Wednesday, December 15, 2010

TONIGHT: 4 DECADES OF THE TONIGHT SHOW (Carson 1969-1992) R2 Entertainment

In 1962, brought on by contractual disputes and several ill timed emotional outbursts from its then host Jack Paar, NBC made the auspicious decision to recast its live New York late night variety hour with failed talk show, but moderately successful game show, host Johnny Carson. Late night TV would never be the same. Assuming the reigns in October of that year, the revamped Tonight Show hit the ground running - with a new theme supplied by Paul Anka and buoyantly orchestrated by Doc Severinsen, as well as Ed McMahon's trademark "Heeeeeeer's Johnny!"

The Tonight Show's format, though simple, proved effective with Carson often making weak, and even bad, jokes seem like the height of chic good taste during his opening monologues before swinging a phantom golf club to kick off a round of interviews and performing acts.

To say that Carson elevated camp to high art would be an understatement. Over the next two decades he introduced television audiences to such beloved chestnuts as cantankerous busybody Aunt Blabby, turban wearing clairvoyant Carnac the Magnificent, and, loveable ham Art Fern. And, of course, there was Carson's superb multiple cameos as President Ronald Reagan throughout the 1980s.

However, there was also a streak of meanness about the Carson mystique, particularly during the 1970s when on camera barbs swapped with Ed McMahon frequently turned sullen about their mutual drinking, carousing and multiple lady friends and wives. During Sept. 26th, 1974's broadcast featuring Dom DeLuise, Burt Reynolds and Art Carney, Carson used DeLuise's simple magic act involving real eggs to start a raucous food fight, rubbing whipped cream on Reynolds leather pants. It all seems to have been in great good fun, but in hindsight some genuine bitterness shines through.

Carson had his share of legitimate feuds; some played for spectacle on The Tonight Show, others leaked in private. Frequent jokes made by Carson about Wayne Newton's alleged homosexuality resulted in a near physical altercation between the two backstage. An ongoing love/hate relationship between Carson and comedian Don Rickles resulted in Carson unexpectedly dunking a fully clothed Rickles in a tub of water during one of his skits; a bit of improv that did not amuse the bedraggled Rickles.

Finally, there was the instance when Carson embarrassed comedian David Letterman by having his beat up pickup truck towed from his Malibu property. The incident was later ironed out in a follow up episode where Judge Wopner mediated the return of the vehicle to Letterman.

In hindsight The Tonight Show's ultimate strength and staying power lay in its ever-evolving roster of guests; a blisteringly eclectic myriad of Hollywood legends, up and comers, sports stars, politicians and beloved animal acts whose interactions, both with Carson and other featured guests on the same episode, made for compelling conversations around the water cooler the next day.

Originally, The Tonight Show began at 11:15pm and ran for 90 minutes. But by 1972, that had been pared down to the more manageable hour format with Carson offering Monday to 'guest' hosts. Among these, comedian Joan Rivers became the most 'permanent' fixture until she was offered her own show in 1986, causing a permanent rift between Rivers and the king of late night.

On May 22, 1992 Johnny Carson retired from The Tonight Show after a week's worth of farewell episodes culminating with long time friends Robin Williams and Bette Midler providing a stellar close to his guest roster, and a solitary 'goodbye' episode that simply featured Carson with Ed and Doc schmoozing about their collective tenure.

"And so it has come to this," an emotional Carson concluded, "...I have enjoyed every single minute of it...I can only tell you that it has been an honour and a privilege to come into your homes all these years and entertain you, and I hope when I find something that I want to do, and I think you would like, and come back, that you'll be as gracious in inviting me into your home as you have been. I bid you a very heartfelt goodnight."

Johnny Carson may be the undisputed 'king of late night' but you would never guess it judging by the utterly miserable slap dash treatment he has received from R2 Entertainment - the company that currently controls the rights to The Tonight Show. Tonight: 4 Decades of The Tonight Show starring Johnny Carson is the company's latest venture in a series of misfires.

This latest instalment to the Carson legacy is, frankly, an embarrassment! Fans continue to get spliced together episodes rather than complete broadcasts - heavy-handedly Ginsu-ed by someone who clearly does not understand the basic concepts of editing.

These reconstituted snippets vaguely resemble something of the complete episodes as they originally aired. However, many of the clips included in this box set simply fade to black, often in the middle of an interview. Consider December 17th, 1985's episode featuring Bette Midler that also promises a Christmas medley from Doc and the orchestra, who have been ostensibly preparing it over the last 20 years. After Midler offers a sumptuous musical rendering of the Johnny Mercer classic, Skylark the rest of her interview simply fades to black before we move on to the next episode featuring Billy Crystal and Buddy Rich.

