Showing posts with label Deathtrap. Show all posts
Showing posts with label Deathtrap. Show all posts
Sunday, April 02, 2017
You Really Can't Go Home Again -- Or Can You?
One of the recurring themes of the Frasier sitcom was the sibling relationship between Frasier (Kelsey Grammer) and Niles (David Hyde Pierce).
Frequently the emphasis was on sibling rivalry, which has been a staple of sitcoms for decades, but Frasier showed that behind a sibling rivalry is a unique relationship between the siblings, and Frasier told the Crane brothers' story best when it incorporated younger versions of Niles and Frasier into the story. It provided a context, an insight into both of their personalities.
And that is precisely what was done in the episode that first aired on this night in 2002 — "Deathtrap."
When the episode began, the viewers saw a young Niles and a young Frasier sneaking into a science classroom at their prep school to take a skull that they intended to use in a backyard production of "Hamlet." But young Niles dropped it, and it sustained a fracture.
Fast forward about 40 years or so.
As they were drinking coffee in the cafe one day, Niles told Frasier that the house in which they grew up was listed for sale. The neighborhood was being revitalized, and that sparked an idea. Frasier and Niles thought of buying the house and turning it into a B&B. They decided to look it over with their father Martin (John Mahoney) in tow.
It was a nice stroll down Memory Lane, but it turned out the house wasn't as big as they remembered — probably because they were small when they lived there. I have visited places as an adult that I remember being much bigger when I was a child. It's a matter of perspective.
The house wouldn't be adequate to be a B&B, but as they were leaving Frasier recalled that they had left a metal box — a "time capsule," he called it — beneath some loose floorboards in the living room. He wondered if the owner would let them retrieve their box. The owner of the property said that wasn't possible; concluding that they were not interested in buying the house after all, the owner escorted the Cranes out of the house and locked it up.
But Frasier and Niles returned under cover of darkness. Frasier just knew that box was beneath the floor — even though the owner of the house insisted there were no loose boards in the floor. And Frasier proceeded to pry some boards loose. Then he reached into the darkness beneath the floor to search for the box.
Frasier didn't find the box — but, speaking of skulls, he found one beneath the floor, and Niles and Frasier began wildly speculating about whose skull it could be.
Inspired, no doubt, by their presence in the house where they had co–authored the Crane Boys Mysteries, a series of unpublished crime fiction stories.
Anyway, they concluded that the skull belonged to the landlord's wife, who had disappeared mysteriously, and Frasier began salivating at the idea of getting those Crane Boys Mysteries published to capitalize on the notoriety of their discovery.
Their assumption at the time had been that the landlord and his wife had split up. In light of what the Cranes had just discovered, the new assumption was that he had split her up.
Death was a big topic on Frasier 15 years ago tonight.
Roz (Peri Gilpin) was wrestling with talking to her daughter Alice about their hamster, who had met an untimely end. Martin had a little conversation with her about death and heaven when Roz was gone. Before that conversation, Alice thought the hamster was lost.
Alice seemed to take it in stride, and she left with her mother and a new hamster Roz had purchased. That was when, wordlessly, Martin and his dog Eddie showed everyone the bond between man and dog.
Meanwhile, back at the ranch ...
The Cranes had torn up the floor of their old home and found their box. The owner was brought to the house by the police, who apparently had been summoned by Frasier or Niles, and was indignant about what they had done. But Frasier and Niles simply shrugged it off and told him that the police had some questions for him.
Then they decided to open the memory box.
They found a copy of their program from their backyard production of "Hamlet," and they put two and two together.
"You know, Niles," Frasier remarked, "we may owe Mr. Lasskopf an apology."
Seems like an understatement, doesn't it?
Labels:
2002,
David Hyde Pierce,
Deathtrap,
episode,
Frasier,
John Mahoney,
Kelsey Grammer,
Peri Gilpin,
sibling relationship,
sitcom,
TV
Sunday, March 19, 2017
Don't Overlook This Gem
"I wonder if it would not be, well, just a trifle starry–eyed of me to contemplate a partnership where I could count on no sense of moral obligation whatsoever."
Sidney (Michael Caine)
There were a lot of movies in the theaters in 1982. Some were good, some were not, but nearly all of them, it seems, spent more time in the spotlight than "Deathtrap," which premiered on this day 35 years ago.
And that really is a shame because "Deathtrap" may have been the most creative movie out there — and I say that knowing that 1982 brought us "Poltergeist," "E.T.," and "Tootsie," among others.
It was an overlooked gem at the time, and it is still overlooked today.
