The Media Show – The South Bank Show – tape 812

Now this tape is interesting to me for a very specific reason. This episode of The Media Show looked at videotape collectors, and I saw an advert for them looking for possible interview subjects. My collection was already fairly large at the time, so I wrote to them giving them some details on what I had.

I got called back by a researcher, asking me a bit more about the collections, and she was trying to get me to characterise what my collection was about – what was its theme. In the end, they weren’t interested, because “Telly I like” isn’t much of a story for them.

In the event, watching the end result, I wonder if I dodged a bullet.

Les Warren collects episodes of Lost in Space. See, he’s kooky because he loves a kid’s show.

John Watson records old theatrical cartoons. See, he’s kooky because he likes cartoons.

Carole Gardiner records news bulletins. See, she’s kooky because she records the news. Nobody records the news.

Michael Laney and Patricia Davis record the musical numbers from Hollywood musicals. See, they’re kooky because… No, they’re definitely kooky.

To be honest, Les Warren is fairly odd. He keeps a log of what happens in every episode and cuts out the TV Times listing for each of them. Wait, that’s what I’m doing here. OK so I link to the Radio Times Genome archive, but if I could link to a scan of the listing yoou know I would. And I accept it’s fairly odd behaviour on my part.

Les also rates all the episodes, and most of them are 10 out of 10. The lowest score he’s ever given is 6.

I wonder if Carole is still going? Her news archive would probably be quite interesting today, even though she restricted her collection to items about Eastern Europe.

There’s a short piece about adverts on pre-recorded videotape, including this advert for Schweppes featuring John Cleese, that went out on A Fish Called Wanda.

The next item is a look at the Reporting Ban on Sinn Fein after a year.

Then there’s an interview with producer Gale Anne Hurd on being a woman and a producer of action movies, tying in with the release of The Abyss.

Some of the questions are typical. “Why don’t you make women’s films instead of action films” presupposes that action movies can’t be women’s movies.

The final piece looks at the changes in the Polish media since the legalisation of the Solidarity trade union, and free elections.

Then recording continues a bit with the start of Hitchcock’s The Wrong Man, and then it switches to ITV with the end of an episode of Hale and Pace.

Then it’s The South Bank Show. And it’s a weird one, as it’s Ken Russell’s film autobiography, A British Picture.

It’s a lot of fun, as his life story is reenacted by a young boy (possibly a grandson or nephew?) Here he is projecting Metropolis on his living room wall.

Russell himself appears as various authority figures in his life.

There are clips from some of his BBC documentaries, including his famous film about Delius, which inspired a song by Kate Bush.

He tells the story of a film he made about Richard Strauss, and it’s shown accompanied by music from Johann Strauss. He says that Strauss’ son objected to the film and withdrew permission to use his music, so Russell just replaced it with Johann’s music.

When he was sued for a million dollars, supposedly for walking off Moll Flanders, he could barely afford representation, until Richard Golub (sp?) the singing lawyer, struck a deal, and Russell directed a video for his latest single.

After this, recording continues. There’s a fascinating programme called World of Golf looking at golfing holidays on the Algarve.

Then, The ITV Chart Show, There’s Eric and the Good Good Feeling, Chris Rea doing Road to Hell, and Oh Well performing Oh Well. No, me neither. By the way, did Chris Rea wrote Road To Hell before, during or after his Driving Home for Christmas.

There’s also a song by Living on a Box. Love these pop facts.

Other acts on the show are Martika, the Perri Sisters and Constant City. The tape ends during an ad break.

During the ad breaks, there’s one for Tennent’s Extra which appears to predict the use of drones for photography and paparazzi.

