Showing posts with label silly. Show all posts
Showing posts with label silly. Show all posts

Friday, March 14, 2014

WTF?! - So Fine (1981)

WTF?! - So Fine (1981)

When I was a kid, just about the age of 13 or so I remember playing in my parent’s attic and coming across a dresser drawer with buttons in it. They were all shapes and sizes. Not buttons like you’d sew on a shirt, no; but they were badges with different fun sayings on them. I’d giggle at the one that said, “I don’t mind if you smoke, as long as you don’t mind if I fart,” and “Linda Lovelace for President.” As I flipped through these funny medallions I found one that said “So Fine” with the picture of a woman’s rump slipped into jeans with her fanny cheeks showing trough clear plastic windows. I marveled at it. I thought, so weird... but funny!


I later came to find out that it was a promotional item for a film that had come out that year called, “So Fine” from Warner Brothers. “So Fine" stars Ryan O’Neal and comic vet Jack Warden. With the onset of Philadelphia area’s Prism Cable TV channel, I finally got to see the film when it first came on TV. Not remembering much of the film but remembering it was a little silly, I came across the film on 16mm as bid item on EBAY; but alas, lost the bid to someone in Canada (Damn Canadians!). Finally, I’m thrilled to say that Warner Archives does this one proud, and now makes it available on DVD.



Our story takes place in the hallowed halls of a New England university where our stuffy hero, Bobby Fine (Ryan O’Neal) teaches literature. His father Jack (Jack Warden) runs a failing 7th Avenue dress factory and is way-into debt with a monster of a mobster loan shark, played by James Bond villain extraordinary Richard Kiel. After getting wrapped up in a resolution deal with the loan shark, Bobby dives into a rendezvous with the mobster’s wife (Mariangela Melato of Swept Away). While escaping from being caught in bed with the doll, Bobby rips his jeans open in the butt, accidentally creating a new fashion craze called “So Fine Jeans.” 



“So Fine” is the directing debut for screenwriter and New york native Andrew Bergman. Bergman rose to acclaim by co-penning such hilarities as “Blazing Saddles” and “The In-Laws.” In a wonderful interview with author Joel Engel, “Screenwriters on Screenwriting,” Bergman recounts his feelings on the film:

AB: “I’m still sort of an academic... I think that’s why ‘So Fine’ was about academia; it was a metaphor for the movie business. Ryan O’Neal going into the dress business was really me going into the movie business.”
JE: “Ryan O’Neal seems to me to have been interesting casting.”
AB: “He’s a great physical comedian. First of all, Warner Brothers wasn’t going to let me do the picture unless we had a major star in it. Ryan was it. I mean, he’s not the logical person to play an English professor who’s Jewish. But I really wanted to make the picture, so I said, ‘Screw it.’ Ryan is a great physical comedian--I think one of the great wasted talents. He’s extraordinarily funny.”
Melato and Keil cut the Disco rug


When I bought “So Fine” I thought for sure that I’d be reliving how bad the film was, and only enjoying it for its 80s camp value. The funny thing is, I loved it! Now an adult who’s seen much more of the world, and experienced many more slapstick comedies; 

I have to say, I feel that “So Fine” actually delivers “the funny” way more than originally thought. O’Neal is hands down charming in the role. His role as Bobby is quite reminiscent of his screwball antics with Barbra Streisand in “What’s Up, Doc?” Jack Warden’s one liners had me gaffaing out loud and splitting my stitches of the comic blue jeans in my head. I also took delight in some quick, but contributive cameos; Fred Gwynne (aka Herman Munster) as the university’s Department Chairman; Asian character actor James Hong (Blade Runner, Kung Fu Panda); and most-notably, singer comedienne Judith Cohen, who was discovered on the classic sit-com “Good Times” as a sad-sack performer singing “Send In The Clowns.” 



Sadly, this Clothing Industry comedy didn’t do well and was a farcical flop at the box office. David Denby of New York Magazine called the film “crass and depressingly unfunny”; but liked Malato comparing her to Streisand, only “quieter, prettier, and funnier.” Ryan O’Neal spoke highly of Melato in his memoir “Both Of Us: My Life with Farrah," but thought it was a weak debut for Bergman. In his 40s when “So Fine” was released, O’Neal’s most recent success, up to that point, was with Streisand in “The Main Event” just a few years earlier. “So Fine” would appear to be a slump for him, until “Irreconcilable Differences” came out in 1984. 

