Found this in the ol' memory box. Channel 7, the NBC affliate in Miami, had a children's show called Sunday Funnies with weatherman Wayne Chandler and Toby the Robot (Charlie Folds). I got to read that week's Dennis the Menace comic from The Miami Herald. Got some nice prizes, like a load of Morton frozen pastries and a bunch of Whitman books and puzzles. Good times.
Tommy Steele (left) with Fred MacMurray in Walt Disney’s The Happiest Millionaire (1967).
Tommy Steele, best known in the U.S for Walt Disney’s The Happiest Millionaire and Coppola’s Finian’s Rainbow but legendary in the U.K. for Half a Sixpence on the West End and Broadway, Scrooge and Hans Andersen at the London Palladium, and countless pop and theater triumphs, co-wrote and produced this unusual musical special, Quincy’s Quest, for Thames Television in 1979.
Cleverly keeping the budget manageable with chroma-key effects, minatures, and animation, the special stars a impressive slate of veterans. Steele plays the title character, a defective toy looking for Santa Claus. The production is often a bit surreal and offbeat by conventional standards, with a peppy original score featuring the great Mike Sammes Singers.
The cast includes Roy Kinnear and Aubrey Woods (Willy Wonka and the Chocolate Factory) and Lila Kaye (Frasier, Nicholas Nickelby). There is a Brit’s-eye-view essay about the special here. Yes, it seems quaint by modern standards, but it is worth watching and hearing. Steele is a thousand-watt talent, and he is partnered with excellent support.
Our goal was to sell Disney Parks annual passes duriing the holidays in an entertaining, novel way. So i chose several public domain Christmas songs and re-lyriced them to promote the passes and attractions in all the parks. The versatile Michael Hurley and Patty Poole at Lone Pine Studios (who also bring you the “When You Wish Upon a Star” Super Bowl spots), re-created the beloved sound of The Ray Conniff Singers, complete with that distinctive Columbia Records reverb.
In the frolicsome Conniff style, we added some dialogue (that’s me arriving with a basket of annual passes). We even had the vocalists sing the legal copy, a la Harry Nilsson in Skidoo. Wayne Stuart was our producer, so we whimsically called our cover group The Wayne Stuart Singers. It was a smashing success, running for many years.
Take another look at the TV series pitch below. The world hungers for escapism and just plain fun (remember fun?)
”People shouldn’t be embarrassed just because they get caught acting a little silly.” - Charles M. Schulz
In the early sixties, Jean Vander Pyl, voice of Wilma Flintstone, Rosie the Robot, Winnie Wtich and countless other classic characters, played Grace Dawson in a series of TV commercials for Joy dishwashing liquid. Mr. and Mrs. Dawson lived with their two teenaged daughters in Anytown, U.S.A., where nice, shiny dishes could be accomplished without damaging one’s hands.
Kino Lorber has firmly established itself as a favorite boutique video label, specializing in cult classics, special interest, and especially vintage movies done right. Three vastly different films have been given superb Blu-ray treatment.
Fans of 1970s crime drama and whodunits will remember NBC’s Petrocelli, starring Barry Newman. It started a fictionalized theatrical film called The Lawyer, based on the infamous Shepard murder case. Universal released the film, after delaying it, in 1970, several years before the series. There are several differences including the wonderful Diana Muldaur as his wife. One of the bonus features is a more recent film called Lost Loves starting both as lovers of a certain age. The Lawyer is also a bit more graphic in its violence than Petrocelli the series.
Kino is generous with bonus features. The Lawyer includes an audio commentary that serves as a tribute to director Sidney J. Furie, plus an interview with Newman.
In a sea of overbudgeted sixties musicals, Paint Your Wagon serves as a prime example of Hollywood excess just for the sake of it. The film could have been done just as well at a fraction of the budget, but they had to build a whole town! The film’s flaws have been well-documented, sometimes at the expense of what it has preserved, including some memorable songs — sung by Clint Esstwood and Lee Marvin (his “Wandrin’ Star” was a hit single in the U.K.). Harve Presnell is also on hand to demonstrate classic Broadway-style singing.
The Blu-ray looks spectacular, with a new commentary track with a lot to say about the making of this super-production and its director, Joshua Logan, whose career is musical movies is fascinating, if not always pleasing to aficionados.
