Happy UFO Day 2026

Do you believe? 

Or are you one of those people who will accept as "truth" anything the government tells you because "why would the government lie to me", and thus dismiss the idea of extraterrestrial visitations outright? Maybe you are an incredulous denialist who refuses to accept anything that would fly in the face of a cherished belief or worldview.

  

Today is World UFO Day, a day that was established to focus on efforts to "raise awareness about the undoubted existence of UFO’s and with that intelligent beings from outer space." Any open-minded investigation into the phenomenon would bring questions, such as just what are people seeing out there. It's surely true that much of it could be explained away with such things as weather balloons or "swamp gas", but occasionally those simplified explanations have to be manipulated to make them work.

This has led to a variety of ever more stronger (and stranger) efforts to discredit the idea that alien life forms are making frequent visits to our planet. One of the ones that intrigue me the most is the idea, proposed by fundamentalist Christian writers, that these "aliens" are actually a vanguard of demons under the auspices of Satan, with the goal to deceive humans. See UFOs and the Alien Agenda by Bob Larson (a guy whom I consider to be nothing more than an overrated "witch hunter". Larson got his start by demonizing rock and roll, but be that as it may. Truth be told, he kind of looks like an alien to me anyway...)

As I have previously stated else where on this blog, the July 2 date for World UFO Day was established to commemorate the famous UFO crash in Roswell, NM. That incident was the inspiration behind the 1980 film Hangar 18, as well as the focal point for one of my favorite episodes of the TV series Star Trek: Deep Space Nine, both of which are appearing today on the blog.

 

 

The TV series Star Trek: Deep Space Nine was the third live action iteration of the classic space series, and is probably my favorite of the franchise. (There was an animated series that appeared between the cancellation of the original series and The Next Generation series, so technically ST:DS9 would be the fourth series, historically). As far as it's staying power, it lasted 7 seasons, as did Star Trek: The Next Generation and Star Trek: Voyager. With 174 total episodes it only ranks second in number of episodes, behind ST:TNG (at 176 episodes), and was very popular during it's run. (ST:V had 172 episodes).

The main reason, BTW, that I prefer ST:DS9 over ST:TNG was the rarity of the appearance of a Betazoid on ST:DS9.  I don't shy away from stating that I absolutely hated the Counselor Troi character on ST:TNG. Although not the actress... I just hated the concept of an empath race... "I sense pain...intense pain". She must've been reading MY mind. 

Star Trek Deep Space Nine "Little Green Men" (airdate Nov. 4, 1995):

The episode begins as a Ferengi resident of the space station, Nog (Aron Eisenberg), the son of Rom (Max Grodénchik) and nephew of Quark (Armin Shimerman), is preparing to leave Deep Space Nine to go to Starfleet Academy. Nog and his proud father are ecstatic about the trip, but the ever grumpy and dismissive Quark has his doubts. But Quark is about to get slightly more enthusiastic when he learns that a cousin has come through with a long-awaited repayment of a debt; his very own space shuttle.

 

Rom and Quark

 

Nog

 

Ever the suspicious and distrusting sort, Quark has the shuttle checked out by Rom. Somewhere along the way of the series Rom, who was originally just an employee in Quark's bar, gained some extensive technical knowledge of spaceships. By this episode I guess he was fairly competent enough that Quark trusted him to give the shuttle a good going over. Rom declares the ship in perfect condition. So Quark volunteers to use the shuttle to take Nog to Starfleet Academy on Earth.

Hitting the road

 

But Quark isn't doing this because he has a heart of gold. Rather he has decided to use the opportunity to make a little money on the side. He is smuggling a batch of illegal kemacite, which he intends to sell at a substantial profit. (See? Quark's heart is in the right place after all, as any good capitalist...)  

A problem occurs when, while trying to bring the shuttle out of warp, there is a malfunction. Or sabotage, as Quark concludes, since he and his cousin are not exactly buddy-buddy in the first place. Rom figures out if they use some process involving part of their illegal contraband they can manage to pull the shuttle out of its warp. The problem is that they end up traveling through a time warp and end up in 1947... On July 2, specifically... Near Roswell, NM... (You can see where this is going, can't you?)

Communicating with the aliens

The rest of the episode plays out like a comedy of errors. The 1947 military figures on hand try to figure out how to communicate with the aliens, as do our Ferengi visitors. The aliens, coming from a time when advanced technology has given them tools that are not a part of the current timeline, have what are called "universal translators", but they are malfunctioning, so neither can understand each other. But Rom is able to fix the problem.

Problem solving

Side note: The universal translator as depicted in the Star Trek franchise is one of those things that come off as "it works: we don't have to explain it:.. it just works". Thus, instead of having to have the 1947 Americans have their own universal translators, the device makes whatever the Ferengi say in their own language come out as English to the Americans.  Quite a bit of the technology of Star Trek was just a device "invented" to overcome a plot problem or even a TV budget problem. Such as the "invention" of the transporter. That was just implemented because the budget for the TV show wouldn't allow for frequent shuttle craft landings on planets. If you are curious about the physics of Star Trek, I recommend an excellent book: The Physics of Star Trek by Lawrence M. Krauss.  

