Rockin’ in the Film World #20: EDDIE AND THE CRUISERS (Embassy 1983)

You couldn’t go anywhere in 1984 without hearing “On the Dark Side” blaring from a car radio or your neighborhood bar’s jukebox. That’s thanks in large part to audiences rediscovering 1983’s EDDIE AND THE CRUISERS via repeated showings on HBO, turning the film into an instant cult classic and veteran Providence-based rockers John Cafferty & The Beaver Brown Band into FM-radio favorites. The film hadn’t done well when first released to theaters, but exposure on the fairly-new medium of Cable TV garnered new fans of both it and Cafferty’s soundtrack album.

Investigative reporter Ellen Barkin looks into the mysterious death of Eddie Wilson (played by Michael Pare’), lead singer of The Cruisers, whose death in a car accident is shrouded in secret, as the body was never found. Was it suicide? murder? or is Eddie still alive? She digs deep to uncover the facts about what happened that fateful night at the recording studio, where the band was putting together an LP titled “A Season in Hell”, based on the dark poetry of Arthur Rimbaud.

Her journey of discovery takes her to Eddie’s bandmates: lyricist/keyboard player Tom Berenger, now a high school Literature teacher; former manager Joe Pantoliano, a New Jersey DJ; bitter ex-bass player Matthew Laurence, leader of a Cruisers tribute band; background singer (and Eddie’s steady) Helen Schneider, a choreographer; drummer David Wilson, working in an Atlantic City casino. She also discovers the fate of saxman Michael “Tunes’ Antunes (the sax player for Beaver Brown, who was born RIGHT HERE in New Bedford, MA!), who tragically died of a heroin overdose (the more things change… ).

Director Martin Davidson (who also cowrote the screenplay) made his debut with 1974’s THE LORDS OF FLATBUSH, a 50’s-set drama that was an early hit for Sylvester Stallone and Henry “The Fonz” Winkler. His films are mainly of the low-budget variety, but well worth seeking out: the Gen-X coming of age tale ALMOST SUMMER, the John Ritter superhero comedy HERO AT LARGE, the sorority life drama HEART OF DIXIE (with Ally Sheedy, Phoebe Cates, and Virginia Madsen), and the Sissy Spacek romantic comedy HARD PROMISES (steer clear of the Davidson-penned, Joe Brooks-directed bit of treacle IF EVER I SEE YOU AGAIN though!). Davidson also worked extensively in TV, helming episodes of CALL TO GLORY, PICKET FENCES, CHICAGO HOPE, and JUDGING AMY, and a pair of TV-Movies starring Miss Madsen: the true-crime drama A MURDEROUS AFFAIR: THE CAROLYN WARMUS STORY and the baseball comedy LONG GONE.

Still rockin’ after all these years: John Cafferty, Michael Antunes, and the Beaver Brown Band

John Cafferty and Beaver Brown enjoyed enormous success after EDDIE AND THE CRUISERS found its way to cable TV, not only with “On the Dark Side”, but the FM hits “Tender Years” and “Wild Summer Nights”. Their follow-up album contained more hits (“Tough All Over” and “C-I-T-Y”), and they recorded the theme to the 1986 Stallone action flick COBRA (“Voice of America’s Sons”). The film’s sequel EDDIE & THE CRUISERS II: EDDIE LIVES!, tanked at the box office (and frankly isn’t very good), but that hasn’t stopped Cafferty and his bandmates from rockin’ and rollin’ after 40-plus years on the road. I’ve seen and enjoyed them several times, and they always manage to get the crowd movin’ and groovin’ (and stole the show from headliners Southside Johnny & The Asbury Jukes last time out!). The Beaver Brown Band are true rock’n’roll road warriors, and EDDIE AND THE CRUISERS is a must-see for die-hard rockers (like yours truly!).