Adverts:

  • Bupa
  • Seat
  • John Smith’s
  • Sharps
  • Panache
  • Water Share Offer
  • trail: The Wrong Man
  • Evening Standard
  • Sunkist
  • Tennents Extra – Drones
  • The Observer
  • Harvey’s Bristol Cream
  • trail: Japan Live Performance
  • trail: The Late Late Show
  • Shredded Wheat
  • Finesse
  • Perrier
  • Seat
  • Woolmark
  • Heinz Weightwatchers
  • Working Girl/The Dead Pool/Scrooged on video
  • trail: Dial M For Murder
  • trail: Next Friday on ITV
  • Samsonite
  • Sunkist
  • Comet
  • UPS
  • trail: Eyewitness
  • Barclays
  • Amstrad PCW9512
  • trail: Crime Monthly
  • Bupa
  • Guardian Royal Exchange
  • Cathay Pacific
  • Amstrad PC2286
  • Samsonite
  • London Talkback Radio
  • Crimestoppers
  • trail: Beauty and the Beast
  • Heineken
  • Renault 21 – The Prisoner
  • 7Up
  • Royal Mail Stamps
  • Ski
  • Invicta FM
  • trail: The Match
  • Panache
  • UPS
  • Perrier
  • Barclays
  • Working Girl/The Dead Pool/Scrooged on video
  • Radion
  • Crimestoppers
  • trail: The Ruth Rendell Mysteries
  • Heineken
  • Seat
  • Gale’s Honey
  • Flake
  • ICI
  • Sanatogen
  • Capital Radio
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Saturn 3 – Film 89 – Network – tape 874

This tape opens with the end of the Nine O’Clock News., and Newsroom South East, on how London is unprepared for the new dialling codes in London.

Weather from Ian McCaskill, followed by a famine appeal for Ethiopia, from Cliff Michelmore.

After this, there’s a trailer for the Joss Ackland Hillwalking drama First and Last.

Then, a film which doesn’t get much remembered. Saturn 3 was directed by Stanley Donen, better known for some classic Hollywood musicals, but Donen was the replacement for the original director, John Barry, not the composer but the great production designer. The story is still credited to Barry, but the screenplay is by Martin Amis of all people, which might explain why it’s rather misanthropic.

(That title typeface looks like the same one used for Raiders of the Lost Ark to me).

It opens with a man in a spacesuit who kills another man by opening an airlock so he’s sucked out and diced by some poorly positioned cables. The killer takes on the other man’s name and mission, to the food research  station Saturn 3.

Some of the opening shots actually look like they might come from a musical.

The man arrives on Saturn 3, and we learn he’s Harvey Keitel.

The residents of Saturn 3 are Kirk Douglas

And Farrah Fawcett

We already know Keitel failed his mental test from his first scene, and his behaviour here is unnerving. He seems emotionless and rulebound, warning Fawcett off touching his equipment. “No taction contact” he says.

The film wastes no time getting Kirk Douglas out of his clothes, something he clearly delights in (as we saw way back in The Fury). Farrah Fawcett is similarly decostumed, merely increasing the ick factor.

The Ick Factor only increases when Keitel asks Fawcett “You have a great body. May I use it?” Although I guess he gets points for asking consent. “I’m with the Major” she replies. “For his personal consumption only? That’s penally unsocial on Earth, do you know that?” So it’s yet another future where women are reduced to the property of men. Or even worse, consumables.

Oh yuck, now Keitel is watching them have sex on a CCTV.

But never mind, Fawcett and Douglas are keeping healthy.

Keitel is there to deliver and set up a new robot. Once it’s operating, one of them will be obsolete. Naturally this raises the tension.

The new robot, Hector (first of the Demigod series) is impressive.

But he’s a bad loser. Douglas plays him at chess and beats him, so Hector destroys a chesspiece. Keitel’s training him using direct input (“Brain to Brain”) so there’s no secret where his attitude is coming from.

There’s a genuinely scary scene where Fawcett gets a chip of rock in her eye, and he gets Hector to get it out, much against her will.

Keitel is having problems with Hector’s ‘education’. They even argue.

Before we know it, Hector’s killed Fawcett’s dog, and starts on Fawcett before Keitel intervenes. He tells her Hector wants her because he wants her, and Hector then turns on him, trying to crush him with a crane, until Douglas saves them both.

They think they’ve deactivated Hector, but he starts reassembling himself. Keitel comes to Douglas and Fawcett’s quarters while they are in bed, announcing his intention to leave, and demanding that Fawcett leave with him. “You’re inadequate, in every way” he tells Douglas, who won’t take that one lying down, and attacks him. Wouldn’t you know it, Douglas sleeps in the nude. Eew. No screengrab of that.