"Deathtrap" also took a backseat to "Porky's," a putrid sex comedy that was nevertheless the fifth–highest grossing movie of the year. "Porky's" premiered the same day as "Deathtrap."
I must confess that I didn't see "Deathtrap" when it was in theaters, and that is something I have often regretted. I saw it much later on cable.
As I have mentioned here before, I am a fan of the work of Alfred Hitchcock. I got that from my parents, who were fans of Agatha Christie's books as well. If you have been reading this blog for awhile, you almost certainly have noticed that I have written about both Hitchcock's movies and Christie's books here — and I expect to do so again.
My parents loved mysteries, and they appreciated stories that had all kinds of twists and turns, requiring the viewer or the reader to mentally shift gears from time to time. "Deathtrap" had plenty of twists and turns, certainly enough to satisfy fans of Hitchcock and Christie, with a gut–punch ending that, I must confess, I kind of anticipated — but only because of a movie I once watched with my parents (I'll get back to that).
Nearly the entire movie took place in the remote country estate belonging to Michael Caine's character, a once–successful playwright who was enduring a streak of flops, and his wife, played by Dyan Cannon, who suffered from a heart condition. They were doing well financially — a wall in the house that was decorated with weapons from Caine's numerous successful plays testified to that — but Caine's ego longed for another hit.
Caine had received a manuscript by a student (Christopher Reeve) from one of his writing workshops. The student wanted Caine's input. In private, Caine believed the manuscript was flawless, and he decided that he wanted to produce it as his own. He invited the student to come to his home, where they would discuss the play — and Caine would murder the student.
Cannon argued against the plan, but Caine rebuffed every argument — and after the student arrived, Caine did attack him, convincing Cannon to help him remove the body.
She also said nothing when they received an unexpected visitor, a psychic who was staying with some neighbors. The psychic walked around the house, observing that she sensed pain and death in the very places where those things had been happening to Reeve's character and warning Caine that he would be attacked by a man wearing boots.
After the psychic left, Caine and Cannon prepared for bed, and Cannon appeared to be coming to grips with what Caine had done — when Reeve stormed in with a log in his hand and appeared to bludgeon Caine to death. Then he turned his attention to Cannon and chased her around the house — until her weak heart gave out and she collapsed.
Caine appeared in the scene, unharmed although he had a few words of criticism for Reeve's performance with the stage prop log. The murders of Caine and Reeve had been staged to produce this very result as the audience learned when Reeve and Caine shared a kiss.
(I have read that, when "Deathtrap" was showing in theaters and Caine and Reeve were about to kiss, a woman stood up in one theater and exclaimed, "No, Superman, don't do it!" I don't know if that is true or not, but it is a great story, isn't it?)
Reeve moved in with Caine after Cannon's funeral, and they began working on manuscripts at an antique partners' desk. Caine continued to suffer from writer's block, but Reeve pounded out page after page — and mysteriously left his manuscript locked in a drawer whenever he was away.
Caine finally managed to get his hands on Reeve's manuscript and was shocked to learn that Reeve was using the circumstances of Cannon's death for a play titled "Deathtrap" (which, ostensibly, had been the title of the manuscript Reeve originally sent to Caine). Caine confronted Reeve, who insisted the story had great potential and he would continue writing it. He offered to share credit with Caine, who was coming to believe that Reeve was a sociopath, and he agreed to cooperate while secretly planning a resolution to the problem.
The psychic paid another visit a few days later asking for candles in preparation for an anticipated thunderstorm. When she met Reeve, she told Caine that Reeve was the man in boots she had warned him about.
The last part of the movie is best experienced, but suffice to say that just as you think one of the characters is about to go to his reward, the ground shifts beneath your feet, and suddenly the other character has the upper hand.
Their struggle left both men dead — and the psychic was the beneficiary, apparently becoming the successful writer of "Deathtrap," the latest hit on Broadway.
As I say, I anticipated the finish. It reminded me of "The Ladykillers," a movie that was in theaters about 25 years earlier. I watched it with Mom and Dad — ironically, only about a year or two before "Deathtrap" was in theaters.
In "The Ladykillers" a gang of thieves used an old woman as the centerpiece of a robbery plan. In the end, they all killed each other, and the little old lady, who discovered the plan after the robbery had already been carried out, was the only one who benefited from it.
If you see this movie on your TV schedule — or the DVD in the discount bin — don't let the opportunity get away from you.
Labels:
1982,
Christopher Reeve,
Deathtrap,
Dyan Cannon,
Michael Caine,
movie,
thriller
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