Father Malone's Weekly Roundup - Heartbeeps, A Bucket of Blood, Get Crazy

Weird. We welcome back midnight viewers follow Alone's weekly round up. I'm father Alone and I am joined as always by that incredible edable egg of a co host, Miss Ripley Jeane. It has been called lately, we should not be out for a walk right now? That's all you want to do, but there's no time.

Listen, I mean. It, really listen. Oh my god. If Nada is dropping by the studio, that can mean only one thing. It's a themed episode.

And what a theme and what self promotion? That's right? This whole edition of the Roundup, I'm calling the park your carcass with Alan Arkish. Who's Alan Arkish? Damn your eyes?

That's a pug joke and a young Frankenstein reference. Now. Alan Arkish is a prolific producer and archivist and professor at the AFI. He worked at the Fillmore East when the Band's on the regular. There were The Grateful Dead and The Who and the Doors.

He worked alongside Joe Dante at Roger Corman's New World Pictures during what I consider the Corman hey Day of the nineteen seventies. Oh Andy makes movies. We're taking a look at two of his films, that I consider my favorites, and another film that mister Arkish considers one of his favorites that was confusing. We're taking a look at two Alan Arkis films that I love and one Roger Corman movie that Alan loves. Got It, And it's all in service with an episode of Anthology's Attack We've got later this week.

We're newly minted guest co host Alan Arcis sat down with me to talk a quintete of horror anthologies. It's a really fun conversation, and Allan is obviously a hero of mine, so check that out when it drops. But this is a primmer, A primer, optimist primmer doesn't sound right, does it? Hey? Oh, let's go remember Blade Runner twenty forty nine.

I think most people somehow remember it more fondly than the original of these days, which is gross. Funny story about Blade Runner twenty forty nine. I saw Blade Runner the Ridley Scott, David Webb, Peoples, Hampton fansher masterpiece in the theater. It was a pretty formative memory, so you can imagine I was pretty damned excited to see the sequel. And on opening day I went with a friend and we each took a couple of gummies edibles, and then he freaked out so hard that I had to shepherd him, and we missed the entire movie, well, not the entire movie, not all of it.

He disappeared before the trailers were over. But I got as far as Ryan Goslin getting back to his apartment before I thought, Okay, he's been gone a while. I gotta go check on him. Not an auspicious first film experience, but that scene, come to find out, was my favorite in the film. The concept of love between a remplicant and a hologram, that's fucking dizzying, so sweet and unexpected.

I guess I was predisposed to enjoy it because even before the original Blade Runner was released, there was an entire film dedicated to that subject. It's right there in the title from nineteen eighty one, this is Heart Beats, And now, direct from his worldwide tour, we proudly present the one at Own lettered Catskills. Good evening, ladies and germs. It's great to be here, of course, at my age, it's great to be anywhere. Seriously, folks, I'm here to tell you about this new movie.

It's called Heart beams and it's about me and my POWs. His vow come turn your head around. I don't want to say he's him with it, but he makes an electric toothbrush look like a junior look the fire like question to serve as companion and La being programmed to charm was probably an extra expense. This is exact, will come. She was popular Mechanics Playmate of the month, but June nineteen ninety four to a low of those components where we want.

Thank you. And then there's philco. He's a great kid, but he had no sense of humor until he met me. I have been this happy since the time I've bought a FET's gum My. Wife said, why do you expect to keep it?

I said, under our bed? She said what about this? And I said, you'll have to get used to it, just. Like I did. Now.

The problem is we're all being chased by this overgrown squad car named Crimebuster. Don't get excited. Don't get excited, remain stationary for a computer check well waiting. You may enjoy a brief musical literature. He's a cross between doth Vader and a Sherman tank.

I write a party crashis but this is ridiculous. But believe me, folks, this movie's got a lot going for it. There's action, adventure, romance, raccoon demon people, they kid behave yourself. Oh yeah, and I'm in the movie too. But seriously, folks, don't forget to see Universal's new movie Heartbeats, and it's coming for you know whence And speaking of Christmas, and.

He cost me Bernadette Peters in Heart Beeaters coming this Christmas. It's holiday entertainment for everyone. So ours says, I don't care who you're off by, so set those range off my roof. I saw this in the theater too, I was eight, which means it should have been my favorite film of all time. Yours too.

Here's what we got. Andy Kaufman, who he's white hot from his role as lot Ga Gravis on Taxi which for more information on that, check out Night Mister Walter is a taxi podcast hosted by Weekly round Up composer HP. How much self promotion? All of it? Anyway?