Keitel tries to drag Fawcett away with him, but the newly reconstructed Hector appears, and grabs him, slicing off a hand in the process.

After an unsuccessful attempt to trap Hector (by literally digging a pit for him to fall into) Hector blows up Keitel’s ship, cutting off their only means of escape.

Returning to the base, they are surpised to hear Keitel’s voice talking to them, but it’s not actually him. Hector has repurposed him.

Hector keeps them prisoner, puts a neural link in Douglas’ head, and sets them to work towards an unspecified goal, but Douglas has a plan, and manages to push Hector into the pit, falls in with him, and lets off a grenade, destroying Hector and himself.

The film ends with Fawcett finally travelling to Earth, where she’s never been. The music is very ominous at this point, but for no reason that’s adequately explained here.

I read the novelization of this when it came out – I used to read a lot of novelizations – and I’m fairly sure that ended with Fawcett either having Douglas’ mind along with hers, or in a synthetic brain, and travelling to Earth with that. A slightly more interesting ending, and one that I feel might have been intended here, but possibly lost in the edit, if it was ever shot. The violence and nudity in this version seem quite heavily cut too, although perhaps that’s for the best.

At the end, a couple of names in the credits caught my eye. Chris Corbould, on the list of Special Effects Assistants, would go on to provide physical effects for a lot of the recent Bond films, and for many of Chris Nolan’s films. And Roger Limb, providing Electronic Sound Effects, would regularly provide effects and music for BBC productions.

And one final note – something that isn’t in the credits is that Keitel’s dialogue was replaced by Roy Dotrice, doing an American accent, which lends a further layer of oddness to his performance.

BBC Genome: BBC One – 5th December 1989 – 21:30

After this, there’s a trailer for Crimewatch UK.

Then, an episode of Film 89, with reviews of the following films:

There’s a report on Kylie Minogue’s first film, The Delinquents.

In the movie news, yet another story about how a big movie studio (Universal this time) are going to build a big Theme Park in the UK.

BBC Genome: BBC One – 5th December 1989 – 22:55

Recording continues with an advert for the Radio Times featuring Mick Jagger.

Then, Network. Not the Paddy Chayevsky movie, but the occasional BBC current affairs programme about broadcasting. This one is about the forthcoming Broadcasting Bill, and whether it will cause a drop in quality. There’s a film by the campaign for Quality Television, featuring David Bellamy

Esther Rantzen

John Cleese

George Harrison

Ludovic Kennedy

John Cleese actually does the Fry & Laurie joke about choice between plastic cutlery.

Inevitably, on the other side of the argument, Sky mouthpiece Jonathon Miller, who was a fixture on these kinds of programmes, standing up for the Murdoch point of view.

Teresa Gorman represents the government.

Tony Banks talks for Labour, and gets a shot in at Murdoch, leading Miller to whine on about personal attacks.

It’s quite a spirited debate.

BBC Genome: BBC One – 5th December 1989 – 23:25

The tape ends right after this programme.

Doctor Who – Spider-Man – The Dragon’s Challenge – tape 813

One of my great regrets is that I didn’t start recording TV until late 1984, and so I missed the chance to record more classic Doctor Who. The UK Gold repeats are great for catching up, but nothing beats the original broadcasts.

So here’s Sylvester McCoy and Sophie Aldred as the Doctor and Ace in Ghost Light. It’s a story much beloved by some, but I’m afraid it leaves me rather underwhelmed, and even slightly angry.

The story opens in an old, dark house. It’s quite literally dark, because the director, Alan Wareing, wanted to have something a little more atmospheric than the usual brightly lit studio, so he tried to push the 1980s video cameras as far as possible, using far less light than they normally used.

I can’t say it worked, as all we get is a murky, brown mess.

After answering the door to the Reverend Matthews, early for his appointment, the housekeeper and maids rush out of the house, seemingly afraid to stay there any longer, leaving the house with the line “heaven help anyone who’s still here after dark.” Now I have a problem with this line. Does she say it every day when they leave? Surely, after a day or two they would take that as read? So it just comes across as a clunky bit of exposition, telling the audience that something is wrong in the house.