 

Rockin’ in the Film World #19: Bob Dylan in DON’T LOOK BACK (Leacock Pennebaker Films 1967)

“…some people say that I am a poet… ” 

– Bob Dylan, in the liner notes from the 1965 LP “Bringing It All Back Home”

Bob Dylan has been put under the media microscope, bisected, dissected, and trisected for the past six decades, with everyone and their mother trying to interpret the essence behind the enigma. Documentarian D.A. Pennebaker doesn’t go that route in DON”T LOOK BACK; instead, his cinema verite, free form style adheres to the old adage “show, don’t tell”, as he and his camera crew follow the troubadour on his 1965 tour of Great Britain, culminating in his historic set at the Royal Albert Hall. This would be Dylan’s final tour as a solo performer with guitar and harmonica – the album “Bringing It All Back Home” would soon be released, featuring electric and acoustic sides, and later that year he’d plug in with his band and shock the hell out of the crowd at the Newport Folk Festival, who booed him mercilessly and accused him of selling out.

Pennebaker, who was later responsible for the seminal rock docs MONTEREY POP and ZIGGY STARDUST & THE SPIDER FROM MARS, opens his film with the shape of things to come, a pre-MTV style video of Dylan’s electric “Subterranean Homesick Blues” (which was already beginning to climb the pop charts). We then go behind the scenes to get a glimpse of the man called variously a poet, folk singer, anarchist, and voice of a generation. Dylan pokes holes at the pretentiousness of the journalists and interviewers on his trail; one wonders where the put-on ends and the truth begins. He’s accompanied by fellow folkie and then-lover Joan Baez, though the couple were in the midst of breaking up at the time, for while Joan was a true believer in causes, Dylan scoffed at such matters, and admits he considers himself “an entertainer”, not a social justice warrior. (He even played with these various interpretations of himself in Sam Peckinpah’s PAT GARRETT & BILLY THE KID , as his character Alias is asked, “Alias what?”. His response: “Alias anything you please”).

Many 60’s luminaries besides Baez appear in the film, including Beat poet Allen Ginsberg (who appears in the “Subterranean Homesick Blues” proto-video), Alan Price of The Animals, Marianne Faithful, and notably Scottish singer Donovan, whose early career was so obviously modeled after Dylan they could be twins! When they finally meet at a hotel room party, Donovan serenades Bob with the tune “To Sing For You”, after which Dylan tops him with a rendition of “It’s All Over Now, Baby Blue”, Donovan obviously mesmerized by his idol.

And yes, there’s plenty of music in the movie; Dylan croons “All I Really Want To Do”, “The Times They Are A-Changing”, “The Lonesome Death of Hattie Carroll”, Hank Williams’ “I’m So Lonesome I Could Cry”, “Don’t Think Twice (It’s Alright)”, “It’s All Right, Ma, I’m Only Bleeding”, and others, both on-and-off stage. Dylan’s manager Albert Grossman is a ubiquitous presence, negotiating TV contracts, and proving what Bob’s been saying all along – he’s just an entertainer, not a standard-bearer for any movement. DON’T LOOK BACK allows Bob Dylan to show himself behind the masks, a portrait of a young artist who’s constantly changed and evolved over the years. It’s probably the most honest picture of Dylan we’ll ever get to see, and if you’re a Dylan fanatic like myself, you don’t want to miss it.

“Definition destroys. Besides, nothing’s definite in this world” 

– Bob Dylan, in a 1976 interview with TV GUIDE

More “Rockin’ in the Film World”:

ROCK AROUND THE CLOCK – THE BLUES ACCORDIN’ TO LIGHTNIN’ HOPKINS – BEACH PARTY – WILD IN THE STREETS – JAILHOUSE ROCK – IT’S A BIKINI WORLD – A HARD DAY’S NIGHT – BEYOND THE VALLEY OF THE DOLLS – JIMI HENDRIX: ELECTRIC CHURCH – THE GIRL CAN’T HELP IT – HAVING A WILD WEEKEND – HEAD – KID GALAHAD – SKI PARTY – THE BEATLES: EIGHT DAYS A WEEK – THE TOURING YEARS – HOLD ON! – 200 MOTELS – TOMMY

 

Rockin’ in the Film World #18: The Who’s TOMMY (Columbia 1975)