Andy Kaufman, Bernadette Peters, Christopher Guest, Kenneth McMillan, the one true Baron Harkonen Harkinen fuck off Randy Quaid, and it's from an uncredited writer on Close Encounters of the Third Kind, John Hill. The DP is from the Onion Field Charles Roscher. Visual effects by Albert Whitlock. He'd be busy around the same time with his work on John Carpenter's The Thing. The makeup effects are all done by the legendary Stan Winston.

It's edited by Tina Hirsch check out her work on More American Graffiti and Gremlins. Wildly impressive and an unusually electronic score by John Williams. All directed by Alan Arkish, and it's a story of obsolete robots who break out of their storage facility in an effort to find a new life for themselves, basically Spielberg's Ai without the heavy sci fi spiritualism. Again, how is this not the greatest of all time? Because it's not.

It is a film at war with itself. Everything I just mentioned seems to lend itself to a thoughtful Ray Bradbury like tale of whimsy and artificial love, and the movie is lensed that way, sweet and sentimental. But it's a big studio movie, so it's gonna have explosions and chase scenes and comic relief, which feels like a real big afterthought, though the Mighty ron Gans lends his voice to their chief antagonist, a rolling killing machine known as Crimebuster, and he's really funny. I think the studio wanted wacky in the wake of Animal House and Airplane, and to be fair, they probably expected it from the director of Rock and Roll High School. But what a disconnect on their part, just a fundamental misreading of the material, because a built in joke that really works here is the slow assessment of a party that's been destroyed by the crime Buster in his pursuit of the fleeing robots by the party's haggard hosts, who are played by Paul Martel and Mary Warrenoff, all the while they're being attended to by these spectacularly designed domestic robots.

This is situational comedy, not pratfall nonsense, but apparently that's what they wanted after the fact. Having said that, it's really worth a look if you get to it. I think the romance between Kaufman and Peters is really sweet, and when the robots are out of the forest, which takes up way too much of the film, I don't know if they were going for some sort of silent running comment on the disconnect between man and nature. But it's when they get to the junkyard and meet Melanie Meyron and Christopher Guest that the movie comes alive. In fact, any scenes in an urban setting work really well.

Plus, it's got an actual robot in it that's voiced electronically by Jerry Garcia. And it's got a catskill comedian robot with jokes literally from Henny Youngman. Oh, and it has Roger Corman, the lucky charm mister Dick Miller in it. Dick Miller, it's not a coincidence. Hit at hp JAS and number one and things Abraham Lincoln would say if he were alive today.

Egad, iron Bird, You've got the perfect pick this week, Ripley. Is it a coincidence that it coincides with mister Arkish's Yes, it's just a coincidence. Go back to sleep. Now. When we spoke about the filmography of mister Roger Corman, untill now, my favorite Corman film is Mask of the Red Death.

His response, bettered mind, it's a better movie from nineteen fifty nine. This is a bucket of blood. The artist, the poet, the figure model who loves to show it. Do you suppose he could be physically attracted her? No, man, he ain't the type.

You don't get enough vitamin E. All these are beat All these you'll meet in a bucket of blood. Let us make the sea crazy. Enjoy yourself where the hilarious, enjoy the horrifying in a bucket of blood. Now you're gonna shoot me, don't show Come to the land of living dreams were realists, dream of the unreal.

What you've done something to me, something deep down inside of my prana. Oh, I want to be with you. You're creative beat nicks at their bodiest, the creative urge at its most primitive. I'm deeply moved, and I shall compose a poem. Love is art, Art is love.

It's the weirdest. I'm the wildest. I don't want to make statues anymore. I want to get married to you. This one does star the afore mentioned Dick Miller.

You know him as mister Futterman from Gremlins and Gremlins two. He's the guy in the gun shop and the first terminator. Here in a Bucket of Blood, he plays Walter Paisley for the first time. No, there are no sequels, but he would play Walter Paisley a total of seven times. Nope, not the same character at all.

See Dick Miller wasn't just Roger Corman's good luck charm. He was also the totem of all Corman film school graduates, and they tended to stick him into their films anyway they could, and they usually did it under the Walter Paisley moniker. Well, if you've seen a bucket of blood, you know why dig it? Like if Edgar Allan Poe, Prince of the Poison Pen, had been laying down his grooves during the beat period of the nineteen fifties, like wow, like that would be a tail daddy. Oh, so try and be cool, not such a As much as I want to do this whole thing as a beat, nick, it'll end up coming out like slam poetry.

Walter Paisley sculptor man no plan. Walter wants desperately to be part of the scene, so he tries sculpting the object of his desire in a Boston ends up killing a cat. My producer, Foxy Brown, everybody, I don't condone it, Foxy, I don't condone it. So we've got beatnick culture, we've got the transitory and fickle world of art. We've got obsession in murder.

