The Cat from Outer Space (1978)

AS I HINTED at the beginning of my last review, there’s not much love (or nostalgia) for Disney films of the ‘70s. But as a ‘70s child, my movie-going memories and the Disney films of that decade are largely inseparable.

To wit: I remember my mom and aunt taking me to see 1978’s The Cat from Outer Space and loving it; then two years later, my sixth grade class watched it on a rainy day, erupting in applause when it ended.

Dash often balks when I want to watch movies from my childhood with him; sometimes they just don’t hold up. But I found an “in” through his love of the Binky the Space Cat books (left) by Ashley Spires; he really loves Spires’ comic-book illustrations as she tells the funny tales of Binky’s imagination and exploration.

Well, this is a movie about a cat and outer space…the timing couldn’t be better, right?

Plot:
A UFO is stranded on earth and impounded by the U.S. government. Its pilot is an extraterrestrial cat (voiced by Ronnie Schell) with a collar that has special powers, including the ability to allow the cat to talk with humans. The cat, nicknamed “Jake,” enlists the help of scientists Frank (Ken Berry), Liz (Sandy Duncan), and Link (McLean Stevenson) to reclaim and repair his ship to get back home.

Critique:

As with several favorite films and TV shows of my childhood, it seems The Cat from Outer Space is a situation where I’ve loved my memories of the film more than the film itself.

It takes 45 minutes into TCFOS until any true attempts at comedy take place, which is a mixed blessing since nearly all attempts at comedy fall flat. Out-loud laughs are at a minimum, and so is the barely-present musical score by legendary film and TV composer Lalo Schifrin. Essentially, the script and action make TCFOS feel as if it was written more as a light-hearted adult caper than a kids’ Disney film.

Berry, Duncan, and Stevenson try to keep things moving with frenzied actions and bewilderment about the whole situation (Stevenson offering the most entertainment as Berry’s mooching friend and colleague) as they try to keep Jake from falling into the hands of pursuing U.S. army troops led by Harry Morgan, here basically doing a more gruff variation of his Colonel Potter role from TV’s M*A*S*H. It all culminates in a plane-chase climax that, while sounding cool, takes for-ever to conclude.

The Cat from Outer Space is typical of the ‘70s lot of Disney live-action movies: pedestrian and slow-paced, but with just enough of a Disney touch to make it watchable (though it’s eons better than Superdad).

Tidbits:
* Sandy Duncan is allergic to cats.
* Stevenson and Morgan both played commanding officers on the TV series M*A*S*H, with Morgan replacing Stevenson when Stevenson left to star in his own show, the ill-fated Hello, Larry.
* Screenwriter Ted Key also wrote other Disney live-action films of the ‘70s, including Gus and The Million Dollar Duck. He also created the characters Mr. Peabody and Sherman for the “Rocky and Bullwinkle” cartoon series.

Rating:

What did Dash (and Jack-Jack) think?

Dash liked TCFOS just enough to stay with it, though he and I were wondering if the plane-chase climax was ever going to end. Jack-Jack lost interest near the one-hour mark, which is no surprise: a slow-moving, 105-minute live action movie can’t compete with the attention span of a four-year-old. (However, he did chime in during a foot chase involving an elevator: “I like elevators. They’re fun.”)

Is it suitable for your kids?

While The Cat from Outer Space is rated G, it’s a “’70s G,” as I call it. (The MPAA was a little less scrutinizing back then.) Depending on your sensitivities, there are a few scenes involving alcohol and tobacco, as Stevenson’s cigar-chomping character constantly barges into Berry’s apartment to steal beers and watch sports; and in a pivotal scene in a pool hall, there’s plenty of beer-drinking and cigar-smoking. Also, the climax includes some gunplay and mild peril as Berry and Duncan nearly fall out of the planes during the drawn-out plane chase.

Will your FilmMother want to watch it?

As much I may be betraying my childhood memories by saying this, I wouldn’t bother her with this one – even if she likes Disney films and/or cats.

The casting for Easy Rider 2 was looking less than promising.