Before MTV ever hit the airwaves, there was TOMMY, Ken Russell’s stylized cinematic vision of The Who’s 1969 ‘rock opera’. It was a match made in heaven, teaming Britain’s Wild Man of Cinema with the anarchic rock and roll of Pete Townshend, Roger Daltrey, John Entwistle, and Keith Moon (not to mention England’s own enfant terrible, Oliver Reed ). Russell both captures the spirit of Townsend’s hard rock opus and expands on it visually with an all-out assault-on-the-senses musical featuring an all-star cast that includes an Oscar-nominated performance by Ann-Margret as the mother of “that deaf, dumb, and blind kid” who “sure plays a mean pinball”!

The Who’s original album cover

Townshend, the group’s primary songwriter, had been experimenting with long-form rock’n’roll since the beginning, notably the nine minute suite “A Quick One While He’s Away” on their second album A QUICK ONE (retitled in America HAPPY JACK). TOMMY was born after The Who’s concept album THE WHO SELL OUT (everybody did concept albums back then), and was a critical and commercial success. Six years later, Russell adapted the rock opera for the screen; he was considered a true maverick in the filmmaking world, on which he’d unleashed such films as WOMEN IN LOVE, THE MUSIC LOVERS, and especially THE DEVILS, a film so controversial that it still shocks audiences to this day, and has never been shown in it’s raw, uncut version.

Russell threw everything into this psychedelic wonderland (with more cinematic references than I could count!), including that all-star cast I mentioned from the worlds of both Hollywood and rock. The Who’s charismatic lead singer Roger Daltrey plays Tommy, and his performance led to the lead in Russell’s later LISZTOMANIA and other film roles. Guitarist supreme Eric Clapton is The Preacher singing Sonny Boy Williamson’s blues standard “Eyesight to the Blind” at the Church of Marilyn Monroe, while Britain’s premier soul screamer Arthur Brown as The Priest belts out “Religion”. Tina Turner, dolled up like some kinda perverted Countess Dracula, does “The Acid Queen” amidst a sleazy porno shop setting. Maniac Keith Moon , The Who’s deranged drummer, is the perverted “Uncle Ernie” – and Moon’s propulsive drumming throughout most of the film (his successor Kenney Jones subs on a few tracks) is nothing short of astounding. No question: Best Rock Drummer Ever! Elton John knocks “Pinball Wizard” out of the park in a particularly bizarre sequence. Jack Nicholson’s singing as The Doctor is the only real disappointment – stick to acting, Jack!

Oliver Reed, who starred in Russell’s THE DEVILS and was a drinking bud of madman Moon, plays Tommy’s stepdad. He mugs it up shamelessly, fitting right in with the film’s lunacy, but as a singer… well, he’s a great actor (Ollie also sang in the 1968 Oscar-winning musical OLIVER!). Ann-Margret deservedly copped an Oscar nomination (losing to Louise Fletcher’s Nurse Ratched in ONE FLEW OVER THE CUCKOO’S NEST) as Tommy’s mother, even though she was just three years older than Daltrey as Tommy. She’s the star of this show, giving a spectacular performance, and her scene during “Smash the Mirror”, where she’s deluged with detergent, baked beans, and melted chocolate oozing through the TV screen, is an hallucinatory delight! And God, was she hot!

Russell “fiddled about” with some of the song sequences, adding some and  deleting others in order to make Townshend’s opus more of a cinematic experience, and succeeded. The composer, who based his rock opera on the teachings of his spiritual guru Meher Baba, had no objections, and still praises Russell’s vision of his work. TOMMY is meant to be seen on the Big Screen, but even on the telly, it’s a rock’n’roll masterpiece you don’t want to miss!

