Archive for Poseidon Adventure

Bob Hastings: From Christmasland to Character Man

Posted in Child Stars, Hollywood (History), Movies, Radio (Old Time Radio), Television, TV variety with tags , , , , , , , , , , , , , , , , , on April 18, 2017 by travsd

Well, here’s a wonderful surprise: familiar character actor Bob Hastings (1925-2014) had an old school show biz background as a kiddie performer.

First: you recognize him, right? The first place I can be sure I saw him was in The Poseidon Adventure (1972). He has a small but memorable and highly visible part as the master of ceremonies of the New Year’s Party — he’s the guy who leads the count-down to midnight.

But he also played Lt. Carpenter on McHale’s Navy (1962-1966), which I watched in re-runs as a kid.

And he was also Kelsey the bartender, a recurring role, on All in the Family (1971-1976). These were pretty much his peak visibility years. He was also in several films during these years, like Disney’s The Boatniks (1970) and the Don Knotts movies The Love God (1969) and How to Frame a Figg (1971).

So I totally know who that guy is!  But then he turns up in a 1938 Vitaphone musical short called Toyland Casino as 13 year old Bobby Hastings in rustic highland clothes and sings “In the Gloaming”!

Hastings had started out on NBC children’s radio program Coast to Coast on a Bus with such fellow stars as Ann Blyth, Walter Tetley, and Jackie Kelk. After bomber service in World War II, he returned to radio, and perhaps his greatest stardom in the part of Archie in the radio version of Archie comics, which ran from 1945 to 1953.

Publicity still: Hastings as Archie

One of his first recurring tv roles was on Sgt. Bilko, establishing a recurring theme in his career: his characters were frequently in uniform. After the 1980s, most of his acting gigs were voice-overs for animated cartoon series. For example he voiced Batman’s Commissioner Gordon in the 1990s:

Bob Hastings passed away just a couple of years ago! Today is his birthday.

To find out more about vaudeville historyconsult No Applause, Just Throw Money: The Book That Made Vaudeville Famousavailable at Amazon, Barnes and Noble, and wherever nutty books are sold. For more on early  film please see my new book Chain of Fools: Silent Comedy and Its Legacies from Nickelodeons to Youtube, just released by Bear Manor Media, also available from etc etc etc

Roddy McDowell: Cat, Dog, Ape

Posted in Child Stars, Hollywood (History), Movies, The Hall of Hams with tags , , , , , , , on September 17, 2014 by travsd

roddy mcdowall

Today is the birthday of the late Roddy McDowell (1928-1998), one of the few child performers to weather the career doldrums of adolescence and enjoy a successful career in adulthood. A second generation actor, he appeared in some films in his native Britain before the advent of WWII prompted his family to move to the U.S. Fame came early with his roles in How Green Was My Valley (1941), Lassie Come Home (1943) and My Friend Flicka (1943).  During the fallow years he gained stage experience; a notable film role from this time was Malcolm in Orson Welles’ MacBeth (1948). 

McDowell had a unique screen presence: lithe and lean and cat-like, with a voice in such a high register that it was more like a small boy’s than a woman’s. It was kind of like the whine of a dog; a perfect quality when he was later to portray a long series of talking simians. His eyes were large, warm and expressive: they would roll and pop and squint and dance — sort of like a magician’s sleight of hand to draw attention away from his rather homely physiognomy. Somehow, despite his strangeness, he was was very castable, ideal for dressing up large ensembles in costume dramas like Cleopatra (1963) and murder mysteries like Evil Under the Sun (1982). No one could be arch and insinuating and say “tsk, tsk, tsk” like Roddy McDowell.  Those melodramatic chops made him ideal for television guest starring roles; I think of him especially as a murderous photographer in the 1972 Columbo episode “A Short Fuse”.

As it happens McDowell was one of the first actors I ever saw on a movie screen, in The Poseidon Adventure (1972), a formative experience for me.