The President’s Analyst is one of the films that is dated and prescient at the same time, a mod, mod satire starring James Coburn (who seemed to specialize in quirky role choices at the time) as a psychiatrist assigned to the high-pressure and highly scrutinized job of chief therapist to an unseen president.
The movie is drenched in groovy hippie-ness, with a musical number featuring the great studio vocalist Sally Stevens (I highly recommend her book, I Sang That!). This movie is so densely packed with imagery and layered messaging that it takes two complete commentaries to explain it. Defintitely calls for more than one viewing.
Look for these and many other DVDs and Blu-rays at kinolorber.com or your favorite retailer.
So far, so great! We've watched Peter Potamus, Atom Ant, Top Cat, Jonny Quest, Wacky Races, Yogi's Gang, Smurfs, and Cartoon All-Stars.
Frndly TV is not too expensive (about as much as the Boomerang app). You can watch on "The Big TV" while eating cereal (high-fiber Cocoa Pebbles? I'll buy that!). You can also zip through commercials on the phone app, but NEVER the interstitials. promos or announcements starring Bob! (I WOULD like to buy a vowel or two for Frndly, though. He talked about his career and MeTV Toons on our podcast here.)
Like The Muppet Show, Kukla, Fran & Ollie used to send newsletters to fans. The demand was such that they could not send individual ones anymore, and instead compiled them in book. The book cost one dollar in 1951 but commands much more today.
Fortunately, Burr Tillsrom himself gave a copy to the Hope College and they have it on their website. Download and enjoy!
https://www.jstor.org/stable/pdf/community.28906502.pdf?refreqid=fastly-default%3Ade35c0a5f096007d080576ee2a42b4ed&ab_segments=&origin=&initiator=&acceptTC=1
A galaxy of great guests have graced the “podways” on recent episodes of The Funtastic World of Hanna and Barbera. Disney Legend Floyd Norman just joined us to talk about his remarkable Disney and Hanna-Barbera career; luminous Ruta Lee shared Hollywood star stories as well as the fun moments behind voicing such characters as Hidea Frankenstone; renowned historian Jim Fanning took a deep dive into the fondly remembered Hanna-Barbera special, Alice in Wonderland, or “What’s a Nice Kid Like You Doing in a Place Like This?” and pop music great Ron Dante — the lead singer of The Archies — remembered singing for The Chan Clan.
Please enjoy The Funtastic World of Hanna and Barbera podcast on Apple Music, I [Heart] Radio, Spotify, Amazon, and other favorite streaming services.
“WHERE NO SMURF HAS GONE BEFORE”
Screenwriter SANDY FRIES (Smurfs, Star Trek: The Next Generation, Fame, Spider-Man) talks about working directly with Joe Barbera, Gene Roddenberry, and Patrick Stewart, plus writing for Rankin/Bass shows including ThunderCats. (Ho!)
Sandy is the author of the fascinating, insightful book, Secrets Your Textbook Will Not Tell You: About TV, Movies and Life, available on Amazon.
Warner Bros Discovery library historian George Feltenstein discusses bringing Hanna-Barbera’s TV series, films, and specials to Warner Archive DVD and Blu-ray.
George recalls his lifelong fondness for all things H-B; the many past and current releases in the Warner archive collection; some eagerly awaited shows that have not yet made it to DVD/Blu-ray (and why); warner’s unprecedented success by connecting to the public and responding with releases that people really want; and the new Hanna-Barbera’s Superstar 10 Complete Film Collection of classic character features on Blu-ray.
Podcast now streaming on your favorite services, including here on Apple Music.
This album originally appeared as a four-LP boxed set, containing all the text from L. Frank Baum’s original The Wonderful Wizard of Oz. Marvin Miller (Forbidden Planet, The Millionaire, Sleeping Beauty) narrates and does all the male voices. Jane Webb (Betty, Veronica, Sabrina, Batgirl) plays Dorothy and all the females. It captures great performances by fine artists for all time.
NBC broadcast The Pied Piper of Hamelin in 1957 to positive reviews and high ratings, so much so that it became a regular holiday rerun. Unlike other TV musicals of the era Cinderella with Julie Andrews, Pinocchio with Mickey Rooney, The Stingiest Man in Town with Basil Rathbone, or Hansel and Gretel with Red Buttons, this musical was not done live and thus only saved as black-and-white kinescopes.