 

 

Rockin’ in the Film World #17: Frank Zappa’s 200 MOTELS (United Artists 1971)

Frank Zappa is definitely an acquired taste, one I acquired as a young kid listening to albums like “Absolutely Free”, “Weasels Ripped My Flesh”,  and “Apostrophe”, which goes a long way in helping to explain my warped world view. Zappa’s avant garde rock’n’roll, a mélange of jazz, classical, doo-wop, psychedelica, and anything else he could think of, combined with his nonsensical, sexual, and scatological lyrics, skewered convention, the plastic world of suburban America, and hippie culture as well (Zappa was an equal opportunity offender). 200 MOTELS was his first attempt at making a movie, co-directing and co-writing with British documentarian Tony Palmer, and to call it bizarre would be a gross understatement.

Visually, the film is as close to Zappa’s avant garde compositions as you can get. 200 MOTELS was shot on videotape and transferred to 35mm film, using techniques like double and triple exposure, color filters, flash-cut editing, and animation, and is more hallucinatory than Roger Corman’s THE TRIP (though Zappa himself was staunchly anti-drug use). It’s about life on the road, a common theme in rock films, in a decidedly non-linear fashion, with random segments, skits, and performances by Zappa’s band The Mothers of Invention and the Royal Philharmonic Orchestra, playing FZ’s score live on film.

The Mothers play themselves: Anysley Dunbar, George Duke, Ian Underwood, and ex-Turtles Howard Kaylan and Mark Volman, collectively known as Flo & Eddie (My Brush With Greatness Story: I once partied backstage with Flo & Eddie at a nightclub in Boston after one of their performances – until one of my drunk, belligerent friends kept calling the overweight Volman a “fat fuck”, getting us thrown out of the room. Later, I encountered Kaylan wandering the streets with a pretty young groupie, who laughed and said, “It’s a jungle out there, man”). Ringo Starr is on hand as Larry the Dwarf, impersonating Zappa, and The Who’s Keith Moon is “The Hot Nun”. Folk singer/actor Theodore Bikel appears as a TV host and as Rance Muhammitz, who may or may not be The Devil. Real life groupies Janet Ferguson and Lucy Offerall play groupies, and former GTO and Supergroupie Pamela Des Barres is a rock writer. Original Mother Jimmy Carl Black sings “Lonesome Cowboy Burt”, one of the more traditional scenes in this anything but traditional film:

Cal Schenkel, the graphic artist who did many of Zappa’s album covers, is credited as production designer, giving the film it’s outlandish look. 200 MOTELS won’t be for everybody; if you like Zappa’s music, you’ll like this film. Those with a taste for surrealism will want to watch this experiment in abstract expression, others will find it tedious and self-indulgent. As for me, I love Frank Zappa’s out-there stylings, and I recommend it to all you similar mutants in the tribe of Zappa.

More “Rockin’ in the Film World”:

ROCK AROUND THE CLOCK THE BLUES ACCORDIN’ TO LIGHTNIN’ HOPKINS BEACH PARTY WILD IN THE STREETS JAILHOUSE ROCK IT’S A BIKINI WORLD A HARD DAY’S NIGHT BEYOND THE VALLEY OF THE DOLLS JIMI HENDRIX: ELECTRIC CHURCH  – THE GIRL CAN’T HELP IT – HAVING A WILD WEEKEND – HEAD – KID GALAHAD – SKI PARTY – THE BEATLES: EIGHT DAYS A WEEK – HOLD ON!

Rockin’ in the Film World #16: Herman’s Hermits in HOLD ON! (MGM 1966)

In yesterday’s  ‘One Hit Wonders’ post on the Blues Magoos, I told you Dear Readers my first concert was headlined by Herman’s Hermits, five non-threatening teens from Manchester, UK – Karl Greene, Barry Whitwam, Derek ‘Lek’ Leckenby, Keith Hopwood, and lead singer Peter Blair Denis Bernard Noone, known as Herman for his slight resemblance to cartoon character Sherman (of “Mr. Peabody and…’ fame). Their infectious, peppy pop rock and Herman’s toothy grin made the teenyboppers scream with delight, with hits like “I’m Into Something Good”, “Mrs. Brown You’ve Got a Lovely Daughter”, and “I’m Henry the VIII, I Am”. Even parents liked The Hermits, and they seemed destined to follow in the cinematic footsteps of The Beatles. MGM, who released their records stateside, concocted a ball of fluff for Herman and the lads called HOLD ON!, and any resemblance between that title and The Fab Four’s HELP! is strictly not coincidental!