Eventually these suspicious (and obviously overly wary "Red Scare" adherents) are convinced that these aliens are going to go over to the other side (a.k.a. the Russians). Of course, the clueless Quark is not helpful, by threatening to deal with the Russians if these Australians ("Americans!" "Whatever...") don't want to play ball... Which leads to the military to use tactics that are not Geneva Convention approved to get the aliens to conform to their own way of thinking.

Can we try waterboarding instead?

 

Fortunately for the Ferengi, Odo (Rene Auberjonois) has smuggled himself onboard the Quark shuttle. See, as head of security on Deep Space Nine, Odo doesn't trust the motives of Quark. The two are not exactly good friends in other words. (Truth be told, I'm not sure Quark has any "good friends"...) So Odo hid on board the shuttle and is now in the same predicament of being stuck in the past.  

Odo and Quark

Odo, by the way, is a shapeshifter race of aliens, which means he can become whatever the hell he wants to be to blend in. On Earth he starts out by shifting into the form of a dog. Not sure what form he took to conceal himself on Quark's shuttle, unless he hid out as some kemacite in the ship's hold.

 

Nice Odo! Down, boy!

With his help, and the help of a couple of sympathetic non-military humans, Professor Carlson (Conor O'Farrell) and Nurse Garland (Megan Gallagher), they are able to escape and use the now repaired ship.

Carlson and Garland

Unfortunately for Quark and his greedy ambition, they have to use the remaining contraband to open another rift in time to get back to their present day. There is still another connection to the actual events in the historical Roswell incident: When one of his subordinates asks what they are going to do, the general in charge, General Denning (Charles Napier) replies "About what, Captain? All we ever found was a crashed weather balloon..."

General Denning

As I have stated on numerous occasions, I really like when a serious dramatic TV show strays into comedy. Star Trek The Original Series and ST:DS9 both did this with the Tribbles episodes. The humor for this one relies on being able to accept that aliens did really crash at Roswell, but I doubt that without the efforts of Shimerman, who really was a pretty funny guy in the episodes he appeared in on DS9, that this could have been quite as funny.

Some of the other actors are pretty standard cardboard characters, however. I cringe at the interplay between O'Farrell and Gallagher, who are engaged to be married. I realize it is meant, in retrospect, as a parody of a trope that was common in the 40's and 50's movies, but it comes off a bit stale. A funnier pairing of a married couple could be found in The Lost Skeleton of Cadavra, a 2001 parody of classic 50's sci-fi movies. 

Get a room for crying out loud!

Charles Napier, however, is a treat, no matter what kind of character he plays. Here he is also doing a parody of a standard gun-ho "America first" military man, but I like his character and his performance. And he could do comic and serious roles both with equal panache.  In The Blues Brothers he was a hoot as the leader of the country western band that is one of the title characters' nemeses. And in Rambo: First Blood Part II, he was sufficiently despicable as the military big wig who sends Rambo into Vietnam to look for missing prisoners of war. This was Napier's second appearance in the Star Trek Universe. Previously he had played Adam, referred to in reviews as a "space hippie", in the Star Trek: The Original Series episode "The Way to Eden".

The "space hippie"

There is that underlying subplot that drives the story of "Little Green Men". Quark, being the essence of an unscrupulous capitalist, sees latinum (the monetary form used in the Star Trek Universe) out the wazoo and possibly even ruling the planet because of the lack of advanced technology on 1940's Earth. (The Man Who Would Be King, anyone?) But Quark is due for a lesson in the "my country, for better or worse" mentality of the 1940's military.

As an avowed fan of Quark, who gets way too much hate from some sectors of the fan base (kind of like those people who dislike Wil Wheaton's Wesley Crusher on Star Trek: The Next Generation), I enjoy episodes where he is featured.  And probably for the same reason that that fan base dislikes them: i.e. the Ferengi were used often for comedic relief. Admittedly I sympathize with one objection. There does seem to be a tinge of antisemitism with the portrayal of the characters. But that leads to a question... if the Ferengi characters are antisemitic caricatures, then why were most of the actors who played them Jewish? It doesn't seem to me that they would if they felt the characters were such.

As far as where "Little Green Men" ranks in lists of best episodes of the series, it is ranked fairly well, considering the number to choose from. Den of Geek is probably the most generous, ranking it #20, and Bjorn Munson ranks it #42. Most of the other lists I looked at had it at least in the top 50, so maybe there are more comic relief fans in the Star Trek Universe than there are haters.

 

The year of 1980 was my transition year in terms of theater experience. I turned 18 late in 1979 and, after I graduated high school in 1980, I gained an independence. No longer did I have to have my parents permission to go to the movies. I missed out on anything that came out before the summer of 1980 since I was still in high school and still under the parental thumb. But beginning in about May of 1980 I was in a theater pretty much at least once every two weeks.

