RIP Jim Nabors

Actor and singer Jim Nabors passed away, he was 87.

This time of year has always made me think of Jim Nabors.  Yes, my very early years were filled with memories of Gomer Pyle, either on Andy Griffith or his own show, a highlight of those shows for me and my family was those occasions when Jim Nabors would sing, and sometimes in the Christmas holiday season he would sing on various variety shows and specials as well.

One particular Christmas season I remember helping my big brother put up the outside Christmas lights and decorations after he had bought our Mom Jim Nabors’ Christmas album.  I can still remember his version of “Go Tell It on the Mountain” as we put up the lights.  It’s a good memory, and one I miss very much here in Florida where we barely get a chill in December. 

I have later memories of Jim Nabors, like his slapstick robot role with Ruth Buzzi on Sid and Marty Krofft’s “The Lost Saucer” and his coming out and finally marriage to his lover of many years.  Jim Nabors will be missed. 

Torso, Justice League, and the Russian Avengers

Confession time.  I hadn’t thought about this in years, decades really, but it came up recently in a Twitter conversation with friend and fellow Biff Bam Popper Tim Murr.  He’d just seen the 1973 pre-slasher era horror classic Torso and I’d mentioned I’d seen it in its initial run, when I was ten.  I wasn’t a bad kid really I wasn’t, but let’s face it, I was that night.

On what might seem like a dare, but was more like a don’t be a body part Trump thinks he can grab without permission, three other boys in my class and I sneaked out after nine during the summer and watched Torso at the drive-in with no sound from the woods near the screen.  My siblings are probably shocked right now, and my parents both passed would have kicked my butt majorly if they’d known, but yeah, I did it.

The Effect of Gamma Rays on Man-in-the-Moon Marigolds

The Effect of Gamma Rays on Man-in-the-Moon Marigolds ~ This is one of those films I have very distinct memories of as a kid.  When I first got my own black and white TV in my bedroom I became addicted to late night television, especially older movies, and one of my regular fixes was WPVI channel 6 in Philadelphia's Friday night Million Dollar Movie.  And as this film was not available to home video for years, that was the only place to see it. 

When I saw it recently on TCM I was actually shocked that it wasn't a black and white movie.  That wouldn't have been odd as other movies of the time had tried black and white as an arty or attention getting stunt.  This film however had no need of such hype.  As an adaption of a Pulitzer Prize winning play directed and produced by Paul Newman and starring his wife Joanne Woodward, it was already high profile, and is an amazing film. 

Woodward plays a widow raising two very different daughters, and her performance is gritty and realistic, however the real stars are the actresses who play the daughters. The role of epileptic Ruth is Roberta Wallach, daughter of actor Eli, and intelligent and shy Matilda is the daughter of Woodward and Newman, Nell Potts, is simply stunning in the role. I am still amazed Potts didn't go on to a more promising film career. 

The long and awkward title comes from the experiment Matilda puts together for school that sets her apart, and might get her out of her situation.  Ruth seems to be walking in her mom's footsteps but Matilda could have a chance to elevate herself.  The experiment parallels her growth as a person. 

Highlighted by not only the performances but also by a wonderful score by Maurice Jarre, the film which might seem like a depressing study of late sixties small town white trash is compelling and addictive, with smart dialogue.  I love this movie, not just a great film, but a great memory as well.  Must see. 

The Lost World

The Lost World ~ I first saw this 1960 update of Arthur Conan Doyle's The Lost World on the afternoon movie when I was maybe five or so. I had seen excerpts on the Gene London show early Saturday morning and then the whole thing later that afternoon. Maybe a year later I saw it again on a weekday afternoon with my big sister and her then boyfriend/now husband as she made a home cooked meal for them while they watched. Yeah, I was the annoying baby brother, but still the film holds good memories.

The Lost World was an early work of Irwin Allen, who besides creating some wonderful scifi television like "Lost in Space," "Land of the Giants," and "Voyage to the Bottom of the Sea," later pioneered the disaster film with The Poseidon Adventure and The Towering Inferno. He was campy cool and to a five year old, a film genius. Heck, I still dig his stuff at fifty-one. Allen produced, directed, and co-wrote this one.