More rarely he would get a lead role, as he did in another of my favorites the swinging psychedelic George Axelrod romp Lord Love a Duck (1966) where the nearly 40 McDowell plays a guy about half his age.  And then of course the Planet of the Apes franchise (1968-1974), which kept him employed for many years. And on that topic, another post to follow in just a few minutes. Until then, an example of one of the many ways he “dined out” on Apes:

Shelley Winters: From Pin-Up to Poseidon

Posted in Art Models/ Bathing Beauties/ Beauty Queens/ Burlesque Dancers/ Chorines/ Pin-Ups/ Sexpots/ Vamps, Hollywood (History), Jews/ Show Biz, Movies, The Hall of Hams, Women with tags , , on August 18, 2013 by travsd


Today is the birthday of the stupendous, the colossal (quit it!) Shelley Winters (Shirley Schrift, 1920-2006). Her screen career has always held a lot of personal meaning for me, starring as she did in the first movie I ever saw in a cinema The Poseidon Adventure (1972). I’ve long considered it my second favorite film (behind The Wizard of Oz). Winter’s heroic martyrdom in the film hit me hard emotionally at the age of seven, and it still does every time I see the movie.

Unfortunately the role became sort of iconic, and it became the version of Winters that’s remained in everyone’s minds: fat, ugly, old, annoying, complaining. A pity because when she was young and just starting out (it may surprise you to learn) she was flipping GORGEOUS. In fact when she broke into pictures her experience consisted of a handful of acting classes, some small stage roles and modelling work. It was her LOOKS (and her earthy sexiness) that got her cast. Lest ye think I exaggerate:







Is it me, or does she seem to be offering her bosom as a sort of present in this photo? No, it’s not just me. It’s clearly what the photographer is telling her to do, if she didn’t think of that herself

I know the Duchess will forgive me for apparently getting carried away by all this Shelley Winters cheesecake. I’m hoping to erase from your mind what you think you already know about her (while looking at legs).

But there was more to Winters than good looks; she wanted to be a serious actress. After years of playing bit parts (usually as eye candy) she took Shakespeare classes with Charles Laughton and method acting at the Actor’s Studio. Then we begin to get her starring parts, often as a sexy but hapless “other woman” or “otherwise inconvenient woman” who must die for merely existing, as she played in The Great Gatsby (1949), A Place in the Sun (1951), Night of the Hunter (1955) and Lolita (1960). She was to remain beautiful if increasingly zaftig at least through the early 60s, but what made her castable was a quality of vulnerablity that could even be painful to watch. This was a quality she shared with Judy Garland and interestingly Charles Laughton, her teacher. Winters was willing to make herself ugly and embarrassing for a role, to go way out on a limb and this resulted in some truly memorable work. 

Her willingness to be big in every sense of the word meant that by the 1970s she was to star in some other sorts of “classics” (in this she was no different than many another major movie star): horror and other related schlock, and so we cherish her doubly: for her true excellence…and for her…mm…zeal in acting in more…outre vehicles. This phase began with the title role in Roger Corman’s Bloody Mama (1970), in which she played lady bank robber Ma Barker; then continued with What’s the Matter with Helen (1971) by Henry Farrell, author of Whatever Happened to Baby Jane?; then Whoever Slew Auntie Roo? (1972) also directed by Curtis Harrington for AIP. In 1973 she was in The Devil’s Daughter as well as the blaxploitation flick Cleopatra Jones. In 1977, she was in the Jaws rip-off Tentacles, in which at age 57 she played a woman who was clearly meant to be about 20 years younger than herself (whose child gets eaten by a killer octopus.) In 1978 she played the housemother of a satanic sorority in The Initiation of Sarah (1978). In 1979, the disaster movie City on Fire. She was also occasionally still in good stuff. King of the Gypsies (1978) was a terrific film, although Winters didn’t get many lines. In the 90s, she got some excellent valedictory moments in Portrait of a Lady (1996) and as Roseanne’s grandmother on Roseanne, some truly brilliant stunt casting.

Winters was also a famous pistol, an entertaining loose cannon in interviews and in her three tell-all autobiographies. She liked the attention that resulted from saying outrageous things. Here she is in 1996 on the Tom Snyder show:

To learn more about  show businessconsult No Applause, Just Throw Money: The Book That Made Vaudeville Famous, available at Amazon, Barnes and Noble, and wherever nutty books are sold.