Starring Van Johnson, Claude Rains, and Kay Starr, The Pied Piper was filmed in Technicolor, so it could also be released theatrically. Unfortunately, it fell into public domain and cheap copies have been sold on video for decades. It has not been fully restored, but it still looks quite good in recent YouTube posts like the one below.
The cast album, minus Rains and Starr, was released on RCA Victor and is streaming on Spotify and others. Songs were adapted from Grieg’s familiar Peer Gynt Suite.
Don’t expect movie-quality grandeur, as this was made for the small-screen world of television in its early days, but it compares well to Abbott and Costello’s Jack and the Beanstalk and other modest musical fantasy films.
Decades before Nightmare Before Christmas, the first feature-length stop motion feature was produced in New York. Here's the story:
https://cartoonresearch.com/index.php/the-first-u-s-stop-motion-feature-on-screen-records/
Listen for Janet Waldo (Judy Jetson), Alan Reed (Fred Flintstone), and Vic Perrin (Doctor Zin) in this 1974 Japanese version of Johanna Spyri’s classic “Heidi” that was released in the U.S. in 1979. It’s called The Story of Heidi here, but it is also known as Heidi in the Mountains.
It would be only a few years before Janet Waldo would voice Tenette in H-B’s 1982 feature, Heidi’s Song, with a soundtrack story album narrated by Vic Perrin.
Not only is Mickey and Minnie’s Runaway Railway (new at Disneyland and a favorite at Disney’;s Hollywood Studios) a lot of fun in the traditional Disney manner, filled with whimsy, humor and devoid of pretense, but it pays tribute to Walt Disney Records! It even has a catchy original song that is available now, but hopefully will end up on a park compilation album,
The queue line (which makes going on the ride over and over no problem at all because a line gives me time to savor the details) is one of the most entertaining, tracing Mickey and Minnie’s career. I guess Mickey Mouse Clubhouse is supposed to represent all of Mickey’s TV club, but the only reference to the original MMC is a sticker on the box office outside.
Anyway, fans of Disneyland/Vista Records must see the elaborate display saluting Mickey Mouse Disco and Mousercise. It’s a major part of Mickey (and Disney) history as Mickey Mouse Disco was the first Disney and children’s album to go triple platinum in sales and was a true phenomenon. Long overdue! Of course, you can read the detailed history of both albums (and the Mickey Mouse Club) in this handy, authorized book.
The posters in the lobby, parodies of popular Disney movies, are great too because they blend Disney entertainment offerings as a whole, spanning the years and the impressive body of work that so many still enjoy today. The ride is great, but so is the line!
There are plenty of theories being discussed bout the underperformance of the new West Side Story in theaters. Few have pointed to the music as the problem, except for those based on ignorance of the score and the whole reason for the musical to begin with—unless those critiques themselves were designed as click bait and willfully engineered. More about social media specialists in a moment.
There are two more very glaring reasons: savvy accessibility of the original 1961 film from Warner and the continuing poor effectiveness of negative marketing. The answer: connection and partnership rather than isolation and critique. There is too much of that already, why attach more of it to a prospective ticket purchase of the public?
I don't think musicals are the problem, it's just the right film at the right time. They had to know going in that a remake of an eleven-Oscar winner was a tough sell so the Spielberg name alone was the "star" that might have been the draw.
Hollywood is not out of ideas, it doesn't want to hear them. Spreadsheets sell movies, TV shows and most every creative concept because of the high risks. Movie companies are all conglomerates and answer to shares. The fact is that 1961's West Side Story, like most movies that are remade, was a perennial hit in theatrical reissues as well as numerous home video releases. The soundtrack album was number one for many weeks. That was part of the challenge of selling a new one, but the irresistible urge to make a new one.
Then comes marketing. How do you convince people to see a new version of an acclaimed movie? Just like toothpaste and laundry detergent. New and improved.
Do you really think all the social media pointing out the flaws of a movie came only from concerned citizens? One of the most common jobs on the market today is social media marketing specialist. The flaws of the 1961 film were researched and became selling points, then they were peppered into threads and discussions. That is how it's done now without the mass media of yesterday.
The flaws of the earlier film are valid, for sure, but at the time the film was cutting edge and explosive in its treatment of the hot buttons of juvenile delinquency, racial and sexual issues, especially in a mainstream Technicolor musical. This was the same year that Flower Drum Song and Babes in Toyland were released.