Mariangela Melato and Ryan O'Neal 
Despite other bad reviews, Janet Maslin of “The New York Times” liked the hometown film, writing Mr. Bergman's direction is for the most part skillful and confident. 'So Fine' is a little shapeless overall, especially after it sends Bobby back to his college once the jeans have made jean history. But its comic episodes are nicely controlled, and the movie has a consistent zany style. An early college sequence, with Fred Gwynne offering a wittily grotesque caricature of a department chairman and David Rounds as an ambitious underling, is perfectly in keeping with the gangster and garment episodes that come later.”


“So Fine” has a silly charm to it, but is possible the film didn't do well because it was poking fun at women in a unintentionally misogynistic manner. (I mean, it was the 80s) That being said, “So Fine” is a great film to watch because it launches the 80s as a decade, having fun and poking light at the superficial clothing design industry. The film played for a few years on cable and broadcast TV but pretty much disappeared in the 90s until now. The DVD offering from Warner Archives looks great and is presented in its original widescreen format.



Bergman would not regain popularity as a director until “The Freshman” about a decade later. Bergman, finishing his thoughts on “So Fine”: 



The Movie was a bomb, but I must say that, to this day, some of the funniest things I’ve ever done were in that movie. Jack Warden’s performance was hysterical. The opera sequence. The whole ongoing thing between Warden and the buyers. For sheer, piss-in-the-pants funny, the movie has some of the best dialogue I’ve ever written.”






So Fine (1981)  
DVD 
$14.95

Tuesday, April 23, 2013

WTF?! - Pajama Party (1964)





WTF?! - Pajama Party (1964)

"When the Pajama Tops meet the Pajama Bottoms someone's gonna have a Fit!"

Having breakfast at dinner time can be such a fun treat. After our beloved Annette Funicello passed last week we decided to have some friends over our house and break out our 16mm print of the 1964 crazy fun teen flick Pajama Party, starring Annette Funicello, Tommy Kirk, Elsa Lanchester, Dorothy Lamour, Buster Keaton and the back of Frankie Avalon's head. (more on that in a bit)


As our friends gathered, wearing their PJs and robes, we all took part in some yummy waffles with fruit, mimosas, and other breakfast fare. We fired up the projector and seconds later we were plunged into bed with the crazy story that is Pajama Party.

Released in the winter of 1964, Pajama Party is the story of Go Go (Tommy Kirk) a half-witted Martian sent down to earth to initiate the takeover of the planet by the Martians. Here he meets Aunt Wendy (Elsa Lanchester), a well-to-do heiress and Connie (Annette Funicello) a good girl "on the make." A second storyline involves J. Sinister Hulk (Jesse White) and his crew plotting to steal Aunt Wendy's fortune; and even a third storyline with Eric Von Zipper (Harvey Lembeck) planning revenge on the beach kids for getting "footprints in his sand." Lembeck was in ALL 6 beach films, which were produced and released over the span of 3 and half short years.
Gals of Pajama Party

Cameos include Dorothy Lamour in a film-stopping dance number at the local dress shop. Her number "Where Did I Go Wrong?" had our guest shrieking with laughter; and Don Rickles entertains as Go Go's "managing officer."

Previewing in November of 1964, opening in 50 Los Angeles theaters and Drive-Ins on December 2nd, and aimed at the 15-25 year old movie goers;  Pajama Party is produced by American International Pictures and its fearless leader Samuel J. Arkoff. Arkoff mastered the art of taking a mediocre budgeted plot line, marketing it to the youngsters, tapping into their hormones and angst, and profiting on it. He was once quoted saying, "None of the beach movies ever lost money. They all made a profit."