Unfortunately, I was limited to only what was showing locally, since Dallas-Ft. Worth theaters were a minimum of 75 miles away.. We had only one multiplex, with only four screens, and two drive-ins, each of which had two screens. That meant at the maximum I only had 8 potential movies to choose from at any time. Of course, if it was a big draw, sometimes the multiplex had two screens dedicated to the same film.  I remember specifically that The Empire Strikes Back occupied two theater screens at the multiplex during it's initial run.

The upshot was that a lot of movies never made it to the "boondocks" that I called home. Being a rabid science fiction fan at the time, I have no doubt that I would have gone to Hangar 18 if it had appeared in a theater near me, but it didn't. I don't even recall seeing a trailer for it.

 

I have always wanted to see it, however. Apparently it wasn't seen by a whole lot of people at that. Rotten Tomatoes ratings, for instance, are based on contemporary ratings of critics at the time. Their rating of 40% Fresh is a result of only 5 contemporary critic reviews. If so few critics even saw, how wide spead was it's distribution in the first place?

Just last month I was browsing the stacks of used DVDs at the local Half Price Books and happened upon a copy of the film, so I snagged it, thus giving me the opportunity to have it play at The Midnite Drive-In. As for whether it was worth the 45 year wait... read on.

 

Hangar 18 (1980):

I'll start off with a tidbit of trivia. The director of Hangar 18 was also the director of the above reviewed episode of Star Trek: Deep Space Nine. I didn't know that when I planned out this pairing, but it's a nice little bit of coincidence.  

The movie was produced by Sunn Classic Pictures, the same people who gave us such classic documentaries as In Search of Noah's Ark, In Search of Historic Jesus, Beyond and Back and The Lincoln Conspiracy, all beloved films of my childhood. They were also behind the movie and subsequent TV series The Life and Times of Grizzly Adams. Mostly known for family oriented films in the 70's, it also was responsible for the production (although not the distribution) of two Stephen King movies, Cujo and The Running Man. (Just my opinion, but that transition to more adult oriented films may be what contributed to their decline. The studio only lasted for 8 years after it's first attempt at a non G-rated film, Hangar 18. By then it had been acquired by Taft Communications, which is also now defunct).

 

 "In spite of official denials, rumors have continued to surface about what the government has been concealing from the American public at a secret Air Force hangar. But now, with the help of a few brave eyewitnesses who have stepped forward to share their knowledge of these events, the story can finally be told."

-from the opening of Hangar 18

Thus begins our story. The film is tangentially the story of the Roswell incident. There are many things that diverge from the story as it played out historically, however. Even a neophyte knows that there wasn't even a space shuttle in existence in 1947, but the movie starts out with that premise. And that's where the whole thing starts to get a little tricky (and, you might say, unbelievable...)

 

Shuttle

What's "unbelievable", you might ask? No, I'm not referring to the whole concept of alien life forms. I am referring to an incident that happens aboard the space shuttle. The space shuttle is about to launch a satellite, but the crew on board see a strange sight. An object that should not, theoretically, be there (in other words, a UFO). But instead of aborting the launch they go ahead with it. Surely even if the space program was in bad financial straits, the logical thing would have been to abort and call the astronauts back. Even the base notices the odd "blip" in the neighborhood back at base.

 

The launch goes on as planned, but the satellite crashes into that UFO. And worse, one of the astronauts (listed in the credits as Judd Gates, but called by the President as "John Gates"...), who happened to be outside the shuttle trying to make sure the launch goes off as planned, gets decapitated.  The reaction of the remaining shuttle crew, Steve Bancroft (Gary Collins) and Lew Price (James Hampton) is almost like "Gee! He's dead... Oh. well. Let's go home..." And, believe it or not, they just leave the body out there to float in space for eternity.

The third astronaut loses his head

 

Despite the somewhat incredibly unlikely scenario of the opening 10 minutes, the film does manage to start getting better as it progresses. It gradually morphs into what we expect from a government conspiracy and coverup film.   

The first thing is that somehow that satellite ends up causing enough damage to the UFO to make it crash land on Earth. It crash lands somewhere in Arizona. General Morrison (Philip Abbott) sends a key figure, Harry Forbes (Darren McGavin), to coordinate the efforts to check out the landed spacecraft. This whole thing spells trouble from the outset, because, coincidentally enough, there is an election coming up just around the corner. What's going to happen to the President's re-election campaign if this news gets out?

Harry Forbes

 

That becomes more clear when the General calls White House Chief of Staff Gordon Cain (Robert Vaughn) who immediately tells the General that he doesn't want to talk about over the phone and to get his ass to Washington, pronto. Meanwhile, a civilian who saw the thing land has brought a local sheriff to the scene, but all traces of it are gone.

