Showing posts with label Peter Graves. Show all posts
Showing posts with label Peter Graves. Show all posts

Thursday, July 02, 2015

'Airplane!' Is 35? Surely You Can't Be Serious



"Ladies and gentleman, this is your stewardess speaking. We regret any inconvenience the sudden cabin movement might have caused. This is due to periodic air pockets we encountered. There's no reason to become alarmed, and we hope you enjoy the rest of your flight. By the way, is there anyone on board who knows how to fly a plane?"

Elaine (Julie Hagerty)

"Airplane!" has always been something of a guilty pleasure. For me, anyway.

Even in the far less politically correct climate of this day in 1980, when "Airplane!" was first shown on America's movie screens, much of its humor was of the National Lampoon, Saturday Night Live variety — irreverent. Mostly, though, it was silly, the kind of stuff you probably giggled at when you were in fourth grade.

Film critic Roger Ebert put it this way: "It is sophomoric, obvious, predictable, corny and quite often very funny. And the reason it's funny is frequently because it's sophomoric, predictable, corny, etc."

A good example: Robert Stack pulling off a pair of sunglasses, revealing another pair of sunglasses beneath it.

If "Airplane!" premiered today, it would probably draw the wrath of many groups who would claim to be offended by something — either on their own behalf or someone else's.

Even in the context of its 35–year–old form, it probably is not advisable to quote lines from it if you're in the company of people who belong to certain social, ethnic and/or religious groups. In fact, I am convinced that it would not be a success today. The times just aren't right for it.

The times were right for it, though, in the 1970s and 1980s — which, despite their many shortcomings, were good years for movies like "Airplane!" — and "Monty Python and the Holy Grail," "Blazing Saddles" and "Young Frankenstein."

"Airplane!" wasn't really discriminatory, though — at least, not in the traditional sense. It was an equal opportunity insulter.

The story was loosely based around Ted (Robert Hays) and Elaine (Julie Hagerty) and their rather dysfunctional relationship. Ted once flew planes in battle, but he suffered a traumatic experience and steadfastly refused to fly a plane again — until he was forced to do so by circumstances.

Ted (Robert Hays): Surely you can't be serious?

Dr. Rumack (Leslie Nielsen): I am serious. And don't call me Shirley.

One thing I have discovered with movies that I really find humorous, like "Airplane!" is that I find things that are new to me each time I watch them — and I can only conclude that I must have missed them the first time because I was laughing at the joke before it.

That would probably be my only complaint about "Airplane!" — there are places where its pacing could be much more beneficial to the overall script.

But I can say that about many comedies that I have enjoyed over the years. It often takes two or three viewings to get the full benefit from such a movie.

All my old favorite moments are still my favories — like the scene where the former June Cleaver (Barbara Billingsley) volunteered to translate the jive lingo of two black passengers for their white stewardess.

And I always laugh at the line that formed of people who wanted to calm an hysterical passenger. The first few people slapped her around; those standing in line had a crowbar, a lead pipe, a revolver ...

Randy (Lorna Patterson): Excuse me, sir, there's been a little problem in the cockpit …

Ted (Robert Hays): The cockpit … what is it?

Randy: It's the little room in the front of the plane where the pilots sit, but that's not important right now.

The last time I watched it, it occurred to me that "Airplane!" was written in the Mel Brooks style — not quite as clever as Neil Simon but easily capable of producing a belly laugh or two.

I will admit, though, that most of the movie's humor was related to things and people that would have been recognizable to audiences in 1980 — but not necessarily audiences in 2015.

There isn't much point in relating any more of the plot — such as it was — except that it is probably just as funny now as it was then for someone seeing it for the first time — even if that person isn't familiar with many of the references — although my guess is that, if you're seeing it for the first time and you don't know who June Cleaver was, you'd probably be wise to watch an episode or two of Leave It To Beaver before you watch "Airplane!" It probably wouldn't be a bad idea to watch the movie that is being parodied — 1970's "Airport." That's just my opinion, though.

Incidentally, "Airplane!" marked the debut — and probably the career high point — of actor David Leisure, who went on to star as Joe Isuzu in TV commercials in the late '80s and early '90s. He played one of the Hare Krishnas at the airport.

Wednesday, May 29, 2013

A Different Kind of War Story



Sgt. Schulz (Sig Ruman): How do you expect to win the war with an army of clowns?

Lt. Dunbar (Don Taylor): We sort of hope you'd laugh yourselves to death.

