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We here at JPFmovies pride ourselves at talking a hard, gritty look at entertainment from all over the world.

Part 3 of 3: “The Ropers” the one that should be lost and forgotten.

Three’s Company was so popular that ABC tried to spin-off a show called The Ropers.  The Ropers were the original landlords in show Three’s is Company, Stanley (Norman Fell) and Helen (Audra Lindley).  In the spin off, the Ropers sold the building, bought a condo and a show if their own.  The “plot” of The Ropers, was that they now lived in a condo in an upscale area but looked down upon their new next door neighbor Jeffrey P. Brookes III, (Jeffrey Tambor).  His wife Anne, however, was actually good friends with Mrs. Roper.  The humor was theoretically to come out of the friction between Jeffrey not liking the Ropers, Jeffrey’s wife not liking that he didn’t like the Ropers and of course Mrs. Roper still not liking that Mr. Roper didn’t want to fool around.  Oh what a hoot that should have been.

Nevertheless, (thank god) the audience didn’t see the humor and the show quickly was cancelled.  The fact that the Ropers was canceled quickly did re-affirm my faith in humanity.  But the Ropers represents something that all those in TV can learn from, don’t take great supporting players and try to make them great central starring characters in another show it all too often fails miserably.  The real problem facing Norman Fell (who was a known star in his own right) was that the characters could not go back to Three’s Company since Don Knotts (the comedy legend) playing Mr. Furley had taken their place.

Just how did this joke of a show get made especially with someone as well-known as Norman Fell being involved?  With Three as Company continued success in its second season, the Three’s Company’s own producers pitched the spin off.  Fell, however, was extremely reluctant (and rightfully so) as he was satisfied with his role on a show that was already a proven hit.  Fell feared (correctly) that a spin-off would be unsuccessful and thus put him out of a good role and job.  To alleviate his fears, Three’s Company producers contractually promised Fell that they would give the new series a year to prove itself.  If unsuccessful, then he and Lindley would return to Three’s Company.  A reluctant Fell agreed to the new terms.

What Happened?  I’ll tell you, they went up against CHIPS—Now who could compete with that?  Eric Estrata, Larry Wilcox—not a chance and it showed in an audience drop that put it an immediate fall into the bottom ten.  The drop in ratings and the fact that the show wasn’t appealing to the young demographic audience to the show’s cancellation in May 1980.  After viewing several of the episodes, I don’t care where they placed it, it stunk on ice.

When the series was canceled, Fell approached Three’s Company producers about returning to the show.  The Ropers had been replaced on Three’s Company by legendary Don Knotts, playing the swinging Ralph Furley who had worked well with the theme of Three’s Company that had retained its popularity.  Apparently Fell would later state that he always believed the decision to pull the plug on the show had been made early on, but that the network deliberately postponed making the cancellation official until after the one-year mark specifically to be relieved of the obligation to allow Fell and Lindley to return to Three’s Company.

At least the networks might have learned something from this debacle.  Now when a show tries to spin-off a character, they set the stage to avoid just such a problem.  When The Jefferson’s spun off the character of Florence into her own show she was replaced not with a big name star but with a character who, should the spin-off fail (which it did), could quickly be dropped so that Florence could return to the original show.

To give you an idea of how bad it was, the show was ranked number two on Time magazine’s “Top 10 Worst TV Spin-Offs” and in the July 2002 TV Guide named The Ropers the 49th worst TV series of all time.

Ouch—but well deserved rankings.

This is the one show of the three we looked at that needs to be lost and forgotten.

 
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Posted by on December 7, 2011 in Movie Reviews

 

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Part 2 of 3 Looking At TV Shows That May Have Been Lost And Forgotten: The John Larroquette Show.

The John Larroquette Show, lost but the first season will not be forgotten (1993-1996).

Just coming off the series “Night Court” (where he played a sleazy assistant district attorney) which ran from 1984-1992, Larroquette didn’t skip a single season before starting his own show—hence the John Larroquette Show.

The show revolved around John Hemingway, a recovering alcoholic newly appointed to the role of night shift manager of the St. Louis bus depot.  The set for this show was far and above any of its competitors.  It was dark, gritty, dingy and looked like what one would think of when one thinks of a St. Louis bus station.  The show orbited around John’s attempts to stay on the wagon, and season 1 roughly equals one or two episodes per one Step of the 12 Steps used in Bill W’s AA program.

Hemmingway has a sign in his office that says it all: “This Is A Dark Ride.” Hemmingway, played by John Larroquette, is a newly minted recovering alcoholic trying to right himself while managing a bus station in St. Louis.  The first year of this show was absolutely brilliant, with a tremendously talented ensemble cast and decidedly sharp and intelligent scripts that almost went out of their way to challenge ethnic and social mores.  No other sitcom boasted a hooker as a regular character, for God’s sake! One of the daughters was booted from the Cosby Show because she was in a racy movie that hit the theaters in the sit-com’s off-season.

