal of special-ops nerds.

One thing I do like about the movie is Alan Silvestri’s soundtrack. It takes the themes from the original movie and plays with them. There’s a distinct Afro-Caribbean flavour to the soundtrack, appropriate since a lot of the gangs are Afro-Caribbean. Which brings me to another thing I’ve always felt uncomfortable about. Is this film a bit racist? All the gangs are ethnically specific, and there’s a feeling in the film that LA is becoming lawless, presumably because of all these ‘foreign’ influences. And yet, the main cast is far more diverse than most big action movies of the time. So I don’t know, maybe it’s just me being a woolly liberal.

There’s some good things in there too, like the moment on a subway car, when some unsavoury looking thugs are menacing passengers, and a bunch of the passengers pull out guns to ‘protect’ themselves.

Less inspired is the scene where Busey and his team go into a freezing warehouse to catch the Predator, and it all goes horribly wrong, while Glover and Baldwin watch them on CCTV. It’s a shame this was basically a retread of the similar scene in Aliens.

There’s a scene late on, when Glover finds his way on to the Predator ship, there’s a trophy section featuring what looks like the skull of an Alien from Aliens. This was the start of the whole Alien V Predator franchise. I don’t think that’s necessarily a good thing.

After this, recording switches to BBC2 and the first part of a Horizon biography of Richard Feynman. It makes a lot of use of the earlier Horizon film about him, made by Christopher Sykes.

Among those interviewed are his sister Joan.

Marvin Minsky

Danny Hillis talks about how once, he and Feynman had spent an afternoon breaking spaghetti to try to work out why spaghetti always breaks in three pieces. Hillis, incidentally, was the founder of Thinking Machines, makers of the parallel computing supercomputers the Connection Machines.

Another legendary physicist Freeman Dyson.

His artist friend, Zirayr Zorthian, responds to one of Feynman’s famous assertions that because a scientist understands more about the world that he can see more than simply the aesthetic beauty of, say, a flower. But Zorthian’s counter example uses a woman’s bare breasts, and literally talks about ‘putting your head between them and going blubble, blubble, blubble’. But he wasn’t referencing a Not The Nine O’Clock News sketch.

Another legendary physicist Hans Bethe.

BBC Genome: BBC Two – 25th January 1993 – 20:00

After this, this recording stops, and underneath, something recorded off one of the German satellite channels – it’s UFO in German. This is followed by Schreinemakers Live, a German talk show. The tape ends during this.

The Prisoner – tape 1403

Here’s some more episodes of The Prisoner. First, The Schizoid Man. It’s an evil twin episode. Number six wakes up with a moustache, and the new Number Two tells him he’s Number 12 and is there to confuse the real Number Six into breaking. Possibly. Frankly I haven’t got a clue whats going on.

Neither has Number Six, which is obviously the intention. There’s a nice beat where he works out he must have been being brainwashed for a long time because of the position of a bruise on his fingernail.

This reminds me of a similar moment in Harry Harrison’s The Stainless Steel Rat’s Revenge where our hero has a traumatic experience in custody, and is told that he was unconscious for months, but he realises they must be lying because he still has a hangnail he’d bitten just before the experience.

In this episode, the part of Number Two is played by Anton Rodgers. I really can’t reconcile him with the Anton Rodgers in Fresh Fields. He looks like a different person. Perhaps he’s an evil twin too.

The next episode is The General. Number Six appears to be being watched by Christopher Nolan.

There’s a speed learning course, run by The Professor, which promises a three year course of learning in three minutes.

The eponymous General turns out to be a supercomputer (well, a 60s supercomputer). And like all 60s supercomputers, it’s defeated by Number Six asking it an insoluble question: Why? At which point it blows up.

The next episode is Many Happy Returns. Number Six wakes up to find the village deserted, with absolutely nobody around. He gets busy with an axe.

After a trip on his raft, then commandeering a boat, then getting to shore and climbing in the back of a lorry, he actually makes it back to London – Marble Arch to be precise.

He makes his way to his house, to find a woman living there, and driving his car.