The Doctor and Ace have landed the Tardis in the house, and he’s seemingly testing Ace on her companion skills, getting her to assess where they are. Ace has a thing about haunted houses. We know this because she says “This isn’t a haunted house is it Professor? You know I’ve got a thing about haunted houses.” “Did you tell me that? How many have you been in?” “Only one. One was enough.”

Ace really does say “The whole place gives me the creeps” at one point.

They meet a man looking for the famed explorer Redvers Fenn-Cooper.

But it soon transpires that he is Fenn-Cooper, and is mad. The other housekeeper, Mrs Pritchard (Sylvia Sims) arrives and takes him away.

They also meet Nimrod, a servant who appears to be a neanderthal.

Gwendoline, the young lady of the house, played by Katharine Schlesinger.

Josiah Samuel Smith, the head of the household, played by Ian Hogg. He’s particularly annoying because he seems to dislike light, and the lighting drops by another 50% when he comes into the room.

The only decently lit scene in the entire episode is when Redvers, locked in a room in a straitjacket, is menaced by a snuff box with a bright light coming from it.

Ace learns that this house is actually the same old house that she once broke into when she was younger, and led to her fear of haunted houses. She runs away, down to the basement – not perhaps the best place to run if you have a fear of old houses. It’s especially unluck here as the basement appears to be an alien spaceship.

The episode ends with her being menaced by two alien looking creatures. But they’re so well dressed they’ll probably be profiled soon in the New York Times. “Face Eating Alien Hybrid: My Grooming Regimen.” As they approach her, they appear to be saying “Red Ken”. Also one of them looks like a repurposed Omega head from Arc of Infinity.

BBC Genome: BBC One – 4th October 1989 – 19:35

In the second episode, we’re given a few more hints at the secrets of the house, but the script is wilfully obtuse, very pleased with its many references and frequent wordplay. It’s all about Evolution, with the reverend Matthew telling Smith that he doesn’t believe that men are descended from primates, even as he appears to be changing into an ape.

Josiah is shedding his skin or something.

And they find a policemen in one of the specimen drawers. “A bluebottle” as the script says, and you can sense writer Marc Platt chuckling to himself as he mentally high-fives himself for such a bon mot. The policeman wakes up in the form of Frank Windsor.

And finally, from the basement comes ‘Control’, “Quintessence of wickedness” according to Josiah.

And as she emerges, so does ‘Light’.

BBC Genome: BBC One – 11th October 1989 – 19:35

Light emerges in the form of John Hallam. He’s cataloguing all life on Earth, and has been asleep in the basement.

The Doctor makes him disappear by doing some acting.

The fact that the Doctor knows all about Light and his mission is one of the really big problems with this story. The Doctor starts it knowing all the answers, so we get no sense of discovery, and the writing is too concerned with allusions and hints to actually let the audience know what’s actually happening. Part of this might be due to the episodes running very long when recorded, and having scenes cut to fit the broadcast length, but that’s down to script editor Andrew Cartmel. He was fairly new to the job – this was his second full season – and I think it was this inexperience that led to this serial in particular being far too elliptical for the general viewer.

I wonder if this is why it’s enjoyed by fans. They are the people who will record it and rewatch it endlessly, which gives them a chance to pore over the episodes and appreciate all the references and in jokes. There’s even a Hitchhiker’s Guide reference thrown in. But I don’t think this serial really works on a single viewing which, in 1989, is all it would get from the vast majority of viewers.

BBC Genome: BBC One – 18th October 1989 – 19:35

After this, recording switches to BBC2. There’s the very end of Film 89, and a trailer for Smith and Jones in Small Doses.

Then, Spider-Man: The Dragon’s Challenge. One of the movie-length stories that came out of the short-lived TV series.

The plot this time revolves around Min Lo Chan, a Chinese businessman (Benson Fong) who comes to New York to find evidence that will exonerate him of charges of murder.