That's why the dancing, singing and now-dated aspects of the 1961 version can be understood because it was 1961. No matter how it was "fixed" for today, it does not have the impact it did then. But spreadsheets cannot understand that.
There's one other major fact that hurt the new film: Warner was aggressive in making their original version as accessible as possible. In marketing, it's called "piggybacking." You let the other people spend the advertising money and your ancillary product sells too as a result. The 1961 West Side Story has never been easier to see than in 2021. Guess why? Most people saw it for the first time or saw it again. They either decided it could not be topped, wanted to wait for streaming, or didn't care.
Studios and corporations, if they must do remakes, should now find ways to connect rather than disparage the originals to sell reboots and re-imaginings or they are going to lose money because it's proving to be an ineffective strategy. It immediately puts a large segment on the defensive, which is the worst thing in advertising and throws away the opportunities to leverage the good points of the original. This negative based thinking is not working.
As for the forthcoming big-screen version of Wicked, I wish it well, it was a great show. But they waited so long, there have been too many imitative movies since with sympathetic villains.
Maybe the next attempts at remakes, reboots and reimaginings will take a more positive approach, like Jon Favreau did with his version of Wat Disney’s The Jungle Book. Rather than disparage or nitpick the original or those who love it, he said his was intended to “stand alongside” the classic. Know your audience—even better, know your audiences.
When I was a kid, I could not figure out the ending of Alfred Hitchcock’s The Birds, but I still thought it was a cool movie. I couldn’t figure out anything about what was going on in the movie at all.
Throughout the film, characters try to puzzle out why this is happening. Over the decades there have been many theories. The fact that nothing was spelled out and made easy may have been the whole beguiling point.
There was never a reason, and the movie really does not conclusively make it seem that all will ever be well. In the original novella, the birds continue their aggression and its more clear that they are not finished destroying, but the movie leaves it more open and is much more disturbing that way.
That is what separates Hitchcock’s The Birds from the same subject matter in the hands of another filmmaker, say the amusingly outlandish William Castle. The Birds is a true classic, continuously watched and discussed all these years later.
FUN FACT: Dal McKennon, who played the diner cook, was the voice of TV Gumby and Archie. He can be heard as Ben Franklin at The American Adventure in Epcot.
Hitchcock very well may have been drawn to the story's vague nature for that reason. There is a tendency for a lot of filmmakers and studios to overthink and overrule anything that requires too much audience introspection or imagination that is not provided by the film itself (“But what if ‘they’ don’t get it?’”).
One recent example is the fairly recent Paddington reboot, a very cute but literal. adaptation In the books, he can speak and no one questions it. That is part of the marvelous fantasy and charm. In the movie, there had to be a convoluted explanation created outside the book to explain away his ability to talk. It felt forced, as if it was added to prevent the slightest amount of confusion, yet a small child would simply say, "He can, just because."
It's often said that young audiences demand more “interaction,” but the term is overused, misinterpreted and administered in the form of gadgetry and gimmickry, which has never proven to last. When entertainment engages imagination, THAT is interaction.
Just discovered this and don’t know much about it except that it’s true concert-style orchestral music and I have not heard these arrangements before. Prague is where an enormous amount of production music is recorded for film, TV and theme parks, so these may very well be the same musicians you have heard hundreds of times. It does not sound cheap.
There are fresh suites of extensive songs and background themes that include:
Alice in Wonderland (1951); Peter Pan (1953) with Return to Neverland (2002); 101 Dalmatians (1961); The Aristocats (1970); Beauty and the Beast (1991), The Jungle Book (1967); The Little Mermaid (1989); Aladdin (1992) and The Return of Jafar (1994); Atlantis: The Lost Empire (2001); The Lion King (1994); Tom and Jerry (based on the Scott Bradley/Hanna/Barbera scores); a Cartoon Medley and dozens of famous themes from Chariots of Fire and Forrest Gump to Singin’ in the Rain and The Godfather.
It’s called 73 Greatest Themes for Symphony Orchestra.
Barbara Eden starred in another show before Jeannie called How to Marry a Millionaire, a syndicated sitcom based on the Lauren Bacall/Betty Grable movie. In this episode, she turns out to be an expert on the comics and tests her knowledge on one of those $64.000 Answer type game shows. Lori Nelson and Merry Anders were billed above Ms. Eden in the series, which ran two seasons, but even here you can see the superb comedy skills that would later make her legendary on I Dream of Jeannie.