Gordon Cain

 

That's because the powers that be are on the ball. They moved it to Hanger 18 on a base in Texas (yeah, I know... Area 51 is supposedly in Nevada. So basically the film is covering it's ass so they don't just disappear off the face of the Earth for exposing the "truth"...)

UFO 

 

The weasel in the cornfield, to put it bluntly, is Cain. Cain intends to do everything he can to cover up this situation. At least until after the election. Citing the bad press that another politician got when he reported seeing a UFO, he suggests keeping it quiet. But there are still the astronauts who saw the UFO. What to do about them? Why, it's simple. Make them scapegoats. The political bigwigs have the newspapers print a story that blames Bancroft and Price for the death of Gates.

Bancroft and Price have proof of the real story, however. The tapes of the launch. Uh huh, not so fast. The bigwigs have covered their butts on that too. They altered the tapes, erasing any of the conversation about the sighting and everything else.

Price and Bancroft

 

At the base Harry brings  Phillip Cameron (Tom Hallick), an expert to check out the spaceship along with a small crew of specialists. Meanwhile, Bancroft and Price head to a remote area where they hope to find real proof of what happened. In other words, they think that maybe, just maybe, because of it's remoteness the government may not have gotten around to altering their tapes of the event.

The film jumps back and forth between these two events. On board the space ship the investigators find the bodies of two aliens (who look a lot like rejects of an early incarnation of The Blue Man Group). 

 

Alien

And at the remote base, with the help of a friend, George Turner (Michael Ruud), Bannister and Price find the proof that there really was something there. 

Bancroft:  George, can we have this tape, or a copy?

Turner: This is a Department of Defense operation. You guys couldn't get out of here with a coffee cup. If the brass even knew I let you in here, I could lose my job.

(I think "losing your job" is the least of your worries there, George...)

But they do get George to pinpoint the site of the crash and head off in that direction. Meanwhile, back in D.C. our evil government bigwig Cain learns of this. And that's not good news. At least it's not for Bannister and Price.

We are only a third of the way through this film, but now it's starting to gel into the trajectory that pretty much was part and parcel of the average conspiracy theory film. But believe me, there are some twists and turns yet to come. And not just the typical ones. You are going to drop your popcorn when you learn the past history of the aliens (if you haven't read Chariots of the Gods, at any rate...) I'm going to leave off here, because, despite how cheesy a lot of this movie is, I think that one reveal is well worth watching this movie just once. It is bound to stick with you.

Investigating the UFO

 

OK... just one more tantalizing bit... they find a human woman on the alien space ship, in suspended animation.  She is still alive.  (Now you're really intrigued... right?) 

 

There are some parallels with this film and Capricorn One, a film that came out a couple of years earlier. In that film, in case you don't want to read the whole link above, NASA faked a Mars landing and everything went haywire, resulting in a cover up and the necessity to remove from the scene anyone who could expose the coverup. One thing that gets me: With all the people involved in the coverup, wouldn't that necessitate removing those people at some point? Kind of like the rumor/conspiracy that NASA faked the real moon landing. If it was really faked there would be a hell of a lot of people that needed to "disappear", don't you think?

 

Here's another thing to tantalize you. Those alien bodies that the crew found on board the spaceship... There is no credit anywhere in the websites I looked for who the actors were. Even people who were in movies that had no lines in the films can be found as "uncredited" appearances on sites like IMDb, but there is nothing, nothing anywhere that reveals who posed as the alien bodies. so, maybe they weren't human actors after all?

The reception of this movie by the critics generally  dubbed it overly melodramatic and required a gullibility on the part of the viewing public. And there is a gullibility requirement, not the least of which is the idea that the only reason to cover up the landing is it might hurt the current President's chances  of re-election. (That's the ONLY reason? Not that there are bigger threats to worry about than the Russians? Not that a whole foundation of religious history would be brought into question?)

Despite a somewhat lame tendency in dialogue, despite the pretty much standard B-movie plot, despite the fact that the special effects are pretty lame even for 1980 (that spaceship looks like it belongs on a sound stage for a rock opera, not as a viable interstellar Winnebago...) , this film is not all that bad. The aforementioned Capricorn One is a better movie over all, but this one was still entertaining for one watch. Not sure if I will ever watch it again, but I was entertained for the hour and a half I spent watching it.

That's all for now. Drive safely, folks. And watch out for those strange objects coming down from the sky. Or better yet, just ignore them, otherwise some guys in black suits might come looking for you...

Quiggy

 

The Midnite Drive-In Sets A New Record!

 

 

June was a banner month! I surpassed my previous record of 12 posts for a month (I'm not counting the reprint of the Harryhausen post from May...). With an astounding 17 (not including this one) posts, I have a somewhat high goal for future months. Of course, the Celebrate the Drive-In Week event from this month helped boost that up.  

I'm lining up some interesting projects over the last half of the year, including, hopefully, a film noir event in November. You never know... I might even top 17 posts for a month in the near future.  (Retirement has left me with a LOT of free time...) I could even potentially surpass my record for a yearly output. 2017 and 2018 were tied with 85 posts. and I'm already over 60 this year, with still half a year left to go.