Luckily, he’s an old college buddy of Daily Bugle publisher J Jonah Jameson (Robert F Simon), whom Min approaches to ask if he can track down three former marines whose testimony he hopes should help him clear his name.

He’s accompanied by Emily, his neice, played by a young Rosalind Chao, more familiar to us as Keiko O’Brien in Deep Space Nine.

But there’s an industrialist in Hong Kong who stands to make a fortune if Min never returns from New York, so he puts out a hit on him despite claiming to despise violence. You can tell he’s a bad guy as he’s having his picture painted in full Chinese regalia.

And in case you’re wondering when Spider-Man will turn up, Peter Parker (Nicholas Hammond) is asked to track down the marines by Jameson, so he’s there when goons try to kill Min.

There’s a surprise appearance by Ted Danson as a Major who might help Peter track down the marines.

BBC Genome: BBC Two – 9th November 1989 – 18:00

After this, recording continues with a trailer for Friday Report.

Then, this recording stops and underneath there’s a movie. It’s the end of Hitchcock’s Dial M For Murder. I love this scene, it’s so ridiculously convoluted, relying on the similarity of latchkeys, and who put which key where during the earlier murder plot. And yet, Hitchcock manages to wring some tension out of it.

After this, a trail for Hitchcock’s Rope then the tape ends.

A Very Peculiar Practice – Face To Face – tape 941

Here’s some episodes of A Very Peculiar Practice from BBC2.

Before the first one, there’s the end of an episode of MASH. Then a trailer for KYTV

Then A Very Peculiar Practice. In Black Bob’s Hamburger Suit, Bob Buzzard is enticed by an old school friend to run a study in a new tranquilizer, and Bob starts prescribing it to everyone. in the hope that he’ll publish a paper and get to present it

Meanwhile, Lyn is working on Dr Daker’s intimacy issues. It’s the second appearance of Amanda Hillwood in less than a week, so I hope she’s in good health.

BBC Genome: BBC Two – 2nd May 1990 – 21:25

In the next episode, Contact Tracer, there’s an epedemic of STDs all of a sudden. It seems no one is safe.

Bob’s PC has some really detailed error messages.

The search for contacts leads Dr Daker to an embarrassing meeting with the University’s Vice Chancellor Ernest Hemingway (John Bird).

BBC Genome: BBC Two – 9th May 1990 – 21:25

The next episode is missing the start – some kind of cock up on my part, I presume.

There’s a protest at the Vice Chancellor’s attempt to sell an all-women hall of residence to be replaced by a science park.

BBC Genome: BBC Two – 16th May 1990 – 21:25

This is followed by a Face To Face interview with Roger Corman.

BBC Genome: BBC Two – 24th May 1990 – 23:15

After this, some recordings from the Channel 4 Daily Box Office showbiz news segments. At one point there’s a mention of my home town Hemel Hempstead, for a performance by Les and Robert (Robin Driscoll and Tony Haase).

The tape ends after a few more minutes of this.

Adverts:

  • Pampers
  • Wagon Wheels
  • Colgate
  • Smith’s Crisps
  • Samsonite
  • Ariel

 

Quantum Leap – St Elsewhere – tape 848

First on this tape, the very last episode of St Elsewhere, and an episode that has gained a certain notoriety in TV circles for the unusual way they chose to wrap the series up.

Dr Fiscus (Howie Mandel) wants an interesting case to be his last, as he’s leaving the hospital. He might get his wish when Dr Hawkins (Eric Laneuville) presents him with an opera singer who’s lost her voice.

Bruce Greenwood is convinced that he had Aids, but a lab test says he doesn’t. He’s convinced that God healed him.

Dr Auschlander and Dr Gideon (Norman Lloyd and Ronny Cox) are making plans to save the hospital from shutting down when a small plane crashes into the building. Surprisingly, this is the punchline to the teaser, and played for laughs.

Dr Morrison and Dr Novino (David Morse and Cindy Pickett) are making plans.

Dr Ehrlich (Ed Begley Jr) returns to be reunited with Nurse Papandrao (Jennifer Savidge)

Even Dr Westphall (Ed Flanders) is lured back, and asked to take over the hospital when the Wiegert company sells the hospital back to the church.