And check out my new book: Chain of Fools: Silent Comedy and Its Legacies from Nickelodeons to Youtube, just released by Bear Manor Mediaalso available from etc etc etc


Of Poseidon and the Adventure

Posted in CRITICISM/ REVIEWS, CULTURE & POLITICS, disaster movies, Hollywood (History), Movies (Contemporary) with tags , on April 29, 2012 by travsd

I had a moving experience last night. The Countess and I went to Loews Jersey to see a double bill of A Night to Remember and The Poseidon Adventure. I’ll probably scribble a few notes about the former film here today or tomorrow, but in the meantime, a few remarks about the latter. It has always held a lot of meaning for me, being the first film I ever saw in a cinema (I was 7 when it came out). It turns 40 years old this year — rather a wake-up call. I’ll undoubtedly spill a bunch more on the topic this December when the actual anniversary rolls around, but in the meantime, I thought I’d share an article I wrote for Liberty magazine back in 2006 when the dreadful “remake” Poseidon came out:

* * * * *

Let’s get one thing straight: Poseidon is in not a remake of the 1972 film The Poseidon Adventure. The only thing the two movies have in common is the situation of a luxury liner capsizing, compelling a group of passengers to make a dangerous climb to the upturned hull. If that is all that constitutes a remake, then all westerns are a remake of Gunfight at the OK Corral.

The other thing I must confess is that your reviewer is biased. I am a member of that rabid cult of Poseidon Adventure freaks who watch the film and re-read the novel on an annual basis with the reverence and regularity that some bestow on Christmas (make that New Year’s Eve).

Most of the critics who’ve trashed Wolfgang Petersen’s mislabeled remake have been fairly (or unfairly) dismissive of the original, an unfortunate lapse, because in every area where Poseidon fails, The Poseidon Adventure succeeds. There is no better way to talk about the poverty of contemporary Hollywood filmmaking – or of American culture in general – then to look at how low this ship has sunk in the intervening thirty-four years.

First, while it may be pulp, the film (and the book that inspired it), much like a lot of science fiction or the work of Ayn Rand (here comes the hate mail) is pulp that contains ideas.

That’s the quality that I think inspires such irrational devotion from its followers. A powerful metaphor is at work. A group of ordinary people are thrust into the unknown. Everything they’ve ever known has literally been turned upside-down. They can either stay where they are, cling to the past, and die…or they can make the difficult and painful climb up to life, which “always matters very much”. The terrain of their many layered journey resembles Dante’s Inferno in reverse. Furthermore, they are led by a vaguely Mephistophelean preacher (Gene Hackman) who spouts Christian heresies that most libertarians would recognize as equal parts Walt Whitman, Ayn Rand and Neitzsche. “Don’t pray to God,” he says at one point, “Pray to that part of God within you.” Unlike a Catholic priest (Arthur O’Connell) who elects to remain behind to die with the dead, the wounded and the weak-willed majority, Hackman’s credo is a variation of Poor Richard’s: “The Lord Helps Those Who Help Themselves.” What makes him very American, and what makes the film inspirational, is that Hackman’s preacher (unlike, say, a Rand character) doesn’t just want to save his own neck. He makes it a point of pride – a mania, really – to convince as many people as possible to join him. Then he proceeds to kick their asses, morally, spiritually and physically, in a word inspiring them to save themselves. It is a victory of reason over blind faith and a most generous, humane application of “selfishness.” Hackman’s character is a Christ-like anti-Christ, whose greatest sorrow is the loss of a fat old lady (Shelley Winters) whom he helped transform from a whining lump into the highest type of hero. In retrospect, I’m certain that the philosophy of this Darwinian Preacher character, whispered into my impressionable six-year old ear during a Saturday matinee, was my first step on the journey to libertarianism.

So: the original Poseidon Adventure, an inspirational, emotionally affecting suspense picture. Now let’s look at Poseidon. As we know from Das Boot and A Perfect Storm, Wolfgang Peterson is an expert at photographing sinking tubs and the people who drown in them. Unlike those more successful, earlier outings however, this time Peterson forgot to put any people on the boat. If you made a silent movie about rats trapped in an upside down model sailboat (say, Stuart Little’s) and the rats managed to scramble somehow to the top of the boat, the results would be exactly like Poseidon. It is as though Petersen decided to take the last five minutes of A Perfect Storm and expand it to two hours. It may very well be that Petersen has done his science homework and a capsized ocean liner only has minutes before it goes down. That would be all very well and good in a documentary. But a fiction film needs air pockets if we’re to form any attachment to the characters…and we ought to form attachments to the characters if the film is going to have any meaning…and a film should have meaning, shouldn’t it? Poseidon is a large screen video game, less important to us than the accompanying popcorn. We neither know nor care anything about the little band of anonymous ciphers who inhabit this story beyond their names and occupational and familial titles. They are no more important to us than the hundreds of extras who are ritually drowned, crushed, shattered, burned and electrocuted in this mildly violent ballet of death.