The bearded Claude Rains is protagonist Professor Challenger, who with Michael Rennie, David Hedison (of the aforementioned "Voyage" and Felix Leiter in two James Bond flicks), Fernando Lamas, and the very young token female Jill St. John in tow, takes a trip to a lost plateau in Venezuela where dinosaurs still exist (yeah, the same one from Up). Rains is quite fun, Hedison overshadows Rennie sadly, and St. John plays the even sadder dual role of independent woman and damsel in distress. All that said, the cast's chemistry is tight and entertaining.

The updating of the story is well done except for the special effects, which might really tick the folks at PETA off in this day and age. One of the things that stands out most about this movie are the 'dinosaurs.' While Allen originally wanted to use stop motion for the dinosaurs, budget constraints led to iguanas, crocodiles, and monitor lizards with horns and fins attached. Yeah, I know.

This was waaay old school, a practice dating back to the Flash Gordon serials and cruel treatment of the animals, especially when they are made to fight each other. It's also quite distracting and takes the viewer out of the movie when Challenger calls a beast a brontosaurus and one can see it's obviously a monitor lizard. Some of this 'giant' reptilian footage was recycled for some of Allen's TV shows.

All things considered, this is a great traditional adventure with a wonderful pulp flavor - fun, thrills, and Jill St. John in tight pink pants - well worth seeing. Irwin Allen at his campy best, and still as good as it was when I was five.

Three Memories and More

We've lost three more actors from Hollywood's past this previous week - Dean Jones, Judy Carne, and Martin Milner. They may have been minor celebrities on the totem pole of such things, but each held specific memories for me.

Dean Jones was an actor and name for me that was inextricably attached to Disney. His name might as well have meant Disney when it came to live-action Disney movies. He was the good guy, the straight guy. He was the star of such films as That Darn Cat, The Love Bug, Herbie Goes to Monte Carlo, The Million Dollar Duck, and Monkeys, Go Home - all of which has some specific memory for me. You can hear me talk more about Dean Jones on the latest episode of The Make Mine Magic Podcast.

Judy Carne, though probably nowadays more remembered for her failed marriage to Burt Reynolds than being the "Sock It To Me" girl on "Laugh-In," also holds memories. She was two firsts for me. I remember asking my mother why Carne talked funny and she explained about accents. Judy Carne also represented my first experience with TV catchphrases as I recalled kids saying "sock it to me" all the time in kindergarten although I don't think any of us knew what it meant.

I was too young for "Route 66" (or "Dragnet" for that matter), but Martin Milner left a huge impression on me as Officer Pete Malloy on "Adam-12" created by Jack Webb. Malloy was cop, role model, and friend, and I remember watching it in syndication every weeknight with my father, while learning the police ten code so we would know what was going on on his police scanner. I also remember watching the end credits every time because my father kidded that one of these days the guy with the hammer would get tired and miss. A year or so ago I watched the whole run of "Adam-12" on MeTV and gained a new respect for the series as there was much more going on than my child's mind could grasp.

 As I said, these three weren't big stars but they sure left an impression on me. Dean Jones, Judy Carne, and Martin Milner will be missed, and will live on in rerun and video.

Leonard Nimoy - Live Long and Prosper

After a short hospital stay last week, Leonard Nimoy died at his home in Los Angeles this morning. The cause was heart disease, brought on by a smoking habit he left behind three decades ago, but still too late. The man was many things in his eighty-three years, an actor, director, poet, musician, singer, writer, artist, photographer, and science fiction icon, but he was also a gigantic part of my life, my childhood, my education, and my love of the genre. And now he's gone.

I was asked earlier today to contribute to a memorial of the man at Biff Bam Pop!, and I had nothing. I was so stunned and silenced by his passing.