That's right, Things only escalate. Corman apparently didn't want to do this movie. It was an offer of a measly fifty thousand dollars budget in a five day shooting schedule from American International Pictures. It was Charles B. Griffith, screenwriter and kind of a beatnik himself, who convinced him that with such a budget, it was a guaranteed earner no matter what they made, and because of that they ought to do a comedy genre.

Corman was uncomfortable with. Griffith is an interesting cat. Raised by a mother who was a star on the radio. Griffith picked up the habit of radio writers in producing sparkling dialogue at an incredible clip taken a few weeks where other writers toiled for months. Granted, he's not putting out his girl Friday, but by comparison and in consideration, his scripts are fucking great.

This is probably his best solo effort, but his work on Deathrays two thousand or Barbarella can't be overestimated. Not to mention a little shop of Horrors or Not of This Earth, and he wrote and directed the motherfucking classic Eat My Dust of all of his dialogue with the beat Nicks, and especial mention to Julian Burton, who plays the bearded poet Laureate of the Yellow Door. His blowhard routine is a gas man. The movie is a gem and a testament to what can be done with little to no resources and a whole lot of ingenuity, and the perfect example of why you always ought to do the thing you fear. Corman didn't want to risk his neck with comedy because he thought he couldn't make it successful.

Once that worry was stripped away, he made one of his best films. I think there's a pretty good lesson in there for all of us. Your Maudlin, I just chose a flick about murder. Fine, you and Alan Arcis chosen A bucket of blood can be found everywhere for free. Right now, watch it.

It's fun. Now it's time for my pick. Oh man, If you know me personally, you're probably sick of hearing about this one. But I will never stop crowing about this movie that you couldn't see for four fucking decades, And now you can These are troubled times we're living in friend but they get a little bit sweeter if you get yourself get crazy. Now you can get everything you ever wanted in a movie.

In one movie. You can get high, get low, get flipped, get a glow, get hig. Get bizarre, got a flame, get a car, get out, get in, get religion, gets sin, get caressed. Get unrest, get my lesson, get arrested evening. But most of all, get crazy.

Get it while it's hot, get it if you're not, come and get it dad crazy. What Animal House did to college cat airplay didn't? A flying get Crazy does to rock it all? Get crazy coming zoon to a. Theater near you.

Wow, that's the worst fucking trailer in history. Less effective than the ad campaign for the Monkeys movie Head, where they just showed a guy's head for thirty seconds and then the word head was superimposed over his ugly noggin. At least that might have intrigued you, might have gotten you to say, what is this head they speak of? Where can I get head? You're a filthy hound.

What the hed for the Monkey movie here didn't elicit was a sense that maybe I should not see that. But that's part of the crazy history of Get Crazy. Licking his wounds. After the studio demical that was the aforementioned Heart Beats, Arcus turned his attention to his own history. As part of the lighting crew of the Fillmore East, he figured he could make a comedy about the colorful characters and insane situations and personalities involved with putting on a rock show.

This one to be said at midnight New Year's Eve. Great gets the financing together, gets the script. The film follows Neil, an arkish proxy in more ways than one, when it's portrayed by young Daniel Stern, the stage manager of the Saturn Theater, a club that's been the epicenter of the changing face of popular music since the nineteen sixties. It's nineteen eighty two, by the way, going on eighty three, and every act that started out there is now famous, and they all want to do the show. So it's a circus, and there's a greedy promoter looking to take the venue down, and there's a former stage manager who wants her jomp back, and its complications, and it's very very funny, and the music, considering it's Alan Arkish, is of course superb.

The title track is My Sparks, your favorite Band's favorite band. It's super pregnant. Watch it, Smile, We. Ride, and it has lou Reid not just singing but performing. Every one of the acts that are returning for the concert have a real world analog.

King Blues is, Muddy Waters, et cetera. Lou Reid is standing in for Bob Dylan, and he's just the right amount of total disassociation to pull it off. Incidentally, lou Reid initially hated this film and curse Darkish's name until he saw it, which led Alan Arkis to be the only filmmaker who could license lou reed songs. No matter the project, I love lou Reid. All of the Corman regulars make an appearance.

Yes we get Dick Miller, Yes, Paul Bartel, Mary Warrenoff. It's got Ed Begley in one of his earliest and one of my favorite performances as Colin Beverly. Okay, this building is coming down and eighty eight stories of going up, so fuck you and fuck rock and. Roll so good? Remember the band fear leaving in This is Piggy.

Let's just say that's a thinly veiled iggy pop but he's great here, even better than his performance as mister Boddy and Clue. Incidentally, did you know that poppy from Seinfeld? You know he left the embarrassing stain on the couch. I can't believe I'm reducing his career down to an accidental sofa wedding. You know what I'm talking about now though it's his voice coming out of Leaving's mouth in Clue.