There’s general sadness when Dr Auschlander dies. And, because it was set up in the opening, Dr Fiscus can’t leave until the fat lady sings, which she duly does.

But the reason the episode has gained some notoriety is the final scene, where all of a sudden Ed Flanders is a construction worker coming home, Norman Lloyd is his father.

Flanders still has his autistic son, who spends all day playing with and staring at a snowglobe, and the last shot of the show is a close-up of the globe.

The implication being that the whole series has been the imaginings of a young autistic boy.

After this, recording continues briefly with the start of a programme as part of Channel 4’s Women Call the Shots season, Cinemama.

A couple of minutes in, recording switches to BBC2 and the end of Food & Drink.

There’s a trailer for a repeat run of Yes Minister.

Then, Quantum Leap, and an episode called The Right Hand of God. Sam leaps into the body of a boxer.

Sam has to win his fight to raise money for a convent for nuns.

He also has to raise money for his girlfriend. Unbelievably, he aims to do this by getting his girlfriend to streak during the bout to distract his opponent.

BBC Genome: BBC Two – 27th February 1990 – 21:00

The next episode is How the Tess was Won. Sam leaps into the body of a vet in 1956. It’s the one where he meets a young Buddy Holly.

He also has to compete in a competition to be a better cowboy than rancher’s daughter Tess McGill so she’ll marry him, even though she doesn’t want to marry anyone.

BBC Genome: BBC Two – 6th March 1990 – 21:00

After this, a trailer for A Bit of Fry and Laurie. Then the recording ends.

Adverts:

  • Kleenex Velvet – Frank Bruno
  • Datacopy
  • trail: Nightingales
  • Ford Fiesta
  • Signal
  • Corn Flakes
  • First Direct
  • Club
  • Auto Express
  • Legal & General
  • Esso
  • Hoskyns FM
  • Nescafe – Richard Briers and Penelope Wilton
  • Toilet Duck
  • Terry’s Nutcracker
  • First Direct
  • trail: Rock Steady
  • trail: High Hopes
  • Nescafe – Richard Briers and Penelope Wilton
  • Oil of Ulay
  • Auto Express
  • Maxiflush
  • British Airways
  • Comfort
  • Lucozade – Daley Thompson
  • trail: Love Letters

Young Sherlock Holmes – One Hour With Jonathan Ross – tape 822

First, we have Young Sherlock Holmes, a film which was known in the US as Young Sherlock Holmes and the Pyramid of FearEdit: Victor Field points out that the US used the same title as the UK, and the longer title was only for some other overseas territories. 

It’s a film I have a lot of fondness for, even though it has quite a few shortcomings.

It tells the story of how John Watson first met Sherlock Holmes at a school in London. Holmes purists will complain that Doyle had already written their first meeting, as adults, so they can’t have met as schoolboys. But the filmmakers are way ahead of you.

This is basically the filmmakers saying ‘Yeah, we know, we just thought we’d make up some stuff.’

Watson is played by a Harry Potter cosplayer named Alan Cox.

Holmes is played by a Fourth Doctor cosplayer named Nicholas Rowe.

Watching this again, I’m struck by how very Harry Potter it all is. Not just Doctor Watson as Harry, there’s also the plucky girl, played by Sophie Ward (daughter of Simon). This is the 80s, so she doesn’t get as much to do as Hermione does, but there’s a resemblance.

The school dining hall only needs a magical ceiling to be the Hogwarts Great Hall.

There’s an unlikely flying contraption.

At one point, Sherlock plays a prank on the school bully, turning his hair white and making him into a Draco Malfoy cosplayer.

In retrospect, I shouldn’t be too surprised at visual similarities, since this move was written by Chris Columbus, who would go on to direct thee first two Potter films.

The plot is a bit silly, and some of the dialogue is a bit dire, but the special effects are fairly good and, in one case, groundbreaking. The stained glass knight that a priest hallucinates was the first CGI character in a live action movie.

The movie even ends with a post credits scene, which hints at a sequel that never happened.

I like the score by Bruce Broughton. He’s no John Williams, but it’s a rousing score nonetheless.