The Cat from Outer Space
* Director: Norman Tokar
* Screenwriter: Ted Key
* Stars: Ken Berry, Sandy Duncan, Ronnie Schell, McLean Stevenson, Harry Morgan, Roddy McDowall
* MPAA Rating: G



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Follow FilmFather on Twitter!

ON FEBRUARY 14TH, I gave a little Valentine to myself (and to fellow movie-lovers, I hope): I opened a Twitter account for FilmFather! Check it out here or click the button below:

Hope you see you there amongst the tweets, re-tweets, hashtags, and shout-outs (@FilmFather)!

Waking Sleeping Beauty (2009)

AS A CHILD OF THE ‘70S, I grew up in a time when Disney feature films, both animated and live-action, were less than magical. (Nonetheless, two Disney films from that era, Robin Hood and The Cat from Outer Space, still hold a special place in my heart.)

Cut to 1980, and Disney was still on shaky ground. In fact, it would be nearly another decade until the Mouse House roared back with their string of hits between 1989-1994. It’s this journey that is the basis for Waking Sleeping Beauty.

Plot:
Walt Disney Studios veteran Don Hahn shines a light on Disney animation work during the '80s and '90s, culminating in the box office and critical triumph of The Lion King. In exploring the works of that era through home movies and archive footage, Hahn offers a peek at the careers of top animators of the time, including John Lasseter, Brad Bird, John Musker, Ron Clements, and more.

Critique:

With Waking Sleeping Beauty, you really feel let in to the world of the Disney animators of the time – a world which, until this film, you only saw as the finished product on the big screen. We become privy to the good and bad times had by the studio throughout the ‘80s and early ‘90s, including:

• The animators despising the “Hollywood takeover” of Disney studios in 1983, particularly former Paramount exec Michael Eisner and his protégé, Jeffrey Katzenberg (right)
  
• The millions-over-budget Black Cauldron getting trounced at the box office by The Care Bears Movie in 1985
• Oliver and Company unfortunately opening the same day in 1988 as former Disney animator Don Bluth’s hit The Land Before Time
• The creative process of the killer songwriting team of Howard Ashman and Alan Menken
• Behind-the-scenes recording sessions of The Little Mermaid, Aladdin, and Beauty and the Beast, featuring the stars of each film
• The growing animosity and dissension between Roy Disney, Eisner, and Katzenberg, which reaches a head at the red-carpet premiere of The Lion King

Hahn cleverly provides new interviews only as audio, with the person’s name in a voice bubble in the corner – avoiding then-and-now visual comparisons of the people and focusing instead on the era being shown on the screen.

One gripe: While it’s right for Hahn to cover Disney’s failures as much as its successes, it’s disappointing to see him spend a large chunk of Waking Sleeping Beauty on forgotten films like Oliver and Company while barely squeezing in The Lion King at the end (and with no coverage of its phenomenal worldwide success).

In telling the story of how Disney studios reclaimed its magical mojo, Waking Sleeping Beauty weaves some movie magic of its own: Even though you know how things turn out, you still find yourself rooting for the animators to win with every new triumph or obstacle that comes their way. It’s a fascinating (though occasionally uneven) recollection of how the Mouse House became mighty once again.

Fun fact: During creation of The Lion King, Katzenberg tells the animators that Pocahontas will be the studio’s next home-run movie; The Lion King “just isn’t working.”

Rating:

Is it suitable for your kids?

Waking Sleeping Beauty is rated PG, though there’s no objectionable content. The only areas which may need parental guidance for young kids are when the film briefly (yet poignantly) deals with Ashman’s illness and death from AIDS in 1991, and Wells’ death from a helicopter crash in 1994.

Will your FilmMother want to watch it?

If she loves Disney and wants to know how they made their magic two decades ago, she’ll enjoy Waking Sleeping Beauty.

Official Trailer:

Waking Sleeping Beauty
* Director: Don Hahn
* Screenwriter: Patrick Pacheco
* Stars: Howard Ashman, Alan Menken, Jeffrey Katzenberg, Michael Eisner, Roy Disney, Glen Keane, Ron Clements
* MPAA Rating: PG



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On February 17th...

1907: Buster Crabbe (star of the Flash Gordon films) is born.

1959: The House on Haunted Hill opens in theaters.