 

Quiggy

 

 

Semiquincentennial Movie Project #26: The Werewolf of Washington

 

 

 

 

The Semiquincentennial  Movie Project is an ongoing celebration of the 250th anniversary of the founding of the United States. During the course of this project your humble blogger is choosing a movie a week to represent each of the 50 states in the Union, as well as a movie scheduled for 4th of July weekend that will represent the nation's capitol, Washington D.C. The order of the weekly entries will coincide with the order of each state's entry into the fold (although, not necessarily coinciding with the date of their entry into said fold).

 

 

Week #26: Washington, D.C. -

 

 

 

The  capitol of the United States, Washington, D.C., was established on July 6, 1790 

Details about Washington, D.C.:

Even though it is not a state, the city does have an- 

Official bird: wood thrush

Official flower: cherry blossom 

Official tree: scarlet oak

Additional historical trivia:

It took over 150 years, but in 1938 Washington, D.C. finally got it's own official "state" flag.

If you look among the gargoyles at the Washington National Cathedral, you'll see a unique one...

 

To date, only one U.S. President is buried in Washington, D.C., Woodrow Wilson.

Surprisingly, the Folger Shakespeare Library in D.C. that has more information about the Bard than any other site in the world.

Residents of D.C. have only been able to vote in Presidential elections since 1961.

While it may not have the most museums of any city in the U.S., D.C. does of the most museums per square mile. And the most visited ones, too.

Famous people born in D.C.: J. Edgar Hoover, Al Gore, John Philip Sousa, Marvin Gaye, Stephen Colbert, Kevin Durant, Goldie Hawn and "bad m-f-er" Samuel L. Jackson  

 

The Werewolf of Washington (1973): 

All current political insinuations aside, this is unabashedly a satire of the then current administration in the White House, President Richard Nixon. It is obvious from the very beginning that the film makers were making a political statement. More than once the film's President echoes Nixon's oft repeated statement:  "Let me make this perfectly clear..." And, after the death of the werewolf, one character echoes, or at least steals, a line from Nixon's past: "Well, you guys won't have Jack Whittier to kick around anymore" (And even the name of the main character is a jab at Nixon... Whittier was the name of the California town that Nixon claimed as his hometown...) Also, Jack lives in the Watergate Hotel, and we all know the story of that famous landmark in relation to Nixon.

The movie is classed as a "horror / comedy", but to tell the truth the horror is taking a back seat to the comical scenes, even the ones that may or may not be intended as "comical". One thing in particular is the transformation of Jack from man to werewolf. The budget must have been very very low. The film makers relied on the outdated, even by 1970's standards, of stop-motion and dissolves. It is hardly even distinguishable from the way the transformation occurred in the 1941 classic Lon Chaney film.

There are many times when the film jags in it's presentation, giving an impression of breaks in the film (and maybe that was only because that's all the studio has left of the original film... I can't say, but I do think it's highly likely that the budget for the film was so low that they couldn't afford to have seamless transitions.) 

Stockwell doesn't help much in the way the film comes off. It's not as if he is just starting out early in his career, however. By this time Stockwell had been around for over 25 years, and he had several decent roles during that time. It's just that he is seemingly at a loss how to play the character. At times he is guilty of "playing to the back of the theater"; overacting out the wazoo. Alternately there are some scenes where his acting is so laid-back that it almost feels as if he is comatose.

At times I think the scriptwriter did not know what to do with his character. There is a lot of stuff that just doesn't click. For one thing, the setup. Jack Whittier (Dean Stockwell) is serving time as a liaison in Europe, specifically Hungary, for some reason, I think it is supposed to be because he had been having an affair with the President's daughter.  But he gets a call to return to the U.S. because he is going to take over as the Press Secretary for the President (Biff MacGuire).

 

 

 

Before he can get the hell out of Dodge (or Budapest, as the case may be), Jack runs into a werewolf. He manages to kill the werewolf with a convenient silver tipped cane he has. (The only way you can kill a werewolf is with silver.) But he is bitten by the werewolf before it (he) dies. And we all know if you survive a werewolf attack you are automatically gifted with the curse of becoming a werewolf yourself.

Before he leaves Budapest he encounters the mother of the man (werewolf) he killed. She is apparently not too distraught over it. Instead she gives him a veiled warning that he is destined to become the next in line for the position of King Wolf. There is some lead up to his leaving, including having some generic official telling him that it was all his imagination, since even the body of the man (former werewolf) has disappeared. Jack believes all of this is some sort of plot by the Communists (although why they would go to this kind of trouble would not make sense anywhere but in a Hollywood movie...) 