As an ardent fan of Carson and his guests, this critic also cannot say that I'm a fan of the omission of such Tonight Show main staples as comedian Buddy Hackett, Bette Davis, Richard Pryor and James Stewart from this box set, particularly since their absence has been filled by some truly forgettable interviews from Bob Uecker, Doris Day, Burt Mustin and Maude Tull.

Worse than the omissions is the fact that these current discs have been mastered with a severely distracting digitized moire and strobe pattern. This imperfection in the video quality is not a part of the original broadcast quality, and brief clips on line from this box set do not contain such distractions which suggests that in the stamping of these discs a compression/authoring error has occurred.

Little, if any, attempt has been made on the part of R2 Entertainment to stabilize colour and contrast to acceptable levels. Color bleeding is prevalent throughout - occasionally excessive and distracting. The results of all this disregard for the Carson legacy is an image so heavily digitized and visually unstable that it makes many of the episodes unwatchable.

The audio is predictably strident during the earlier episodes and more 'refined' - if that word can be used - during the later 1980s and 90s episodes. This set also comes with over an hour of footage 'rescued' from the Tonight Show's 1960s tenure - slapped together in haphazard succession and with even less attention paid to preserving the integrity of the image quality than on the rest of the episodes featured in this box set.

We also get brief recollections from Loni Anderson, Baxter Black, David Brenner and Jim Fowler - gushing over their respect for Johnny Carson. Despite being advertised as containing all new content, there is some overlap in this box from the previously released 'Here's Johnny' box set.

What a shame and sham! The advice from this long time Carson fan is regrettably, "DO NOT BUY THIS SET! IT IS A WASTE OF MONEY! FILM RATING (out of 5 - 5 being the best)

3.5

VIDEO/AUDIO

1

EXTRAS

1

Wednesday, December 8, 2010

THE SHOP AROUND THE CORNER (MGM 1940) Warner Home Video

Ernest Lubitsch’s effervescent romantic comedy, The Shop Around the Corner (1940) is an enduring masterwork of subtle surface politeness under which lusty home fires rage. Based on Miklos Laszlo's 1937 Hungarian play, Parfumerie, the tale as re-scripted by Samson Raphaelson begins in turn of the century Budapest and Matuschek's Gift Shop; the center of the universe – at least for its select group of loyal employees.

These include the owner Hugo Matuschek (Frank Morgan), his devoted right hand, Alfred Kralik (James Stewart), slippery sales and lady’s man, Ferencz Vadas (Joseph Schildkraut) and wistful Pirovitch (Felix Bressart).

Hugo is a benevolent boss, though not above his own fits of impatience and flustered blustering. Alfred’s advancement at the shop is hindered with the arrival of Klara Novak (Margaret Sullivan) – a headstrong creature who bullies her way into a position at the store. Before long she and Alfred are bumping heads on practically every modest issue that concerns the shop's daily operations.

A further crimp to Alfred’s ambitions surfaces when Hugo suspects him of having an affair with his wife – a subplot that proves erroneous but temporarily gets Al’ fired. Yet, the greatest bit of irony springs forth from Al and Klara’s tempestuous relationship. You see, the two have been corresponding through letters on a blind date that seems kismet for marriage – that is, until Al discovers the truth and thereafter does everything he can to goad Klara into liking him.

Director Lubtisch’s uncanny knack for transforming such contrite drivel into the epitome of chic good taste is working overtime here – performing a clever cakewalk between all these nimble narrative threads that seamlessly draw the whole story to its ‘lighter than air’ satisfactory conclusion. What is most remarkable about the film today is how much of its elusive charm remains intact and palpable to contemporary tastes.

Stewart and Sullivan share genuine on screen chemistry of the highest order; selling their artistic wares alongside the shop's holiday gifts and making the entire enterprise one of sweetness and light, though never dribbling saccharine. Frank Morgan is a befuddled delight - just the sort of nonsensical boss with a heart of gold that one might wish for.

Hollywood never lets a good idea go, however, and in 1949 this film was remade to disastrous effect as an utterly charm free musical starring Judy Garland and Van Johnson; In the Good Old Summertime. In 1998 director Nora Ephron tried to duplicate the escapist magic of the original with You’ve Got Mail - pitting a rivalry between Meg Ryan and Tom Hanks as two competitive book sellers in New York City. Again, it didn’t work.