2005: Dan O'Herlihy (Robocop) dies at 85.

2011: FilmFather gets a facelift.

Check back this Thursday...

Aladdin (1992)

EVER SINCE DASH AND I have been watching movies together, he’s had a very anti-princess policy. That is, he recoils at any movie that features a princess in its leading cast.

For weeks, I’ve been trying to convince him to watch Disney’s Aladdin. But forget the fact that the movie a) is named after the male lead; and b) features a big blue genie. All Dash saw was Princess Jasmine, and that was that.

Finally, after much haggling and haranguing, I broke him down. Before he could change his mind, I grabbed his little brother Jack-Jack and threw the tape (yes, VHS) into the player.

Plot:

When resourceful "street rat" Aladdin (Scott Weinger) meets and falls in love with beautiful, independent Princess Jasmine (Linda Larkin), there's nothing he won't do to win her heart -- including enlisting the help of an outrageous genie (Robin Williams).

Critique:

It took this recent viewing for me to remember how great Aladdin is – it truly deserves to be called a Disney classic, without reservation. (A sobering thought: To locate classic Disney films, you now only need to go back less than two decades.)

Of course, the most remembered aspect of Aladdin is the genie, voiced by Robin Williams in a rapid-fire, tour de force performance. Williams fires on all cylinders without becoming overbearing or repetitive. To the contrary, he’s quite hilarious – spewing out dozens of jokes, pop culture references, and impersonations that largely hold up today.

It’s no surprise that little girls still love Princess Jasmine 20 years later. She’s not some passive, defenseless princess or possession; she’s a strong, independent heroine who’s not impressed by the arrogance and excesses of princely behavior. She draws on her authority as princess when needed – and puts the men in their place when they deserve it.

Like other animated Disney films of its era, Aladdin owes its amazing musical score to composers Howard Ashman, Alan Menken, and Tim Rice. And while our hero Aladdin’s solo songs at the beginning are a bit too Broadway, things change with the Genie’s more Disney-esque (and undeniably catchy) “Friend Like Me” and “Prince Ali.” And of course, the most successful song from Aladdin is the ballad, “A Whole New World,” whose version by Peabo Bryson and Regina Belle was a number-one hit.

Disney released Aladdin at a point when the Mouse House was on a tear, having resurrected itself a couple of years earlier with the critical and commercial blockbusters The Little Mermaid and Beauty and the Beast. (For an intimate look behind the scenes of this era of Disney, check out the documentary Waking Sleeping Beauty.)

In the history of animated films – CGI or 2-D, Disney or otherwise – Aladdin is an animated classic that shouldn’t be forgotten, overlooked, or ignored. Make a point to (re)visit it soon.

Tidbits:

• Watch for the quick yet funny nods to other Disney classics Pinocchio and The Little Mermaid.
• In the opening song "Arabian Nights," Arab-Americans took offense to the lyric, “Where they cut off your ear, if they don't like your face." The line was changed to, “Where it's flat and immense, and the heat is intense."
• Williams and Disney butted heads over pay, royalties, and usage rights – to the point where Williams withdrew his support for Aladdin. Things were not patched up between them for several years.

Rating:

What did Dash (and Jack-Jack) think?

While Dash was still initially resistant to watching Aladdin as the opening credits rolled, both he and Jack-Jack were quickly glued to the screen and thoroughly loved the film. (“This is a funny movie” declared Jack-Jack with a smile at one point.) When it was over, Dash pretended to be asleep – probably too proud, in my opinion, to admit he was wrong in his earlier protests against the film. The very next morning, Jack-Jack popped in Aladdin again – and I must admit, I stopped what I was doing and sat down to watch it again as well.

Is it suitable for your kids?

Aladdin is rated G, but depending on your sensitivities, there may be occasional content that you’ll need to explain or gloss over: a character says he needed to “slit a few throats” to acquire a certain artifact; there are mentions of death by beheading; a produce cart owner threatens to cut off Princess Jasmine’s hand; and at one point, Aladdin is given the Arabian equivalent of “cement shoes” and tossed in an ocean.

Will your kids like it?

I should probably just re-arrange that header to say, “Your kids will like it.” Aladdin is tons of fun for all ages, let alone kids, but yeah – they’ll have a blast with it.