The jury is still out on why Frankie Avalon wasn't featured in the film. We mostly see the very back of his head until the very end of the film when Avalon "reveals" it was him as the master commander the whole time. Some say that because the budget for Pajama Party was a mere $200,000 (Beach Party's budget would chime in at a whopping $600,000) AIP didn't have the amount of money to pay Avalon his desired fee, so they essentially cut his larger role into a cameo. More likely is that in the fall of '64 Frankie Avalon was busy shooting I’ll Take Sweden. AIP hired Kirk to appear with his frequent co-star Annette, from the Disney days. Disney was slowly "weaning" out Kirk because as he was growing older his general appearance and demeanor was reaching a "questionable" feminine side. (Tommy was outed by his boyfriend’s irate mother in the spring of '65 and fired off the set of The Monkey's Uncle by Disney.) AIP promoted Kirk's appearances more strongly than they promoted Avalon, and the chemistry on screen carried over into Pajama Party.
Boys on the Beach

Tommy Kirk is not without his set of bulging swimsuits and offering outfits mostly provided by Aunt Wendy. He does his fair share of chasing, including Swedish bombshell Helga (Bobbi Shaw) and Buster Keaton's American Indian character, Chief Rotten Eagle. Don Rickles even jokes "...knowing him, he'll probably catch the Indian!"

This delightful film is no Citizen Kane but it sure is entertaining. Look closely and you'll see a young Teri Garr (billed as Teri Hope) and Toni Basil (of "Mickey" fame) in the dance sequences. In her autobiography Speedbumps: Flooring It Through Hollywood, Garr writes fondly about her time spent with choreographer/friend David Winters on the film. She also talks about the day the director asked if anyone can stunt dive; "I can stunt dive." said Garr, knowing full well she couldn't and that stunt divers can make a little extra money. "What do you know how to do?" said the director. "I know how to do a Blony." (Garr made that up) "A Blony?" "Yes," said Garr. "Well how much would you want for it?" Garr replied, "500 dollars." Seeing that the director was distressed by her rate she replied, "OK, I'll do it for $250."

The cast also features the wonderful singer Donna Loren,
crooning the song "Among the Young," in a wonderful beach number feature slow sultry Susan Hart (who in every scene her dancing is so hot it seems to boil punch in the punchbowl, wilt flowers, and ignite volcanoes); also represented is Beach Maven Candy Johnson. Pajama Party was Johnson's final film in the series. At that point choreographer David Winters was using more of his friends like Garr and Basil in the numbers, and slowly pushing the veterans into the background. The supporting cast always "supported" the openings of these low budget masterpieces with public appearances in the most humble of settings. Donna Loren hosted a Thanksgiving parade in Silver Springs that year. Gossip columnist and woman-around-town Dorothy Kilgallen also makes an odd but fun cameo as a woman falling on and off one of the Rats' motorcycles during a crazy chase scene. Dorothy Kilgallen was always in the public eye with her column as well as game shows like What's My Line?.

When Buster Keaton was interviewed regarding his Indian character and what filming Pajama Party was like, he would simply reply "harrumph!" It was evident that most players in this game were doing it just for the paycheck. Pajama Party is arguably one of the best of AIP's beach movies solely for the fact that it exists simply to delight and entertain. Its ingenuous spirit works, even though the plot line is thin and the clunky dialogue is unpolished. Annette is not without her songs as well. "It's That Kind of Day," and "There Has to Be a Reason" are fun and lightly melodic. There's also some wonderful incidental music by tiki great Les Baxter. Wonderful WTF moments include;  Crazy opening credits, produced by Butler-Glouner in LA. (Butler-Glouner did tons of opening sequences for AIP.) Annette's "Stuffed Animal" song where she romantically sings about the joys of owning a creepy stuffed animal vs. dealing with boys; Annette's "Pajama Party" theme song, arriving near the end of the film. (one of our guests even exclaimed, "FINALLY! The Pajama Party!"; Racist Indian jokes from Buster Keaton; racist boobie jokes from the Norwegian (It was the 60s that's all I'm saying); and the all too crazy plot with too many antagonists.


 
Pajama Party is a celebration. It's not a deep sleep, but like waking up from a pleasant dream the next morning. Rent the DVD today on MGM home video. Better yet, buy it. You'll want to have it around and watch it whenever you're looking for a fun, guilty pleasure.


New CD Compilation
Original LP







(82 Min)