She’s remarkably helpful, giving him a change of clothes and even letting him borrow the car. He drives back to his old spy headquarters. There he tries to persuade his superiors of where he has been. They are Donald Sinden.

And Patrick Cargill.

He persuades them he’s telling the truth, and embarks on a surveillance mission in a jet, flying over the rough area he estimated the village to be. But of course, the pilot is in on it, and pulls the ejector seat when he’s over the village, so he’s back there. And look who’s there to greet him with a birthday cake.

The last episode on this tape is Dance of the Dead. Number Two is played by Mary Morris.

There’s a body washed up on the beach.

There’s a typically outlandish trial. This is part of the show I found a bit tiresome. Dressing up for its own sake.

Aubrey Morris plays one of the trial judges.

After this, recording continues with an episode of The Steve Allen Show. There’s an introduction by the modern day Steve.

Guests include Jane Russell. Allen’s introduction is extremely disparaging about her although probably not intentionally. He describes her as an example of “a young woman who does not have any serious claim to be an actress but gets by really on her physical charms.” Ugh.

Also on the programme is Jerry Lee Lewis.

The tape ends just after this programme.

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Last Night Of The Proms 1992 – tape 1395

Here’s 1992’s Last Night of the Proms. It opens with the overture to the Barber of Seville by Rossini. The BBC Symphony Orchestra is conducted by Sir Andrew Davies.

Soloist Dame Kiri Te Kanawa sings arias by Massenet.

Next, more Rossini, with Soirees Musicales, orchestrated by Benjamin Britten. Enjoyed by Batman in the arena audience.

Next, it’s Shostakovitch’s 2nd Piano Concerto, played by Tatyana Nikolaeva. This piece is familiar to me mostly from being used in Fantasia 2000 in the Steadfast Tin Soldier segment.

This half of the concert ends here.

BBC Genome: BBC Two – 12th September 1992 – 19:30

Recording switches to BBC1 for the second half of the concert which opens with Brahms’ Academic Festival Overture.

Next, three more arias performed by Kiri Te Kanawa. The second of which is instantly familiar to anyone who saw Diva, Jean Jacques Beineix’s debut feature about an opera singer and a bootleg tape, which used this aria as its opening, and the subject of all the subsequent plot machinations. It’s always amused me that the opera it comes from is called La Wally. I’m 53 years old.

Next, a piece by Sir Arthur Sullivan, Overture di Ballo.

It wouldn’t be a Last Night without a ‘modern’ piece, this time by Sir Peter Maxwell Davies. At least this one is vaguely tuneful, and intended to amuse, rather than perplex. And there’s some orchestral hijinks.

On the minus side, there’s bagpipes.

But now we get into the traditional end of the programme, with Elgar’s Pomp and Circumstance March, Land of Hope and Glory. Followed by Sir Henry Wood’s Fantasia on British Sea Songs. Which I love, and would love even more if it weren’t for the stupid noises the audience feels compelled to make throughout.

Kiri Te Kanawa makes one more appearance to sing Rule Britannia, dressed in a dress definitely meant to invoke her New Zealand heritage.

Andrew Davies decides to do this year’s speech to the tune of the Major General’s song.

And the whole thing ends with Jerusalem and the National Anthem.

BBC Genome: BBC One – 12th September 1992 – 21:00

After this, there’s a trailer for The House of Eliott.

Then the news, which leads with the EC considering sanctions against Serbia. The tape ends during this bulletin.

 

Film 92 – Omnibus – The Prisoner – tape 1397

An episode of Film 92 opens this tape, with Barry Norman’s reviews of:

There’s a retrospective look back at Casablanca. This was one of the gaps in my movie knowledge around this time. I’d never seen it, despite it turning up on TV umpteen times. I even remember messing up a recording of it, as if I was fated never to watch it. I watched it eventually (a few months after this, in fact) at a cinema screening, which I’ve written about before, and its classic status is totally deserved.

BBC Genome: BBC One – 21st September 1992 – 22:10

After this, recording switches, and we catch the end credits of Civvies (playing some Dire Straits).

There’s a trailer for Black and Blue and for The Elephant Man.