Will your FilmMother like it?

Absolutely. With a strong female lead, a budding love story, a funny and endearing cast of characters, terrific musical numbers, and the Disney pedigree behind it, Aladdin is a guaranteed pleaser for everyone – FilmMother included.

Ow ow ow ow ow ow ow hot hot hot hot…

Aladdin
* Directors: Ron Clements, John Musker
* Screenwriters: Ron Clements, John Musker, Ted Elliot, Terry Rossio
* Stars: Scott Weinger, Robin Williams, Linda Larkin, Jonathan Freeman, Frank Welker, Gilbert Gottfried, Douglas Seale
* MPAA Rating: G


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Santa Claus Conquers the Martians (1964)

IT’S OFFICIAL: I have a new favorite bad movie.

I had heard about Santa Claus Conquers the Martians over the years, but it wasn’t until I watched it last week with Dash that I truly realized what I was missing.

Plot:

Martian leader Kimar (Leonard Hicks) is upset his children spend so much time watching TV shows from Earth singing the praises of Santa Claus (John Call), so he leads a group of Martians to Earth to kidnap Santa and take him to Mars. In their travels, they abduct two children who lead the aliens to Santa, whom they kidnap as well. Will Santa and his two little Earthling friends be stuck on Mars forever? Will it be a year without a Santa Claus? (Oh wait, that’s another story.)

Critique:

It’s hard to believe the same year that gave us Rudolph The Red-Nosed Reindeer also gave us Santa Claus Conquers the Martians. It’s an exceptionally poor film in many – check that, all – respects, but one that provides unintentional laughs and even an odd sense of warmth in its desire to please.

Regarding the title: “Conquers” is a bit of an overstatement – frankly, Santa doesn’t do jack in terms of overthrowing the Martians (and he’s pretty blasé after Kimar tells him he won’t be returning to Earth). The conquering lies more in the hands of Billy (Victor Siles) and Betty (Donna Conforti), the kids the Martians abduct while searching Earth for Santa.

There’s not enough room to list all the things wrong with Santa Claus Conquers the Martians, but here’s a sample of some of the biggies:

• The pitiful lighting: Were the filmmakers just cheap, or were they deliberately trying to conceal the flimsiness of the sets?
• The cornball dialogue by everyone involved, such as a news announcer declaring, “Mrs. Claus has positively identified the kidnappers as Martians” and Billy telling the leader, “You’ll never get a way with this, you…you…Martian!”
• When the Martian’s ship is spotted in the sky by the US military, we’re treated to extended stock footage of military command centers and Air Force pilots jumping into fighter planes (the same footage was used at the beginning of Dr. Strangelove – also released in 1964!)
• A “polar bear” that chases Billy and Betty at the North Pole is obviously a man in a polar bear suit, to the point that he stands upright and casually walks out of frame as the scene ends
• There are actually typos in the movie: One in the opening credits (“Custume Designer”) and another in a newspaper headline (see right)
• The please-make-it-stop theme song, “Hooray for Santy Claus,” is played over the opening and closing credits and sung by then-child-actor Pia Zadora, who also plays one of the Martian children (her first movie role) 

While some films claim to be the worst movie ever made, Santa Claus Conquers the Martians truly delivers the goods in terms of sheer awfulness. And though it may be a lump of coal in the stocking of cinema, it provides plenty of opportunities to laugh at its ineptitude, especially when viewed in a group environment. (In that sense, I’m shocked it hasn’t gained a stronger cult following during the holidays.)

By watching Santa Claus Conquers the Martians last week with Dash, and showing him how to enjoy a truly bad movie, Christmas did indeed come early this year.

Tidbits:
* Santa Claus Conquers the Martians was shot on Long Island, New York, mostly with Broadway actors who never appeared in films again.
* “Hooray for Santy Claus” was written by Milton DeLugg, who went on to become the leader of the house band for TV’s The Gong Show in the late 1970s. (He was composing music for the game show What’s My Line? during filming of Santa Claus Conquers the Martians.)
* Producer Joseph E. Levine also produced another holiday-themed kids’ film in the ‘60s: 1967’s Mad Monster Party.