Weird right, Anyway, good performance. He does a song here, King Blues does a song. Here. The headliner, Reggie Wanker played by Malcolm McDowell, he does a song. They all do the same song.

It's Uci cuci man. It's one of my favorite jokes in the movie. We get the history of popular music as it's interpreted and reinterpreted by the various artists. But you know who's not performing Ucci cuci man. Nada oh Man.

This all female mega group keyboard, drums, guitars, bass, horns, and my favorite lead singer of all time. Not just fictional bands, no, no, no, no, of all bands everywhere, Nada herself. She's in a high school band uniform with tights and booth. She's a new wave every which way, and she's played and sung by Lori Eastside. She's a New York scenes Sternam and a member of Kid Creole and the Coconuts.

She's also an accomplished choreographer. She did work on Crybaby, that John Waters Classic and Let's Get It Out in the Open. I've been in love with her since age ten when I saw this Nada, not Lori east Side though. If you're listening, Glori, my contact info is in the comments section. Ah.

I love Nada, I love the band, I love the energy, I love the spirit. I love the fuck everyone not recognizing how awesome we are attitude. They arrived in a smashed, a shit clown car and they dominate and then they fade. It's what theater folks used to call a show stopper. Listen, take my word for it.

There's no way you're not going to enjoy this movie. But let's hack our way through the production and releasing in general fuckery that followed in a twist worthy of mel Brooks, the producers, in fact, in a page stolen directly from that film, the producers of this film figured it it would be better to let this film die horribly and collect the tax right off. So that's why you get such a fucking delightful trailer to advertise it. It's also why, after a brief run on cable and a few video cassettes managed to sneak out into the wild, the film all but disappeared. The rights were purchased by one production company, packaged with another catalog, and sold again and again, so many times where the original negative and soundtrack moved that along the way the soundtrack was lost.

That's right. I'm not talking songs or a bit of music. I'm talking about the soundtrack, you know, dialogue, sound effects, things like that. So by the time the rights issue was resolved and they could put the movie back out into the world, they were fucked. So no special widescreen VHS, no fancy LaserDisc, ah.

Nothing says you're a serious sin like stopping to turn the movie over halfway. No DVD, no DVD commentary or outtakes. Then no Blu ray nearly forty years without, though some of us kept the flame alive. I have three VHS copies and a half dozen soundtrack LPs. Am I the biggest fan of the film.

I don't know. I guess you'd have to ask the director. So Finally the movie is back together. It looks better than ever Sincerely, when I saw the disc for the first time, it was literally like seeing the film for the first time. Correct aspect ratio alone is worth it.

The movie is so much fucking fun. And yes, I'm in the little making of featurette on the disc, which obviously I'm proud of. I know. I never shut up about it. I'm not going to get it crazy, get it now.

It's like reading an all music issue of Mad magazine. And if that description doesn't get you, nothing will. Is that good? You feel good? With that good, I'll get over and man the board.

I don't think Fox He's coming back anytime soon. Midnight viewers to thank you so much once again for joining us. I'm father alone speaking for Ripley Gene. If you want to help out the show, you can do some pretty simple things ones that admittedly I'm guilty of not doing from time to time, though I've been trying to correct that lately. Hit like or five stars on whatever.

You're listening to the show on right now. If they ask you to review it, review it honestly, and by that I mean positively, Otherwise piss up a rope. Please share the show and tell your friends, and if you find as the holiday season approaches you're feeling financially generous, well you could hit us up at patreon dot com. Slash Father Alone subscribers get early access to commercial free content. Our theme song was composed by hp go check out his bandcamp sight and his podcast night Mister Walters, What are we gonna leave you with this week?

Come on like it's not going to be nada? I saw you went until last night? Oh yeah, someone else tolding your time? How y'a tell your boys? Now my see how until Caesar can.

Moved in my knees? I'll show you now how many fast? What you know? Snowles there and go on as the wind. Stop for me to go away, and you think tup you they take to ros.

I ain't counting back to the I know they they. Just like me. Got am I. Take they did take it numbre I tay day they take it numb all. Take they take it numb all.

Shoot you. You're asking to your kid last week cat lost your made me dressed black fruit. Don't care you said that I got. You gone baby and that baby I have gone, She'll. Say, him.

Now I'm making past what happened. She knows not very good. She went time for me to go away, and she didn't time for you to take to rush. I'm coming down the more. I know.

That's why you don't have I'm gonna take They take a number, I want to take. Take numbers. Take they take a number about you? About you? Tell you that's problem.

That, mister. So now she saw that. Look your. Sibley. They take a numba take take a number, Say ta ta take a number.

You say they take a number, don't say they take it. I'm gonna tell you, they take a number, you. Take, take it, take. It, take it If they take it all