By the time I was aware of Leonard Nimoy, Mr. Spock, and "Star Trek," the show had left the network airwaves and was then currently running in syndication where it was experiencing a renaissance. Out of production for years and more popular than ever, I first saw "Star Trek" on Philadelphia's channel 48, which butchered the show mercilessly to fit more commercials in. It would be more than a decade before I saw all the episodes in their entirety.

My big sister loved the show, and so I watched it too. While I dug William Shatner as the mainstream good guy hero of the piece, I was drawn more to Nimoy's Spock. I guess that the way that Spock is alien, had pseudo-super powers, and was an outsider, almost a superhero, I connected to him more. And I think still today, the character is the best, and central to the show.

The first real Trekkie, or more accurately Trekker, I ever met was the big brother of the girl who lived across the street when I was a kid. Denis knew everything about "Star Trek,' everything. His knowledge of the show and the mythos was extraordinary, the type of minutia I knew well as a comic book fanboy, but somehow "Trek" seemed more important. He had all the books, the models, the Star Fleet Technical Manual, he knew how many decks were on the Enterprise. Yeah, I really looked up to him. Sometimes he picked on me, but it was okay, because he was cool, because of "Star Trek."

Around this time that I remember sitting through a thoroughly boring half-hour on PBS where Nimoy read his poetry, but I did it because I wanted to know more about the man. He was also hosting and narrating "In Search Of…" and doing the voice of Spock in the "Star Trek" animated series. And then the Star Trek film series began. He was never not on TV in some form or another for my entire life. Leonard Nimoy was always in my life.

There were missteps of course, like his recording career, perhaps done to compete with William Shatner's equally dismal musical forays, but sometimes we can forgive. And really, the stuff wasn't that bad in an ironic humorous way. Either way, none of us will ever forget "Ballad of Bilbo Baggins" once we’ve heard it. He did stage plays, voice work, movie serials, video games, audiobooks, almost every aspect of the business and left his mark in all. He was the man.

His portrayal of Spock bridged all versions of Star Trek, and influenced those who followed in his footsteps. Star Trek, the world, all of us… has lost a legend, an icon, a role model, a part of us all. Live long and prosper, my friend.

Disney's The Jungle Book

The Jungle Book ~ I had the pleasure of seeing this one again as an in-room movie while on the TCM Classic Cruise on board the Disney Magic. The 1967 animated Disney version of The Jungle Book is probably one of my favorite Disney features, and it was probably one of my first as well. Quite honestly I can't remember if I did see it in theaters at the time or not (I have been assured that I did), but I do know that my big sister bought me the soundtrack record that came with a storybook. I knew all the songs, I knew all the corresponding scenes as well, and I loved it.

This is one of those movies that when it comes on, I just have to stop and watch it. As I said, the music was ingrained in me at an early age, and even today with the original tunes, or with covers like "Bear Necessities" by Harry Connick Jr. or "I Wanna Be Like You" by the Jonas Brothers, I still love it. The flick has a great soundtrack, probably the last full soundtrack to be so cool as a whole until the late eighties.

It is notable that The Jungle Book was the last film that Walt Disney had a hand in personally, and it was also the beginning of a new era of animation for the company. I call it the Don Bluth era myself, even though Bluth wasn't involved in every facet of that era, but his style was prevalent. Many of his tricks are evident here, such as the fake out death of Baloo, and the look of some of the characters. Some of the scenes here are even repeated in 1973's Robin Hood.

The Jungle Book stands out among other Disney animated features for a number of reasons, not the least of which is its stunning voice cast. In a

day when voice actors weren't a big deal, it was here. There was Disney regular Sterling Holloway, Phil Harris, George Sanders, Sebastian Cabot, Louie Prima, Clint Howard, English rock and roll disc jockey Lord Tim Hudson, and Chad Stuart of Chad and Jeremy. And then there's also the matter of the multiple villains - Shere Khan, Kaa, King Louie - something rarely seen in Disney films of the time.

In many ways, despite my love for this film, I kinda dig the 1942 Sabu version more, but still this is one of my favorite Disney features, and an important piece of my childhood. Five stars all around.