Which brings this reviewer to a long overdue assumption about classic movies: that their inimitable brand of style, romance and beauty are elegant trappings from some forgotten past in American cinema best resurrected by perennial viewings of the original films rather than abysmally second rate remakes that have neither the grace nor the guts to leave well enough alone!

Warner Home Video’s DVD is, in a word, marvellous. The benefactor of a meticulous digital restoration, the film looks years younger than it ought, with a refined B&W image, exemplary contrasted gray scale and very smooth image quality throughout. Occasionally, edge enhancement creeps into this otherwise reference quality disc that shows zero signs of age related artefacts. The audio is mono but very nicely restored and presented at an adequate listening level. Extras are limited to a theatrical trailer. Note – the DVD jacket advertises trailers for the two subsequent remakes but these are not included on the disc.

FILM RATING (out of 5 - 5 being the best)

5

VIDEO/AUDIO

4

EXTRAS

0

Tuesday, December 7, 2010

GOING MY WAY (Paramount 1944) Universal Home Video

Going My Way (1944) is director Leo McCarey’s overly sentimental melodrama with music a la Bing Crosby (who won an Oscar) as Father O’Malley; a remarkably worldly Catholic priest whose fields of knowledge extend into the worlds of pop entertainment, baseball and high opera. O'Malley has been assigned by the Dioceses as an assistant to Father Timothy O'Dowd (the irrepressible Frank McHugh) to slowly easy an aged Father Fitzgibbon (Barry Fitzgerald) from his parochial duties. However, owing to Fitzgibbon’s feisty refusal to retire, he has been kept unaware that his days as a practicing man of the cloth are numbered.

The narrative meanders through a series of vignettes that are quaint and unassuming. There is the awkward circumstance by which Father Fitzgibbon comes in possession of a stolen turkey; Father O’Malley’s reunion with old time college buddy, Father Timothy; O’Malley’s involvement in moulding the singing career of a young teen, Carol James (Jean Heather); and his coaching of the boys choir to help raise money for St. Dominic's ailing repair fund.

In this latter endeavour, Father O’Malley is greatly aided by another old friend, Genevieve Linden (operatic sensation, Rise Stevens) who suggests a benefit concert at New York's Metropolitan Opera to raise money for St. Dominic's badly needed repairs. But it all seems for not when Fathers O’Malley and Fitzgibbons return from the concert to discover that their beloved cathedral has been destroyed by a terrible fire. In the final moments of the story, Father O'Malley manages to reunite Fitzgibbon's with his ancient mother whom he has brought over from Ireland.

The screenplay by Frank Butler and Frank Cavett is frequently interrupted by Crosby running through a standard swath of pop songs – the best still the deservedly Oscar-winning ‘Swingin’ on a Star’ that O'Malley performs with the aid of a boy's choir. Going My Way was released at the height of WWII and it is perhaps saying much of the general public sentiment at that time that it was the highest grossing film of the year. Unfortunately, in retrospect the story has no real staying power; wallowing in its own sentiment often to excess rather than allowing the audience to find meaning within the vignettes and thereafter bask in the afterglow of a good – if maudlin and restrained – tear jerker.

The curmudgeonly camaraderie between Crosby and Fitzgerald is quite palpable and engaging. But the rest of the cast overplay their hands. McHugh, in particular, is gregarious to distraction. Stevens is mere – if stunning – window-dressing for several operatic sequences that bring the already methodical pacing of the film to a screeching halt. In the final analysis, Going My Way is not nearly as poignant or effective as its sequel – The Bells of St. Mary's.

Universal Home Video's reissued DVD has rectified the absolute horrid transfer offered on its previous two movie/one disc offering from 1999 (the other film included then was Holiday Inn 1942).Where the aforementioned was riddled in edge enhancement, excessive shimmering of fine detail and a ton of pixelization, this new single layered disc is virtually free of all these distractions. However, the B&W image is far from smooth.

Persistent film grain that registers as more harsh digital grit is quite heavy at times. Age related artefacts are present throughout. The gray scale has been nicely balance with deep solid blacks and, on the whole, generally clean whites. The audio is mono and also adequately represented.

The only extra is a brief introduction to the film by TCM host, Robert Osbourne and the film's theatrical trailer. In keeping with previously issued classic titles – Universal does not provide a separate menu for chapter stops, though advancing at ten minute intervals through the disc by simply pressing the arrow key on one's remote allows for invisible chapter access.

FILM RATING (out of 5 - 5 being the best)

3

VIDEO/AUDIO

3.5

EXTRAS

1