The First Wives Club

The First Wives Club
September 20, 1996
Paramount
Comedy
VHS
C+

I really liked this movie at the time, as did many others, including Katha Pollitt, but that doesn't mean we were blind to its faults, faults that are more obvious a couple decades later.  As directed by WKRP's Hugh Wilson, it is very much a cinematic sitcom, with easy resolutions and cardboard characterizations.  Although it's based on a book (which I've never read), the most serious flaws have to do with the writing, many of the implausibilities and inconsistencies centering around Brenda (Bette Midler).  To begin with, is she Italian or Jewish?  If both, why isn't this established earlier?  And how is ir that her husband (Dan Hedaya, for a change in my movies actually typecast) fails to recognize her boss, even the name?  Also, the whole timeline is screwy, from Yellow Submarine coming out in '69 (rather than '68), to the central trio of first wives (Midler, Goldie Hawn, and Diane Keaton) all about 45, although this seems to be contemporary and they've been out of college for about 27 years.  I'm not even clear how much time is passing in the main story, although there's a vague time pressure (even vaguer than in Don't Tell Mom).  Maybe this is all clearer in the book.

The movie is of course notable for its presentation of the exes, particularly the ex of their suicidal friend Cynthia, as being shallow, insensitive, and ruled by their lust for younger women.  (Sarah Jessica Parker is playing against type as a dumb and tasteless blonde.)  But the wives don't come across as much better and, as in The Women almost 60 years earlier, it's unclear why they regret the loss of such awful men.  Yes, I like seeing the cast, and the theme of female friendship and empowerment is good, but it's often lost in slapstick and stereotyping.  And this isn't 9 to 5, where the stock characters are given believability.  There are nice little moments (like how accepting Keaton is of her lesbian daughter), and even occasional insights about how aging women are viewed, and Maggie Smith proves she can do a lot even with a tiny role, but it just doesn't add up to much.

I don't have any other movies with James Naughton but it's a nice touch to make him Cynthia's cheating ex-husband, since he was Angela Bower's ex on Who's the Boss?  (Cynthia is played by Stockard Channing.)  Victor Garber, who plays Goldie's ex, would be Professor Callahan in Legally Blonde.

Anne Shropshire, who's an A Certain Age cast member, was Mrs. Crawley in Tootsie.  Peter Frechette, who plays the Broadway Director, had his big-screen debut as none other than Louis DiMucci in Grease 2.  (He found a lot of other work in between of course.)  Aida Linares also played a maid in Clueless.

Marla Sucharetza, who's Exercising Woman, would be School Reporter in In & Out, while Debra Monk is Jilted Lover here and would be Mrs. Lester there, and  J. Smith-Cameron is Miss Sullivan here and would be Trina Paxton there.  Rob Reiner plays Hawn's plastic surgeon.  And, yes, that's 41-year-old J.K. Simmons in the small role of a Federal Marshall.

The Spirit of '76

The Spirit of '76

October 12, 1990

Columbia

Comedy, Sci-Fi, Historical

DVD
B-

This is even more of a decade-straddler than its peers, since not only was it filmed in the summer of 1989, but it's mostly set in the summer of 1976.  If this sounds a little early for '70s nostalgia, you're correct.  The film was made for a low budget and didn't make much back.  Even "writer 'n director" Lucas Reiner (son of Carl, who plays Dr. Von Mobil, and little brother of Rob, who is the est-like Dr. Cash) admits on the commentary that they should've waited at least another four or five years.  By the mid-'90s, The Brady Bunch hit the big screen, twice, and before long That '70s Show became very popular on the little screen.

The slight premise, in a not quite rip-off of Bill & Ted, is that three people from 2176 (played by David Cassidy, Wonder Years' Olivia d'Abo, and Geoff Hoyle, who was Scoop the Reporter in Popeye) use a time machine (made out of two hot tubs, much more '70s than B & T's phone booth) to go to 1776 and rediscover what America was founded on, but the machine malfunctions by a couple centuries.  Luckily, it's the Fourth of July, and the Bicentennial, and Julie Brown as "lusty Miss Liberty" is among those who "explain" the founding principles.

The movie is full of '70s touches.  In fact, it's arguably all style and not much substance.  There's enough to look at and listen to that you probably won't much mind.  From Pop Rocks to pop music, much of what you remember (or at least have heard of) about the '70s is represented, including very colorful costumes designed by a teenaged Sofia Coppola.  There are also a lot of cameos, from people I associate more with the '80s (Devo, Moon Unit Zappa) to authentically '70s icons like Iron Eyes Cody and Leif Garrett, the latter in a scene-stealing role as "Eddie Trojan," brother to the insufferable Rodney Snodgrass (played by nobody you've heard of).  There are moments when L. Reiner parodies various '70s movie conventions, like the Inevitable Car Chase, but the movie remains more goofy than clever.

Note, the sci-fi is, per budget, not particularly well done, but it is fun to see the hand-held devices that the futuristic trio use to type, call, and take pictures with.  Who knew?

Arnold F. Turner, who's Voice Talent here, would be Officer Axelrod in The Brady Bunch Movie.

This Is Spinal Tap

This Is Spinal Tap
March 2, 1984
Embassy Pictures
Comedy, Musical
DVD
B+

This mockumentary/rockumentary is primarily the work of four men: director Rob Reiner, and bandmates Michael McKean, Christopher Guest, and Harry Shearer.  That's not to say that others didn't contribute (the guest cast, not all of whom I mention later, are all solid), but that is the team who is mostly responsible for the humor and poignancy.  The movie holds up very well after thirty years; in fact, it's probably a bit funnier now because Heavy Metal, and the '80s in general, are funnier at a distance.  The movie is full of quotes you've heard (e.g. "It goes up to eleven"), but it still feels fresh.  The music, especially the '60s tunes, is actually quite good, even with silly lyrics.

What struck me most this time was the strained but never fully broken friendship between the McKean and Guest characters.  Shearer comes close to stealing his scenes, but he's mostly there as a balance, the "lukewarm" between their "fire and ice."  And Reiner does well as both directors, real and film-within-film.  If TIST is not quite in the upper tier of my movies, it may be that it shares a fault with another mockumentary, Zelig, in keeping the viewer at a distance.  Also, the "girlfriend ruining the group" motif is a little too much like Yoko-hate, even if she's blonde and British rather than Asian.  Still, definitely worth repeat viewings, and the in-character DVD commentary is brilliant.

Perhaps not coincidentally, some folks who were in Americathon appear here: Zane Buzby as Rolling Stone Reporter, Howard Hesseman as Terry Ladd, and Fred Willard as Colonel on Military Base.

Charles Levin, the Disc 'n' Dat Manager, was Alvy's stage counterpart in Annie Hall.  Robin Menken, who was Maddy in Thank God It's Friday, is Angelo's assistant here.  Blackie Lawless, who's Commercial Headbanger here, stood out more as Metal Guy with Leash at Audition in Can't Stop the Music.  Archie Hahn, who plays the queeny Room Service Guy, would shortly have a dual role in Meatballs Part II.  

Billy Crystal, who worked with Guest on Saturday Night Live, has a small role as Morty the Mime.  Another SNLer (although then future), 28-year-old Dana Carvey, is a mime waiter.  And, yes, that's a 34-year-old Ed Begley, Jr. as the first of many Tap drummers.

Despite themselves, they are actually sexy as well as sexist.