John is constantly struggling to keep control of the station, with regular conflicts with his secretary, Mahalia, the janitor, Heavy Gene, and most sharply with sandwich bar attendant, Dexter, who had been turned down for the position that John was appointed to and, of course, there is the requisite sexual tension materializing with the prostitute Carly.  Oh yeah–and they work the third “grave yard” shift.

Because there was something original airing that started capturing a very loyal following, NBC had to spring into action to screw with something that was working.  Legend has it that NBC thought “Cheers”-in-a-bus-station and immediately pressured producers to lighten the mood of the show considerably, removing everything that made the show so extraordinary.  Wasting no time, by season 2, NBC had already moved John from the miserable junkyard he was living in, into a high scale apartment that just so happened to be across the hall from a cute nurse played by Allison LaPaca and the mandated relationship ensued.  The necessary sit-com formula was applied like an ointment and “cured” LaPaca’s crooked smil. The surrounding characters lost their edginess — the hooker became a respectable bar owner (uh huh), the sharp-tongued, streetwise food counter owner became your basic sidekick, et cetera.  I knew it was over when the hooker bought the bar, I just knew it, and maybe watched 2-3 episodes of season 2 before I had to cut the show loose.  Who could blame me? After all, the dark and intelligent comedy had morphed into a standard relationship sitcom with stereotypical characters and scripts right out of “Three’s Company” without the lovable campiness.  In a situation like that you have to get out as fast as you can to preserve what few good memories you have of the show before those memories become intertwined with the crap. 

To change the subject completely, the show had some good guest stars, including David Crosby, who regularly played Cheste, John’s sponsor for AA meetings.  Another episodic guest star, Bobcat Goldthwait, played an assistant to John, who was constantly a mess but became suddenly efficient and ‘normal,’ as soon as he got drunk.  Richard S. “Kinky” Friedman appeared as himself in a jail cell.

All I have to say is, what is the matter with you networks and TV watching Americans!  Aren’t you sick of the tired and recycled scripts and bland characters that flood the airwaves?  And you, networks, couldn’t you leave one show alone for the rest of us?  Just once?  Are you really that scared of TV that is slightly smarter and edgier than all the other programs that populate your prime-time?  Networks listen up:  You Are Killing Me, You Are God Damn Killing Me With This.

Followers I have included the entire pilot and episode 5 of season 1 so you could get the flavor of the show.

 
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Posted by on December 2, 2011 in Movie Reviews

 

TV Shows that may be lost and forgotten–Part 1 of 3.

Let’s take a look at some TV shows that may be lost and forgotten. Obviously, these shows may not be lost and forgotten to all of our readers here at JPFmovies, but my guess is that at least two out of the three of the shows I’ve picked probably were lost, forgotten or maybe never heard of. The three lost and forgotten shows are: Love American Style, The John Laroquette Show and The Ropers. When I was thinking about the trio of TV for this post, I wanted some shows that had character but were not terribly popular and easily forgotten. I think each of these series fits the bill.

First Love American Style.

This gem aired from 1969 to 1974. Each show featured several vignettes each lasting about 10-15 minutes of unrelated stories of comedy & romance. The episodes featured different characters, stories, and locations and often featured the same actors playing different characters in several other episodes.

The show introduced the “mini comedic soap opera” form used later by Aaron Spelling for The Love Boat. In contrast to the The Love Boat, Love American Style’s episodes within the show had no connection to each other but told the same predictable light, emotional stories about love, romance, and relationships.

Garry Marshall (creator of Happy Days) said that Love, American Style was “where failed sitcom pilots went to die,” a theory that was true. If a TV producer could not sell a pilot, they would instead sell the script to Spelling, who took the best parts of the pilot and recast them as a segment on Love, American Style.

The series also used 10–20-second “joke clips” between the highlighted segments, which allowed the show to be padded to the required length without altering the main skits. These joke clips were considered then “risqué,” burlesque- comedy of visual jokes.

After the Show was canceled it became standard in syndication as the stations could edit the show to a half-hour by linking the clips with a main segment, successfully making ten seasons out of five.

They just don’t make them like Love American Style anymore. Some say that is good thing, but I disagree—the show is a fun look back into the campy humor of the late 1960’s and early 70’s. And of course there is the famous theme song that is tough to get out of your head once it is in there.

 
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Posted by on November 30, 2011 in Movie Reviews

 

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Retraction on WordPress Sucking

Yesterday I posted a bit of a rant complaining about wordpress sucking because I have been trying to implement a great idea I got from the LAMB website about having an index of my reviews for others to simply go to and check out at their leisure. Well I’ve been trying to implement that idea for about a week and was at the end of my rope when I posted that rant.

It takes a big man to admit he’s wrong and I am not a big man. But in this case I owe wordpress an apology. Except for this particular issue wordpress has been pretty good to me. So here it is (and I hope I never have to do this again) to WordPress, I apologize. While the post was written by Bonnie while she was trying to implement this index idea, it is my site and I take full responsibility for the post.