BBC Genome: BBC One – 3rd March 1990 – 19:15

After this, recording switches to an episode of One Hour with Jonathan Ross. I don’t have the opening, but his first guest here is Stephen Fry. He’s there to plug the play he’s in, Michael Frayn’s Look Look, which I went to see in London when it was on. It wasn’t bad, although the ending needed work.

All through the show it keeps cutting to Vic Reeves and Bob Mortimer, watching the show and making comments.

There’s music from Tashan (sp? He’s not listed in the end credits.Thanks to billysmart who corrected my guess at the spelling of his name.

There’s a comedy bit about the M25 being stolen which doesn’t really work.

The next guest is artist Mark Kostabi. It’s a strange interview, where he keeps going on about drinking Fanta and reading She magazine. He’d clearly been watching the show go out live in the green room and seen the ad break that’s just gone, but Ross obviously hasn’t and is just perplexed by the references. He also mentions Donald Trump at one point, which I feel duty-bound to mention.

More music, this time from Cowboy Junkies

The next guest is writer and poet La Loca.

Paul Young supplies some more music

The final guest is Julian Clary. He’s been on a lot of tapes recently, so I hope he’s in good health. He tells the story, which I had forgotten, that he had to stop using the name ‘The Joan Collins Fan Club’ after he received a very polite cease and desist letter from Joan Collins (or her people).

After this, recording stops, and underneath there’s the start of a Channel 4 film called Clash of the Ash. The tape ends during this film.

Adverts:

  • She
  • First Direct
  • Fanta
  • Seven Seas
  • Carlton LA
  • Skin Beat
  • Rude Awakening in cinemas
  • trail: Clive Anderson Talks Back
  • Our Price – David Bowie – Changes
  • Friends Provident
  • British Airways
  • Sprite
  • Eurodollar
  • Indiana Jones and the Last Crusade on video
  • Heinz Weightwatchers
  • Dairy Box
  • Sterling Asset
  • Nat West
  • Air UK
  • Dulux Once
  • trail: Nightingales

Saturday Night At The Movies – tape 849

Here’s a couple of episode of Saturday Night at the Movies, LWT’s attempt to launch a competitor to Barry Norman’s film show.

This week, as with The Media Show a few days ago, Tony Slattery (klaxon) is on location in New York.

He’s there to interview Willem Dafoe, who lives in New York.

The programme has info pages. Very 80s.

Tony also does film reviews of:

There’s a look at Lee Strasberg’s Theatre Institute, and the idea of Method acting.

In the next episode, the last in the series, there’s an interview with Danny DeVito on the release of The War of the Roses.

Jo Whiley looks at the job of the casting director. One noted casting director is Jane Jenkins.

Tony reviews:

There’s an interview with Rob Lowe about Bad Influence and his recent scandals.

I’m surprised that the show actually uses a short clip from the sex video – seems like it would be unacceptable for broadcast TV in 1989.

After this episode, recording stops, and underneath there’s quite a bit of a German detective show called Derrick.

Then, an ITN news bulletin has an opinion poll putting Labour 20 points ahead of the Conservatives, mostly due to the unpopularity of the poll tax. Even so, it would be eight years before Labour would finally win a general election.

Other news is that Israel could be on the verge of historic peace talks with the Palestinians. I wonder how that worked out?

After this, the tape continues with American College Football, during which the tape ends.

Adverts:

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  • Amstrad PC2286
  • Territorial Army
  • Twirl
  • Tennent’s Pilsner
  • Oracle
  • Crimestoppers
  • Duckhams
  • Wispa – Peter Cook Mel Smith
  • Light Philadelphia
  • Lunn Poly
  • Webster’s Yorkshire Bitter
  • Barclays
  • Sanatogen
  • Philips Whirlpool
  • Yakety Yak
  • trail: The Craig Ferguson Show
  • Jazz FM
  • Just for Men
  • Barclays
  • Aero
  • Nissan 200 SX
  • Party Time
  • Intercity Sleeper
  • Royal Mail Stamps
  • Our Price – The Right Stuff 2
  • Drugs – Dexter Fletcher
  • Rap’Tou
  • Talkabout