And the little we know, we don’t like. Josh Lucas is a cynical gambler and former Navy SEAL who resembles a catalog model. Kurt Russell is a former Mayor of New Yorkand former New Yorkfireman with a really good tan. Emmy Rossum is his pretty daughter who resembles a fashion model. There’s another 6 or 8 like this but it hardly matters; none of them are members of the human race as you or I know it. The original film was about a group of highly imperfect people, people you might not peg as survivors or team players, summoning the strength and the character to go on. They were played by such sex symbols as Shelly Winters, Jack Albertson, Red Buttons and Ernest Borgnine (Marty, for god’s sake). Along the way, you got to know these vulnerable people, like them, and consequently, root for them. Lately modern Hollywood repeatedly makes the mistake of thinking we want to root for invulnerable people, and I hope to God they’re wrong because the technical name for that philosophy is fascism. The modern hero is a vigilante on steroids dispatching dozens of bad guys with an AK-47 (or in the case of Poseidon it’s Josh Lucas leaping 100 feet through a burning oil slick into the water beneath in order to rig a special rescue device with a fire hose). But in my book, if the hero is superman the stakes are zero. And why on earth is Kurt Russell a former New York Mayor? It is as though the creators, perceiving that they could not write any characters we could like, opted to replace them with symbolic shorthand for concepts with high Q score. It scans more like a football playbook than what you would call a script. But, contrary to popular belief, you need a script. Without one, all sorts of moral questions go unasked. Stay or go? Live or die? Help the hopeless or save myself? At one point in Poseidon, Richard Dreyfus, as a gay millionaire, is forced to shake off a man who is clinging to his legs for dear life over a burning precipice. Once accomplished, this action, which would be traumatic for any person with a conscience, is never referred to in the film again. This is not good. In these treacherous times, the cinema – all culture – has a role to play in helping us process new realities, and in helping us as citizens of a presumably democratic nation to think and decide the questions of the day. Questions with life-and-death implications for all of us. In light of this, the question on everyone’s lips should not be, “Are we ready for Flight 93?” (we undoubtedly are), but “Are we still able to stomach Poseidon?” Me, I was puking over the rail.

On Red Buttons

Posted in Burlesk, Comedy, Hollywood (History), Jews/ Show Biz, Stand Up, Television, TV variety with tags , , , , , , on February 5, 2012 by travsd

Today is the birthday of Red Buttons (born Aaron Chwatt, 1919-2006). Too late for vaudeville, he got his start in the Catskills (where he partnered with Robert Alda), Minsky’s burlesque, and starting in 1941, Broadway shows. From 1952-55, he starred in his own tv variety show, and from there went on to a distinguished Hollywood movie career, winning a best-actor Oscar for his role in Sayonara (1957), and following up with dozens of other memorable parts (I first saw him in 1972’s The Poseidon Adventure, one of my favorite movies.) I’ve also always loved the 1962 Howard Hawks film Hatari! with John Wayne and a whole bunch of rhincerouses in which Buttons plays “Pockets” (I wonder how long it took them to think of that name).  Buttons was also a much beloved figure at Dean Martin Celebrity Roasts in the 70s, with his popular “…Never Got a Dinner” routines. He passed away in 2006.

And now here he is singing a rather terrifiying song from 1953, which sounds very much like it was produced by Mitch Miller. The effect is best if you picture him wearing clown make-up:

To find out more about  the history of vaudevilleconsult No Applause, Just Throw Money: The Book That Made Vaudeville Famous, available at Amazon, Barnes and Noble, and wherever nutty books are sold.


And don’t miss my new book Chain of Fools: Silent Comedy and Its Legacies from Nickelodeons to Youtube, just released by Bear Manor Media, also available from etc etc etc


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