To those at wordpress, savor this moment because the last time I publicly apologized was in the previous millennium.

JPFmovies

 
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Posted by on November 26, 2011 in Movie Reviews

 

You know what sucks? WordPress

I am trying to find a way to create a page for my site that will display all my post titles in alphabetical order. Sounds simple, right? Seems like there should be a plugin for that — and there are, several of them. But here’s the thing. My Dashboard in WordPress doesn’t include the plugin tab. Why? I can’t imagine.

Has anyone else out there experienced this kind of problem? Does anyone know how to get the WordPress Plugins tab to show its lovely face?

I know where the tab should be.
I know how to change the “screen options” in the upper right corner — that doesn’t give me a plugin tab option either.
I know where to find the tools and settings tabs — no dice there either.

Do I have to give up, and fail to give my readership what they are clearly asking for, a page with an alphabetized listing of all my posts? Do I have to create such a page by hand?

What gives?

 
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Posted by on November 25, 2011 in Movie Reviews

 

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The Men Who Tread on the Tiger’s Tail (1945) Censored by the Freedom of Speech Advocates (the United States) until 1952.

Here is a Kurasowa film that was made in 1945 during the final days of WWII, but prevented from general release by American censors until 1952 when the U.S. forces essentially withdrew from Japan ostensibly because the film contained elements of the bushido code.

This is not your run of the mill movie in the eyes of most westerners.  It is less than an hour long and filmed against what is clearly a painted set meant to be the mountainous horizon of Japan.  In addition, half of the dialogue is poetry that is sung making it more of a narrative now that I think about it.  People attribute these cinematic devices to director Kurasowa’s faithfulness to the “noh” style play upon which the story is based.  If, like me, you have no idea what that is, noh is a genre of classical Japanese musical dramas that has been performed since the 14th century.  Apparently, the plays focus on technical form rather than creativity and what we would call traditional “acting today.”

While researching this review I noticed something; that is, people either loved this film or hated it.  Very few opinions were “middle of the road” when discussing the merits of the movie with some going so far as to say “well it left me feeling that the best part of this film was its short 58 minutes.”  Something I’ve never heard or read about a Kurasowa film until now.

The film follows the Japanese jidaigeki or “period drama” telling the story of The Gempei War, which has just ended and now, two brothers – allies of that war – have turned into enemies.  Yoshitsune, a victorious general in the War, is being hunted by his brother, Yoritomo. Yoshitsune, along with six men, attempt to reach Hidehira Fujiwara, who may offer Yoshitsune safety. To do so, they have to pass through a barrier in the Kaga Province, under the command of its magistrate, Saemon Togashi.  The film is how are they going to get through the barrier.

Getting through the checkpoint is not going to be as easy as passing through a tollbooth.  With Yoshitsune’s right hand man, Benkei (a formidable historical figure in his own right), leading the way, the six men, disguised as monks, with Yoshitsune disguised as a porter and another real porter providing comedy relief (and in my opinion helping to save their skin in the end), travel to the barrier, but word has already reached the officials that the fugitives are moving incognito as wandering ascetic priests.  Naturally, they are stopped at the checkpoint since they fit the description of (and are in fact) the wanted men.

Since all of the fugitives have been trained in ritual, their show is very convincing.  Togashi proceeds to ask a number of questions designed to prove their priesthood.  As a real priest, Benkei has been steeped in the traditions of the Buddha and he alone speaks, and he does so convincingly.  Togashi’s final test requires Benkei to recite his mission for the temple he claims to be collecting donations for.  He famously takes up a blank scroll and recites, partially from memory and partially improvisational, in typical Buddhist fashion.  Togashi’s suspicions ostensibly assuaged, the band of merry men are allowed to pass, but as they depart, Togashi’s right-hand believes he recognizes the one of their number as Yoshitsune.  Benkei thinking on his feet, beats the heck out of his lord Yoshitsune with his staff.  In Japan during that time, no retainer would ever lay a hand upon his master, and thus the guards are convinced of their authenticity.

The best part of this movie is not the dialogue in and of its self, but the psychological questions hanging out there.  Does Togashi know that it is indeed Yoshitsune’s band and therefore allow them to pass out of some admiration for their performance?  Or has Benkei truly succeeded in fooling them?  Other versions of the story try to leave their audience hanging by making them try to guess what he knew and when did he know it.  In this film, it is clear that Togashi knows and that Benkei knows that he knows.  This may not be so easily diffused from a single viewing.  Kurosawa himself, it could be argued, winks and nods at this reading, but he never spells it out in the final product (through montage, composition or otherwise).  Instead, he leaves it to the cunning of his actors who make these points.

So here are my middle of the road thoughts on The Men Who Tread on the Tiger’s Tail the film’s narrative singing gets a little annoying after the first song, but the tension described in the preceding paragraph add significantly to the merits of this movie.

 
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Posted by on November 23, 2011 in Movie Reviews

 

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