Bionic Nostalgia - The Six Million Dollar Man

Esquire TV (formerly the much missed G4 channel) has been showing old reruns of "The Six Million Dollar Man" and "The Bionic Woman," shows that while I haven't seen since the 1970s, were huge parts of my childhood, like Evel Knievel, Planet of the Apes, or SSP Racers.

Begun as three made for TV movies of the week, "The Six Million Dollar Man" was very loosely based on the book Cyborg by Martin Caidin. The book and its three sequels were much more serious, adult, and more science fiction-oriented. Much had been changed, but when I read the book sometime in the mid-seventies as a pre-teen I still enjoyed it. The telemovies were wildly successful leading almost immediately into the TV series, which ran for five years, with one spin-off, "The Bionic Woman," and at least three other attempted spin-offs. There were toys, lunchboxes, and all the other paraphernalia one might expect a phenomenon.

The premise was pretty simple. Lee Majors played Colonel Steve Austin, an astronaut and test pilot who was involved in a body crushing accident that left him without the use of an eye, an arm and both legs. Secret government organization OSI offered to rebuild him, "make him better than he was before," with bionics. Now, it's real and is something that happens (although sans super strength and telescopic vision), but then this kind of technology was pure science fiction. In exchange for saving his life, Steve agrees to go on missions for the ominous Office of Scientific Intelligence. It was average spy fare for the most part, and invariably you waited through the boring stuff to see Austin kick some butt at the end, just like "Kung Fu."

Looking back, I remember Kenneth Johnson's ("Incredible Hulk," "V," "Alien Nation") name on the series, but I had forgotten that Glen A. Larsen ("Battlestar Galactica") and Harve Bennett (responsible for the best of the "Star Trek" films Wrath of Khan) were involved as well. The show had a very small cast, usually only Majors, Richard Anderson as Oscar Goldman, sometimes Dr. Rudy Wells (played by various actors), and dozens of nameless bad guys who Austin would throw around during fight scenes. Yep, keep it simple.

In hindsight, it is only just okay television, with only the big event episodes standing out. When Steve faced the Robot, played by John Saxon, made by the scientist who would later create the Fembots who pestered the Bionic Woman, was one big event. Or when it was discovered there was another bionic man, a Seven Million Dollar Man, who turned out to be not just a jerk, but later a criminal. Or, at the height of 1970s Bigfoot and Alien fever, the appearance of Sasquatch, played by wrestler Andre the Giant, and later Ted Cassidy. There was even a renegade Venus Probe that fought our hero more than once.

The Robot (weirdly called Maskatron), Sasquatch, and the Venus Probe from above all got action figures in the playsets, it should be noted. Both the Six Million Dollar Man and the Bionic Woman had action figures from Kenner. There also had the Fembots, Oscar Goldman, vehicles, and lots of mission or fashion outfits. Like Evel Knievel, these were toys that kids of a certain age had to have. I never did though. Evel was my jam.

The episodes I've seen on Esquire are, as I said, only ordinary, but full of nostalgia. I remember "The Six Million Dollar Man" fondly though, despite the season Majors sported a bad mustache. It was the first thing I watched on my first TV, a tiny black and white set, and watching the show that Sunday night was just the best. Simple things are good. More to come.

History of the Eagles

History of the Eagles ~ The Eagles have always been in the background of my life, and that's saying something for a boy from the South Jersey suburbs. The Eagles were FM radio, they were California, they were marijuana, they were the seventies. "Hotel California" was one of the first rock 45s I bought and their last album, The Long Run, was one of the first albums I bought. I was never a huge fan, oh I had favorites like "On the Border" and "The Disco Strangler," but they were just always there.

This two-part documentary takes it from the beginning as back up for Linda Ronstadt to their big hit years to the solo years to the never-ending reunion tour. Interviews are done individually with members and associates covering in the first volume such topics as Jackson Browne's songwriting technique to the early production of Glynn Johns to the Eagles' own songwriting styles to trashing hotels with Joe Walsh to the wild after parties of the 'third encore.'