Back in Washington, Jack takes on his new job as the President's top PR man. But he keeps having this problem. He sees a pentagram on the hand of people who will eventually become the next victim of the werewolf. Initially the victims are (conveniently) people who are in direct opposition of the President politically. Although they don't really flesh out the potential of the implications of that coincidence. One of them is obviously supposed to represent Margaret Mitchell and another is probably supposed to be Katharine Graham of the Washington Post. 

 

The fist victim, the Margaret Mitchell parody, called Mrs. Captree (Nancy Andrews), is attacked as she stumbles drunkenly through a parking lot late at night. The next scene shows a woman returning to her car after grocery shopping and finds the body in a grocery cart next to her car. And you can't help but wonder... it's broad daylight now. Didn't she see that body when she parked her car at the beginning? 

Concerning the Katharine Graham parody, called Angela (Jaqueline Brookes), her demise is absolutely bonkers. She is out on the road and pulls into a gas station to get some gas, not even aware that the werewolf is riding on the roof of the car. Hmm. A werewolf riding on the hood of a car... where have I seen that before...?

 

 

 

 

 

Gradually Jack becomes convinced he is becoming a werewolf, but whenever he tries to tell any one, no one believes him. In fact, the Attorney General (Clifton James) actually considers the culprit to be a member of the Black Panthers. OK, so they do occasionally try to connect the victims to people opposed to the President, but basically it's only the AG who is espousing that belief. And because he is a stereotypical racist, no one takes his view seriously either. 

 

No matter what Jack does to try to remedy the situation, most people just pass it off as he is severly overworked and just needs to take a chill pill. Ultimately he gets a psychiatrist to chain him up for the final night of the 5 night full moon. But the President's daughter, who still has the hots for him, even though she is supposedly engaged to be married, tries to free him. Somebody frees him, and this dimwit even gets on a helicopter with the President and a diplomat. And of course, he changes. 

 

It's probably not a spoiler alert that Jack ultimately is killed. But that doesn't mean that someone else won't be carrying the banner.

Probably the funniest part of the movie comes at the end. We get the standard disclaimer:

"All characters appearing herein are wholly fictitious and any relation or connection between any of the characters appearing or referred to herein and any actual person is coincidental and accidental."

Yeah, right. That's entirely unintentional that the President comes off as being like Nixon. It's coincidental that Mrs. Captee is quite a bit like Margaret Mitchell. It is just a freak of cinema nature that Angela could be mistaken for Katherine Graham. There is even a mad scientist in the basement of the White House who, although he doesn't even remotely resemble Henry Kissinger, is named "Dr. Kiss"...

One of the things that really bugs me about this movie: In classic werewolf mythology, the werewolf only changes during the full moon. OK, so the full moon only occurs on one night per month, and the werewolf as portrayed in Hollywood gets three days (I'm assuming the night before and the night after). Here, however, it lasts for 5 nights. Just how long is the full moon cycle, anyway?  If 5 is acceptable, then why not 6 or 7? You see? If there is no standard then he could just change any damn time he wanted to... 

And, while we are at it... why does the full moon have to be fully exposed in a camera view before the transformation occurs? Seriously. The camera shows that the moon is full but it is partially hiiden by the Washington Monument. At that point Jack is still in his human form. He only becomes a werewolf after the full moon comes out from behind that monument... 

Probably the biggest downfall for the movie is it is wholly reliant on the current political situation at the time. It is, really, a satire on the Nixon administration, and if you were only a baby, or not even born yet, and only know about the events from studying history, it may not be all that relevant. Unless you want to make it all about the overall politics in general when it comes to whomever might be in power at the time of reading this piece. (To note: the current President is Donald Trump. Whether you view the President of the film as him, or any of the previous or forthcoming holders of that office is up to you. Or, you could just, I don't know, maybe read a book about Nixon?  The horror!)

There are a few cheesy "oh, check this out" moments in the film that can probably been seen as efforts to inject comedy into places where comedy may not be necessary. For instance, at one point Jack plots out the places where the werewolf has attacked it's victims, and whaddya know, it just coincidentally forms a pentagram. And the final place where the next victim will be killed turns out to be... at the Watergate Hotel... Isn't that cute...? 

Despite it's flaws, and there are a few, the film is good enough to garner a watch at least once. Myself, I'll probably never revisit it, but I was entertained for and hour and half, at least. But then, if you have been reading a while, you know I like cheesy movies.

See you next time. Drive safely, folks.

Quiggy

 

 

 

 

Bingeworthy: Episode 1 (The Twilight Zone)

So, here goes another series of blog entries.

A new fad of "binging" TV shows was introduced in the early 2000's with the advent of such on-line streaming sites like Netflix, although the concept had been around for some time. In earlier years, however, the idea of "binge-watching" was a bit different. Albeit at the mercy of the decisions of the programmers. you could often find what were classed as "marathons", in which a TV station would run in succession several episodes of a classic TV series one after the other. I remember even from childhood sometimes catching a Star Trek or Twilight Zone marathons, usually on holidays.