Rating:

What did Dash think?

Initially, it took some egging for him to put up with Santa Claus Conquers the Martians, but once he saw me laughing at the bad special effects and adding my own lines to the cheesy dialogue, he joined in the fun and we made a sport of it. More than once, the told me with a smile that “this is probably the worst movie ever made.”

Is it suitable for your kids?

Santa Claus Conquers the Martians is essentially harmless, but there a couple of scenes that wee ones (read: toddlers) might find frightening: a Martian commands a six-foot-tall robot to crush Billy and Betty with his arms, and the “polar bear” chases the kids into a cave at the North Pole. There’s also some Martian-on-Martian fisticuffs (can’t they all just get along?).

Will your FilmMother want to watch it?

If she enjoys so-bad-it’s-good movies, she’s in for a treat with Santa Claus Conquers the Martians. Here’s a chance to make it a new holiday tradition for your family.

“Now, fat man, you’ll witness the firepower of this fully operational soundstage!”

(You’re welcome, fellow nerds…and Merry Christmas.)

Santa Claus Conquers the Martians
* Director: Nicholas Webster
* Screenwriter: Glenville Mareth
* Stars: John Call, Leonard Hicks, Vincent Beck, Bill McCutcheon, Victor Stiles, Donna Conforti, Chris Month, Pia Zadora
* MPAA Rating: N/A


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Best Worst Movie (2009)

TO SAY A FILM IS “the worst movie ever made” is not only a bold statement, it’s a subjective one.

For example: While 1990’s Troll 2 is surely a terrible film (I watched it last week for the first time), there are definitely films with worse acting, cinematography, set design, etc. to rank them lower in the bowels of cinema sin.

Yet over the last two decades, Troll 2 has taken on a cult following based on its “worst movie ever” word of mouth – spawning special screenings, Troll 2-themed parties, even body art dedicated to the awfulness of this film.

Plot:

In this documentary, actor Michael Stephenson (the child star of Troll 2) travels the country and speaks to fans and cast members of Troll 2 to find out how a low-budget horror film, shot in Utah, starring a dentist-turned-actor and directed by a thickly accented Italian, found a second life as a cult classic.

Critique:

The unofficial star of Best Worst Movie is George Hardy, a career dentist who played the dad in Troll 2 and seems to be one of the most likeable guys on the planet (even his ex-wife thinks he’s awesome). He’s in nearly every scene of Best Worst Movie, his personality and laughter are contagious, and he’s unabashedly proud of being part of Troll 2’s, uh, legacy.

Just as one man’s trash is another man’s treasure, some of the cast and crew of Troll 2 actually think they made a good movie. The film’s editor has the cajones to say that movies like the Harry Potter series owe their existence to Troll 2, while actress Margo Prey (who played the mom in Troll 2 and is now an eccentric recluse living with her mother) puts Troll 2 in the same company as the films of Katherine Hepburn and Humphrey Bogart.

In addition, the husband/wife team of director Claudio Fragasso and screenwriter Rossella Drudi still see Troll 2 as an important film that tackles serious topics like family, society, and mortality. Fragasso is especially interesting to watch as he displays both confusion and pride at the cult-like popularity of his film.

Best Worst Movie is fascinating to watch, even if you’ve never seen Troll 2. It’s surprisingly moving to see how revered the cast is by fans, especially when the actors show up at sold-out screenings across the country. It’s definitely a case of the fans laughing with the cast, not at them – and when you watch this oddly touching documentary, you’ll do the same.

Rating:

Is it suitable for your kids?

Best Worst Movie does contain adult language (including several F-bombs). And in a clip from Troll 2, a woman’s bare breast is briefly shown.

Will your FilmMother want to watch it?

Even if your FilmMother’s not into horror or so-bad-it’s-good movies, I believe she would enjoy watching Best Worst Movie with you.

Official trailer:

Best Worst Movie
* Director: Michael Stephenson
* Screenwriter: Michael Stephenson
* Stars: George Hardy, Michael Stephenson, Darren Ewing, Jason Steadman, Jason Wright, Claudio Fragasso, Connie McFarland
* MPAA Rating: N/A


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