I don't remember how old I was when I first saw "Stalag 17," the Billy Wilder war comedy/drama that premiered 60 years ago today.

What I do remember is that — for awhile — I thought "Stalag 17" was the inspiration for Hogan's Heroes, a sitcom that was popular when I was little. Both, after all, were set in POW camps during World War II, and both had German sergeants named Schultz.

(Also, the camp in Hogan's Heroes had a name that was reminiscent of the movie — Stalag 13.)

But the Schultz in Hogan's Heroes was a buffoon whereas the Schulz (note the absence of the t) in "Stalag 17" was a by–the–book German soldier.

And, in nearly every respect, the plot and tone of each was different from the other — significantly so.

Consequently, I'm not nearly as inclined to see a solid link between the movie and the TV show

Hogan's Heroes was played strictly for laughs, usually at the expense of the incompetent Germans. That was probably easier to do with two decades separating the end of the war and the debut of the TV show. By that time, it was easier to joke about the Germans and the war.

Not quite eight years had passed since the end of the war when "Stalag 17" was showing on America's movie screens. The memory of Hitler and his regime was still fresh — still raw — in 1953.

There was more drama in "Stalag 17" — reflecting, perhaps, the respect that still existed for a Germany that had thrust the globe into two world wars in the 20th century. But, by the 1960s, that respect seems to have dissolved into ridicule — we beat the Germans twice in this century seems to have been the attitude by that time. Hogan and his co–prisoners were capable of doing anything they wanted to do; even if Schultz found out about something, he could be bribed into keeping his mouth shut.

The prisoners stayed there entirely by choice. It was presented as a patriotic thing, really. They could have escaped easily at any time, but they could influence the outcome of the war where they were.

Sometimes they used that to their advantage, setting up the Germans to discover some alleged breakout, giving the inept Nazi commandant and his easily influenced sergeant a chance to boast that no one had ever escaped from their prison camp.

But mostly they used it for the benefit of the Allied effort.

Sgt. Schulz, on the other hand, was a no–nonsense soldier, and the prisoners he ruled definitely were not there by choice.

Sure, there were slapstick moments, but I wouldn't call "Stalag 17" a slapstick movie — whereas Hogan's Heroes was often a slapstick sitcom.

Mostly, I guess, the comedy of "Stalag 17" came in the form of one–liners and sight gags — but there was a generous portion of drama in it as well.

William Holden, who had so many fine performances in his career, may have given his best in "Stalag 17" as the prisoner who was suspected by his bunkmates of being the informant responsible for the Germans' advance knowledge of many things, like the escape attempt of two young Americans who were gunned down outside the camp and the presence in the barracks of a radio that was used to monitor developments in the war.

(In fact, Holden won his only Best Actor Oscar for his performance in "Stalag 17." I suppose it is a matter of personal opinion whether that performance was better than the ones he gave in "Sunset Boulevard" and "Network," the other movies for which he was nominated for Best Actor, but that is the one that was honored, and the quality of his competition for the award — Richard Burton, Montgomery Clift, Marlon Brando and Burt Lancaster — is beyond dispute.)

Suspicion of Holden's character finally led the other prisoners to beat him up — one finds it hard to imagine the prisoners in "Hogan's Heroes" beating up Col. Hogan (or even feeling compelled to do so).

The prisoners in Hogan's Heroes had a quiet confidence that they were far superior to their captors. The prisoners in "Stalag 17" were much less secure and much more vulnerable. Their situation was real, and I guess I always assumed that their humor was more of a coping mechanism.

Anyway, when the prisoners learned what the audience had known for awhile — that the apparently All–American boy (Peter Graves) was the informant — they set him up permanently.

I guess that is an example of what I so often heard when I was a boy in Arkansas — "What goes around comes around."

Sunday, March 14, 2010

Peter Graves Dies

Actor Peter Graves was found dead in his California home today. It is being reported that he had a heart attack.

He would have been 84 on Thursday.

Graves had a long career in films and television. TV viewers knew him in his role on Mission: Impossible, which ran for seven years, and as the narrator of the Biography series. Movie fans remember his performances in "Stalag 17" and, nearly 30 years later, "Airplane!"

Graves brought a sincere quality, an earnestness, to every role he played. It was that very characteristic that made his performances in "Airplane!" and its sequel so memorable.

I don't know how many times I've seen "Airplane!" but I still laugh when Graves asks Joey, "You ever … seen a grown man naked?"

He is gone now, but we can still enjoy his performances.