Nowadays you can buy the entire run of TV episodes of classic (and recent) series that you enjoyed when they were first broadcast. I have a number of them in my own personal collection. The Bingeworthy series of posts represents a personal opinion of what are great shows. Everyone has their favorites. My posts for Bingeworthy is only going to include ones that I think are worth watching, not necessarily ones that are critical successes. It is, therefore, not, in any way, meant to be definitive. You can find websites that have differing opinions on what are the best TV series to do this. Rotten Tomatoes, for instance. 

So, over the course of this endeavor, you will be getting an overview of some of my favorites, along with a focus in each entry on some of my favorite episodes from those shows. Your opinion may differ, and that's OK. You might like different episodes entirely, and you might even dislike the whole series itself. Feel free to express your opinion in the comments.

As a side note: I will vary the number of episodes highlighted in each entry. This one on The Twilight Zone features one favorite from each of the 5 seasons. In some cases, when the series lasted for many many years, I may limit the number of episodes I highlight, just to keep the post at a manageable length.

 

 

 

Bingeworthy: Episode One:  The Twilight Zone (1959-64):

The Twilight Zone was introduced to me via marathon broadcasts on Thanksgiving sometime in the early 70's. I was not even born yet when it first started airing, and I was not even yet 3 by the time it went off the air as a weekly series. Maybe I caught an episode on TV before then, but my memory is from about 1973 as being the first time. And I have to admit I was hooked from the beginning.

The first episode of The Twilight Zone that I can recall seeing was when my family went to Houston for Thanksgiving. One of the local UHF stations had a 6 hour or so block of the show, running 12 episodes of the series in succession. I doubt I got to commandeer the TV for the entire run; it was Thanksgiving, after all, and we all know tradition is you watch the Detroit Lions and the Dallas Cowboys play football on Thanksgiving Day. (I love football more than any other sport, so I was not disappointed by that intrusion...)

My memory is that the first episode I watched was "The Old Man in the Cave". Over the years, until about 2006, my experience with the show was only whenever a TV station would broadcast episodes. But in 2006, I acquired a boxed set of the entire series. A couple of the episodes listed here I had never seen until I got that boxed set, but they are the ones that rank highly in my list of favorite episodes. For the purposes of this blog entry I chose my favorite episode in each season. As stated above, your opinion may differ.

 

 

"The Monsters are Due on Maple Street" (Season 1 Episode 22; original broadcast Mar. 4, 1960):

The essence of The Twilight Zone often delved into moralistic tales. Here we have a typical rural section of a town coping with some odd happenings; the power goes off and telephone service goes down, and the citizens of Maple Street gradually turn against one another. The real paranoia stems from a rather ridiculous theory for the unusual events proposed by a young boy, who claims that it is all being done by aliens.

It seems that the citizens are wholly susceptible to this outlandish theory. Especially when some of the citizens start having their electrical power problems vanish. The boy's claim is that, in a story he read in his science fiction magazine, the aliens had sent an advance scouting crew to Earth, posing as "normal" humans. All of the citizens gang up on the one who has seemingly been alleviated of the problems the rest of them are having.

The problem escalates when one of the other citizens suddenly becomes the focus when his house is now with electrical power. As neighbor turns against neighbor, accusations fly about strange behavior that each has shown in the past; stuff that normally wouldn't even get a second glance in regular society. (One of them is accused of scanning the sky at night, which he claims is only because he suffers from insomnia).

You have to wait until the final denouement to see what is all behind these weird events. I am sure you will be able to see the ending a mile away (assuming you have never seen or heard about this classic episode in the first place...) This episode almost always ends up on "Best of Twilight Zone"compilations, as it encapsulates the theme of the series best (that of the "gotcha" ending).

 

"The Obsolete Man" (Season 2 Episode 29; original broadcast June 2, 1961):

In a dystopian future, you must be of use to the society as a whole, or you will be classified as "obsolete" and eliminated as a drain on society. As a parable of the dangers of allowing the government to dictate what is acceptable and what is not, it is very prescient. Over the last 20 years or so it has appeared to be a mirror into the way society may be moving. I refer here to the way whoever is in power in the Oval Office tries to quell any opposition to their policies.

In this world, one of the "useless" fields of endeavor is the acquisition of knowledge. A librarian, therefore, is obsolete and must be eliminated. Romney Wordsworth (Burgess Meredith) {and there's a fitting character name, if there ever was one} is a librarian called before the prevailing judge (in the person of Fritz Weaver). Since Wordsworth can do nothing to justify his continued existence, he is slated for elimination. He has only one request: that he gets to choose his own method and time of execution.

One of the other "useless" things in this world is that of religious belief. The government does not believe in any such frivolous things as a Supreme Being. This plays into the plot as Wordsworth is a devout believer, probably one of the other reasons he is being classified as obsolete. Ultimately the final battle comes down to a conflict of words and faith. And, possibly, like the old adage of "there are no atheists in the fox hole", even the government official may find himself classed as obsolete. 