We watch as membership changed in the band, and differences emerge. They spend almost thirty minutes on Hotel California without ever saying what the title track is actually about. Eventually it becomes clear as to why the interviews are all separate, they can't stand each other. During the making of the album the band members realize they were all alphas fighting for supremacy, and the breaking up began there.

As work on The Long Run began, they were already effectively shattered, mentally, physically, and socially. Drugs and drink only accelerated the process at that point. During and after one apocalyptic concert, tensions were so hot that the band was over. As they say, the Eagles went out with a whimper not a bang.

Part two of the documentary picks up the solo careers of the separate Eagles, leading up to the reunion tour fourteen years later. I was intrigued that getting Joe Walsh into rehab was partially behind the reunion. Rivalries aside, it kinda proves they were for the most part still friends. Or should I say, selectively still friends.

The second half mostly covers the recording of Hell Freezes Over and the reunion tour. There's still some tension, and money got in the way, eventually squeezing Don Felder out. Other than that, it's just the tour. This is sad as it comes off as little more than an average rockumentary without the context of the first part.

History of the Eagles is very long at just over three hours, which is probably why it was cut in two parts. After watching it I had had enough of the Eagles for a while, and that's just the opposite effect that such a film should have. Interesting stuff, but just a bit too much, for me at least, and I'm an Eagles fan.

Trollhunter

Trollhunter ~ When I was a little kid I had a children's picture book called "Trolls." I remember two things about it. The title letters were formed by trolls, kind of leading into the idea that trolls could become anything they wanted to. Within the book I saw that trolls could be disguised as trees, hills, rocks, even mountains. That kind of scared the crap out of me, especially being a little kid that was afraid of the dark at the time. I would go outside and I would spend a really unhealthy amount of time trying to figure out if the trees were really trees, and not some shadowy monster lying in ambush.

That's kind of why Trollhunter has languished unwatched in my Netflix feed for so long. Yeah, I admit it, I was a little scared still. Of course the idea that it was a found footage film (which could be very good or very bad, for the most part, I hate found footage flicks), subtitled from the Norwegian, and a bit of a mockumentary, all kind of diluted any fear I might have had. I had some downtime at the end of the year, so I finally hit play on this sucker.

The film begins seeming to follow college students as they try to interview a notorious bear poacher. It turns out he doesn't hunt bears at all, but is part of a government financed plan to keep trolls from populated areas. The students ask to follow the hunter on his rounds and the adventure begins. Not that this is a travelogue, but the Norwegian scenery is beautiful and breathtaking when we get it, and visuals only get cooler when the trolls finally show up.

Trollhunter compares favorably to The Blair Witch Project, and it's perhaps even better because the language barrier prevents the characters from becoming truly annoying, and of course in this film, we actually get to see the monsters. There are legitimate scares, but for the most part, this is a lot of fun. I would definitely recommend it to folks who dig this kind of thing.

Walt Disney's Robin Hood

Robin Hood ~ Although it's from the watered down Don Bluth years, the post-Walt Disney era in the 1970s when the studio really didn't know what to do with itself, this 1973 animated version of the Robin Hood legend still holds good memories for me.

My big brother took me to see this flick at the old Atco Drive-In, where it was on a triple bill, followed by the original 1965 That Darn Cat with Disney mainstays Dean Jones and Hayley Mills. The last feature, which we only stayed through the opening credits for, was the gentle Sam Peckinpah classic Junior Bonner with Steve McQueen and Joe Don Baker. It was only rated PG but I guess my brother didn't want to take any chances in case there was anything iffy for eight-year old me in it. I remember sharing a box of Junior Mints with my brother, laughing at That Darn Cat, wondering what Junior Bonner was about, and in general being unimpressed with Robin Hood, which was essentially why we were at the drive-in to begin with - to see the Disney flick. Other than good times with the bro, the movie has never been a favorite. I'll take Errol Flynn over this any day.