Then, Omnibus celebrates 70 years of Disney animation in Disney The Fairytale Years.

Among those interviewed is Looney Tunes creator Chuck Jones.

Disney Animators Ward Kimball

Marc Davis

and Ollie Johnston

Film Critic and Disney expert Leonard Maltin

Walt’s nephew Roy Disney, who ran the studio animation department in the 80s.

The new generation of animators is represented by Ron Clements

Gary Trousdale

Kirk Wise

Glen Keane

At the time, Michael Eisner was head of the company.

There’s a clip from Aladdin near the end, and as I was watching it I had a weird bit of cognitive dissonance. I’ve seen Aladdin, so I’m vaguely familiar with it, but the music under the clip (the scene where Aladdin is flying out of the cave of wonders, through lava) was far more familiar to me than I would have expected the Aladdin music to be. Then I realised the scene was scored with music from Indiana Jones and the Last Crusade with which I am far more familiar. But because it was attached to Aladdin I couldn’t place it at first. It’s funny how the brain works, and how much it relies on context for memory.

BBC Genome: BBC One – 22nd September 1992 – 22:25

After this, recording switches to Channel 4, and, after yesterday’s spoof, here’s the real thing, with the very first episode of The PrisonerArrival.

Sometimes, the show could be a bit stodgy, but the opening is great, full of mystery and barely suppressed anger from Patrick McGoohan.

The use of a big weather balloon as a security guard is typical of the show’s bonkers 60s sensibility.

Paul Eddington makes a fleeting appearance as another agent in the village.

After that brief detour, it’s back to Film 92, with reviews of the following films:

There’s a location report on Kenneth Branagh’s Peter’s Friends.

BBC Genome: BBC One – 28th September 1992 – 22:10

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Cheers – tape 1405

Channel 4 are still using their Christmas idents.

Here’s the final episode of Cheers season 10, and it’s Woody and Kelly’s wedding. Everyone’s dolled up and ready.

Things don’t go smoothly in the kitchens, as the gang are there to tend the bar. The priest drops dead, so they have to sober up Kelly’s Uncle, Milo O’Shea, who’s also a priest, so he can officiate.

There’s an extremely funny running gag about Carla in a dumbwaiter that’s milked almost shamelessly but never fails to get a big laugh.

Sam chats up a woman at the party, so obviously her husband is some kind of crazed German aristocrat in a uniform.

And the final gag, featuring the wedding cake that has survived through the whole show relatively unscathed, is perfect, so I won’t describe it here.

After this, recording switches to the first episode of the final season. It’s the one where Rebecca’s stray cigarette burns down the bar.

And because he needs money to rebuild the bar, Sam has to sell his corvette, the story of which we saw continued in a later episode a few tapes ago.

After this episode, the recording continues for the rest of the tape, catching a couple of interesting things.

First, a whole programme, Rory Bremner & The Morning After The Year Before, which is a look back at 1992. It’s the usual mix of political impressions and sports commentators. There’s an appearance from Red Dwarf’s Robert Llewellyn.

And finally on this tape, most of a rather odd programme. The Laughing Prisoner is a reworking of the episode of The Tube where Jools Holland went to Portmeirion to look back at The Prisoner. Goodness only knows what the regular Tube audience made of it, but as I enjoyed it at the time.

Stephen Fry appears as Number 2, and he also co-wrote the story.

Another village resident is Stanley Unwin.

It is The Tube though, so they have to have some music, all performed in the Village. First it’s Siouxsie and the Banshees.

XTC looking cool in the Village costume.

Rock band Magnum, on the other hand, brought their own clothes.

Also appearing are Terence Alexander as the head of Channel Four.

Hugh Laurie as his son/assistant.

There’s a last bit of music from Holland himself, supported by Chris Difford and Rowland Rivron.

The tape ends during this song.

One slightly annoying part of this film is the mismatch between the new stuff (all filmed) and the original Prisoner footage. The original footage looks considerably worse than the new stuff which is frustrating because it was filmed on 35mm, but they obviously only had access to some fairly old telecine conversion, probably from broadcast tapes. It’s a shame they couldn’t source some remastered footage, but I guess that was way beyond their budget.