 

"A Game of Pool" (Season 3 Episode 5, original broadcast Oct. 13, 1961):

My absolute favorite episode of The Twilight Zone, this is one of those rarities in the series where there are only a couple of people on screen the entire episode. In this story, Jesse Cardiff (Jack Klugman) is a pool hustler who is absolutely convinced he is the greatest pool player ever. However, there was a legend in the past, Fats Brown (Jonathan Winters), whom everyone flings into Jesse's face with the implication that he, Jesse, is good, but he will never be better than the legend.

Jesse wishes he could play Fats just once, just to prove who is better, but unfortunately for Jesse, Fats has been dead for 15 years. But he is still going to get his wish, as Fats shows up from the afterlife to give Jesse a chance to prove his mettle. Jesse is, of course, skeptical when Fats shows up:

Jesse: It's impossible.

Fats: Nothing is impossible. Some things are less likely than others, that's all.

(And I love to use Fats' quote. It comes in handy...)

The episode is more about the one on one conversation between Jesse and Fats than the actual game, although the outcome of the game is on the line. Fats' stakes for the game is: if Jesse beats him then Jesse will live and if Jesse loses he will die. Serious stakes.

There were two different endings for the episode. One had Jesse losing and one had him winning his game with Fats. I won't reveal the one that was used in the actual broadcast here, watch it and find out, but I will tell you when they remade the episode for the 1980's version of The Twilight Zone they filmed it with the alternate ending. And the 80's version was the one that had the original short story ending that author George Clayton Johnson envisioned. 

BTW, as a footnote: Klugman was in four Twilight Zone episodes, and this one was his favorite of the four. 

 

"He's Alive" (Season 4 Episode 4, original broadcast Jan. 24, 1963):

If there is any downfall to binging The Twilight Zone it would have to be the season 4 faux pas, due to circumstances, which included not being renewed initially, but coming in as a mid-season replacement. The show that it was replacing was an hour long show, so the producers had to expand the regular 30 minute show from the previous seasons to a hour long one. I admit that many of them seem bloated by comparison to the rest of the series (it went back to a 30 minute show in the 5th season). But there are a few well worth the effort.

The most profound of this hour long endeavor involves Peter Vollmer (Dennis Hopper), a neo-Nazi who struggles to get any followers to his cause. That is, until he acquires a mentor. The mentor guides Vollmer into ways to get backing for his views, which include sacrificing one of the members of his cause. The neo-Nazi group under Vollmer intentionally murder one of the subordinates and make it look like it was the act of one of their enemies. And what do you know, gradually Vollmer acquires more and more of a following.

Watching Hopper, who is one of the under-appreciated greats in my opinion, as he struggles seemingly with his own conscience is a sight to behold. You kind of get the idea that he would prefer things to progress in a more reasonable manner, but has to gradually come to terms with the fact that the power he seeks can only be acquired through nefarious means. This is put in a more direct light when it is finally revealed who the mentor in the shadows really is. (And, yes, it is pretty much obvious who is Vollmer's "mentor", but that is probably the only flaw in the episode that I see...)

The parallels, not only with the history that happened before the events in the episode, but also some seemingly prescient parallels to a more current demagogue  is what makes this episode the best of season 4. There are a few others that are good, too, but I am limiting this entry to just one episode from each season, for brevity's sake.

 

"The Jeopardy Room" (Season 5 Episode 29 original broadcast Apr. 17, 1964): 

Some of the best episodes of the series came out in season 5. In the introduction I mentioned "The Old Man in the Cave", an episode that stuck with me even though I never saw it a second time until I acquired the boxed set. The season also included "Nightmare at 20,000 Feet" which makes many lists as among the best of the series. But I picked one that may be a little less well known, simply because it is memorable in its own right.

Somewhat unique in the series, this episode didn't have any supernatural horror or science fiction overlying theme. It was simply a tense nail-biting political thriller. Ivan Kuchenko (Martin Landau) is trying to defect from Russia. Although he is in what is essentially a neutral country (unnamed in the episode), he has been tracked down by a government official, Commissar Vassiloff (John van Dreelen) and his subordinate, Boris (Robert Kelljan). 

Boris is of a rash mind and just wants to just shoot Ivan and be done with it, but the Commissar, who apparently watched too many James Bond movies, wants to do it with finesse. He drugs Ivan and then installs a bomb in the room. Then he leaves a tape recorded message stating the rules. Ivan has to actively look for the bomb. If he tries to run he will be shot. If he tries to turn out the lights he will be shot. His only option is to try to find the bomb. The Commissar promises that if Ivan finds and dismantles the bomb he will be free to leave unmolested (although I am pretty sure the Commissar would not keep that promise... you can't trust Commies...)

Like the previously mentioned "A Game of Pool" (and a few others), this episode relies on a minimal number of actors. You probably already know how good an actor Landau is, but van Dreelen is also pretty good. 

 

Thus we end our first Bingeworthy series. New episodes will appear as time permits in the future.

Quiggy