Even as a kid, this toned down, sickly sweet, kinda boring version of Robin Hood just didn't do it for me, and having characters so similar to those in The Jungle Book and even Bedknobs and Broomsticks didn't help either. It was upsetting to find that some of the film was reused and traced footage from previous Disney movies. The Jungle Book frustration was heightened by not just it being one of the movies, but also by the inclusion of a snake character (Sir Hiss = Kaa) and a bear character (Baloo = Little John, the latter both voiced by Phil Harris), and even a couple vultures. Even at eight, I could feel the constraints of the budget.

Having been raised on the wonderful 1938 The Adventures of Robin Hood, most other versions of the character pale in comparison, this Disney one much more so, as it's not even a very exciting adventure. There was a lot of care put into the idea of watering stuff down for the children, and the tirade against violence on television and film was just beginning at this time so there's not much really one could do with Robin Hood in this atmosphere. There's even an alternate ending to this flick that was scrapped to make it palatable for the kiddies - or should I say, palatable for the overprotective parents?

Imagine my surprise when I found out that this particular story wasn't even really Robin Hood to begin with, but another character of Eurpoean folklore called Reynard the Fox. Disney had been trying to find a way to bring this story, as well as that of Robin Hood to the screen for quite some time. Animator Ken Anderson found a way to kill two birds with one stone, and combined them. That's why Robin and Marion are foxes. The lion and the rooster also correspond to animal characters in Reynard's tale as well.

Perhaps the powers that be should have just made a Reynard the Fox animated feature and left Robin Hood for future filmmakers to do better, as was done with both Sherlock Holmes and Tarzan many years later at the studio. Recommended only as a curiosity, or for Disney completists.

The African Queen

The African Queen ~ What makes the TCM Classic Cruise so special? One could say it's getting to meet and chat with new friends who all share a passion for cinema. Or one could say it's just getting away, or one could say it's getting to meet one's favorite stars, or even just seeing a favorite film up on the big screen. It is all that and more. Where else could one see The African Queen on the big screen, then go downstairs on the dock at Key West, and see the actual African Queen? Yeah, that's it, baby.

The African Queen was one of my parents' favorite movies, and I think it might have also been one of the last movies they saw together in a theater. It was one of those films that whenever it came on TV we all had to watch it with ongoing commentary of the 'just wait for this part' type. Things I remember especially from childhood include the leeches scene and Bogart's rumbling stomach. I also dimly remember a game show that re-enacted scenes from classic movies having contestants re-do the final act of the film in an above ground swimming pool. Was it "Don Adams' Screen Test"? Maybe. Weird.

This rather simple film on the surface about a riverboat captain and a missionary who fight back in their own way against the Germans in Africa in World War I is extremely complex and works on several levels. One could call it a romance, an adventure, a war film, even a battle of wills between the two leads, but what it really is, is a classic film, perhaps one of the best ever made. And while not based on a true story, it was based on a real boat, as I mentioned above.

Katharine Hepburn is a missionary with her brother, Robert Morley, in German East Africa whose only connection to the rest of the world is Humphrey Bogart who visits every few months with mail and most recently news of war. When next Bogart returns, the village and church has been burned, the villagers taken away, and Morley dead. Hepburn not only hitches a ride with Bogie to safety but also hatches a mad plan to get even with the Germans, as a proud citizen of the British Empire.

The African Queen is also a romance on fast forward. We go from first meeting through the entire cycle of a relationship on the trip down the river until finally marriage seconds before being hanged, nice metaphor there by the way. It's an adventure, a romance, even a war story, and it stars two of Hollywood's finest in memorable roles. This is a classic do-not-miss film, and I was thrilled to see it on the big screen, and see the real thing afterward, awesome!

Remembering Robin Williams

Robin Williams is no longer with us as of this afternoon. Authorities are suggesting it was apparently suicide, perhaps brought on by years of fighting depression and addiction. Williams was 63.

The multiple award-winning actor, comedian, voice actor, and writer was a star of film, television, and the stage, and his work influenced generations who followed him. I first became aware of him as most of America did as the star of "Mork and Mindy." First appearing on the megahit "Happy Days" to study Richie and duel the Fonz, Robin's character Mork was quickly spun off into his on series. Fondly remembered, it still holds up somewhat today. One of my favorite things about the show was Robin bringing his idol Jonathan Winters onto the series to play his son.