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I Wanna Hold Your Hand – Twice Upon A Time – tape 1393

Now here’s a couple of very obscure films, very loosely linked by their Executive Producers. The first was Executive Produced by Steven Spielberg, the second by George Lucas.

I Wanna Hold Your Hand was the first feature directed by Robert Zemeckis, and written by Zemeckis and Bob Gale. Zemeckis and Gale were friends with Steven Spielberg – I think they show up in Bob Balaban’s book about making Close Encounters, where they were known as the Two Bobs. Because he was a hot director after Jaws, and with Close Encounters shaping up to be another hit, Spielberg lent his name to the film as Executive Producer to get it made.

In return, Zemeckis and Gale wrote the screenplay for Spielberg’s next film, 1941. Which seems like a shitty way to repay that favour. But they made it up later when Spielberg produced Back to the Future so we all won in the end.

The film is set when the Beatles were in New York for their famous appearance on the Ed Sullivan Show. The opening shot sets the scene nicely, including the man fixing the spelling of the band’s name.

Sullivan briefs his crew with what to expect on the performance day. “Excessive screaming, hysteria, hyperventilation, fainting, fits, seizures, spasmodic convulsions even attempted suicides.”

The plot revolves around a group of girls who want to try to get into the hotel the Beatles are staying in. Among the cast are Nancy Allen, here glimpsing the fab four as they leave in their car.

Wendie Jo Sperber would later play Marty’s sister in Back to the Future.

Marc McClure plays their friend who has a car and drives them to New York.

The great Dick Miller turns up as a security guard.

 

Eddie Deezen plays an obsessive memorabilia collector. He also appeared in 1941 and Wargames.

This is really good. It’s almost a classic farce, as the group splits up, joins up with other people desperate to see the group, and hilarity ensues.

There’s also a moment when one of the group, having just scammed a man out of fifty dollars so she can bribe her way into the studio, is attacked by the man, and then McClure appears at the hotel room door and yells “Hey! Get your goddamn hands off her.” So that presumably means the line George has in Back to the Future is a callback to this film. Which itself might well be a callback to Charlton Heston’s line in Planet of the Apes.

The film only tangentially features the Beatles themselves, although they’ve licensed loads of their songs, which either cost a fortune, or it was much cheaper in 1978. The scenes at the Sullivan show also carefully hide the doubles they are using.

Slightly less successful are the couple of scenes where we hear them talk, where they just sound like every other dodgy Beatles impression you’ve ever heard.

After this, another, even more obscure film. Twice Upon a Time in an animated film that feels like it’s taken inspiration from Yellow Submarine. The people of Din, known as Rushers, are always busy, but when they sleep, they get their dreams from a place called Frivoli, and their nightmares from the Murkworks.

But the Leader of the Murkworks, Synonamess Botch, tricks two of the Frivoli people to steal a spring from the Cosmic Clock, which stops time all over Din, and then he plans to send his vultures across Din to detonate all his Nightmare bombs.

It’s up to the two idiots he fooled into stealing the spring to foil his plan, Mumford and Ralph, the all-purpose animal.

Which they do with the help of the Fairy Godmother.

There’s also a superhero called Rod Rescueman and an actual damsel in actual distress, Flora Fauna.

None of this is as interesting as it might sound. And it’s nowhere near as funny or charming as those involved seem to think.

But the credits are interesting. Ralph is played by Lorenzo Music, famous for playing Carlton the Doorman in Rhoda (a show he also developed and wrote for).

Two of the sequence directors are Brian Narelle and Henry Selick. Selick is well known as the director of The Nightmare Before Christmas and Coraline. Narelle was one of the actors in John Carpenter’s Dark Star.

But the credit that surprised me most was that for Special Photographic Effects. None other than David Fincher, now a powerhouse director, then a fledgling effects artist.

So this is certainly obscure, but I can’t claim it’s an undiscovered gem, unfortunately.

After this, the tape continues with a large chunk of Butch Cassidy and the Sundance Kid. The tape ends during it.

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