His road to superstardom was almost supersonic. There was a moment during "Mork and Mindy" in the late 1970s when the man was just everywhere. His comedy album Reality… What A Concept cemented him as a stand-up comedian in the world's eyes, and eventually led to his charity work with such organizations like Comic Relief. He continued to work with many charities until his death.

Williams initially jumped into film as a lead actor in the live-action musical comedy Popeye in 1980, followed two years later by his wonderful turn in The World According to Garp. His role and film choices have gone up and down in quality since then. I have not always been a fan of him or his work, but there is no denying the man's talent, and when he gave a truly brilliant performance. I loved him in The Fisher King, Insomnia, Death to Smoochy, and Dead Poet Society, and he was also good in Good Morning Vietnam, Awakenings, Hook, Aladdin, and Good Will Hunting. He won an Oscar for that last one, but I think his best acting role was in the extremely creepy One Hour Photo. Robin was funny as hell, but man, could he ever play subtle menace.

There are things he did that are amazing in hindsight, such as his appearances on "The Richard Pryor Show" and the failed revival of "Laugh-In." He was quite busy voice acting in many videogames as well, and a big role-playing game enthusiast. Of course he was. And this past television season he was making a serious comeback in "The Crazy Ones." I still remember however the Friday in school after "Mork and Mindy" debuted the night before, everyone was quoting Robin Williams lines the next day. He just had that effect.

I know we'll see him one more time on the screen this Christmas with the third Night at the Museum film, but we won't ever see him as the Riddler, or in the Mrs. Doubtfire sequel. Perhaps his passing will bring attention to the all too common threat of depression. I would hope so. Robin Williams was a great talent, and he will be missed. To you, Robin, I say, in my ninth grade imitation of you, "Fly, be free!"

Lizzie Borden Took an Ax

A fairly vivid memory of my childhood is the fight for Lizzie Borden. Not so much about whether I could stay up to watch the infamous TV movie, it was more about would I even be allowed to watch it. The Legend of Lizzie Borden, starring Elizabeth Montgomery of "Bewitched" in the title role, was one of 'those' shows. It had a warning label that it was for mature audiences only.

Other than fighting with my parents, the warning label, and that all the kids at school were talking about it the next day, I remember very little about it. I know it was theatrically released in Europe with scenes of Elizabeth Montgomery committing the murders in the nude. And of course there was the jump rope rhyme - "Lizzie Borden took an ax, and gave her mother forty whacks. When she saw what she had done, she gave her father forty-one."

We had all heard it was a true story, or rather that the movie was based on a true story, one of a horrible murderess who took out both her parents with an ax. I learned later the facts of the case, and that Lizzie Borden was actually acquitted of the crimes and went on to live in the same town of Fall River for another four decades, albeit in infamy, but a free citizen.

Now, for the second week in a row (first with the Flowers in the Attic remake) the Lifetime Network makes a splash with a movie event, the both humorously and horrifically titled Lizzie Borden Took an Ax. In the title role this time is Christina Ricci, and as much as I love her, she's no Elisabeth Montgomery, despite the resemblance.

As with the aforementioned Flowers, Lifetime uses music as a lure by playing the hypnotic "Psychotic Girl" by The Black Keys over the opening credits. The alternative soundtrack continues throughout as if music supervisor Tree Adams didn't know if he was scoring a Lizzie Borden movie or Marie Antoinette 2. I'm not complaining, I was digging the tunage, I just question the appropriateness of it.

Christina Ricci imbues her Lizzie with a believable cold detachment. Clea DuVall, perhaps best known from HBO's "Carnivale" and more recently "American Horror Story," gives one of her best performances as Lizzie's sister Emma. They are the showpieces of this gothic crime drama with all the proper trappings of a crime of the century.

This is a good version of the legend, and while not necessarily sticking to the facts, it's a good story. I loved the music, I loved the muted colors, but I wish we could have had Elizabeth Montgomery instead of Christina Ricci. Worth watching.