It’s your basic Sam Katzman production, who’d been cranking out teen oriented rock flicks since 1956’s ROCK AROUND THE CLOCK . Like most (okay, all) Katzman movies, the budget is decidedly on the low side, aided and abetted by some clever camerawork and plenty o’stock footage, not to mention veteran director Arthur Lubin, who’d been around since the 1930’s, directed the first five Abbott & Costello films, the Francis the Talking Mule series, and created the TV sitcom MR. ED. He wasn’t outstanding, but very competent, especially when it came to comedy.

The plot? It’s thin as a cup of weak tea, with Herman’s Hermits going on a big U.S. tour, and NASA astronauts (or rather, their kids) wanting to name their new space capsule after the band, causing an apoplectic State Department official to send a man to follow the boys a “get a full report”! A couple of subplots (yes, there are subplots!) involve a publicity hungry starlet determined to be linked with Herman, and a rich young girl who falls for the singer. There’s some merry mix-ups and slapstick gags along the way, as a charity ball the Hermits play becomes a catastrophe, but by the end everything works out for the best, as these things usually do.

This flimsy story, written by Robert E. Kent (WHERE THE SIDEWALK ENDS ) under the pseudonym James B. Gordon, serves as an excuse to hold together a plethora of songs by Herman’s Hermits. Besides the title tune, we get hits like “A Must to Avoid” and “Where Were You When I Needed You”, as well as lesser songs “All the Things I Do For You, Baby”, “Got A Feelin'”, and “Wild Love”. There are a couple of fantasy sequences set to “The George and Dragon” and “Leaning on the Lampost”, but again, this is a Sam Katzman production… don’t expect anything fancy!

The supporting cast consists mainly of TV actors. Bernard Fox (BEWITCHED’s Dr. Bombay, HOGAN’S HEROES’ Col. Crittendon) plays the band’s manager, whose job is to keep girls away from Herman (and vice versa!). Shelley Fabares (THE DONNA REED SHOW, COACH) plays Herman’s love interest, and gets the chance to warble “Make Me Happy” (Shelley had a #1 hit of her own in 1962 with “Johnny Angel”). Herbert Anderson (DENNIS THE MENACE’s dad) is the put-upon State Department guy spying on the Hermits, getting constantly doused with water for his troubles. Sue Ane Langdon, a frequent TV gust star who costarred with Elvis in FRANKIE & JOHNNY, is the publicity-mad actress.

I loved this when I saw it in the theater, but then again I was only 8! Times change, and now that I know a little more about films, I can tell you it’s not all that great. If you’re not a fan of the band, you won’t understand what all the hype was about. The songs are good, but you won’t find any thespic talent among Herman and his Hermits. It’s a time capsule movie of a more innocent era, when the group was riding high on the pop charts. As I said, times change, and the harder, more experimental rock sounds of the late 60’s soon left Herman’s Hermits by the wayside. I still like ’em though, and even own a double-CD of their music (and break it out of a couple times a year).  In fact, I’ve heard Peter Noone himself will be playing the Cape Cod Melody Tent later this summer with another 60’s pop rock group, Tommy James & The Shondells. Yeah, you just KNOW I’ll  be there!

Rockin’ in the Film World #15: THE BEATLES: EIGHT DAYS A WEEK – THE TOURING YEARS (Apple Corps/Imagine Entertainment 2016)

Beatle fans will have a blast watching THE BEATLES: EIGHT DAYS A WEEK – THE TOURING YEARS, director Ron Howard’s 2016 rock doc covering the Fab Four’s career from their earliest club days through the height of Beatlemania, until they stopped touring for good in 1966. The film features rare and classic footage of The Beatles live in concert around the globe, juxtaposing their rise with news events of the day and interviews with all four members.

Howard conducted brand-new interviews with Paul McCartney and Ringo Starr, and included archival interviews with the late John Lennon and George Harrison. Through these and behind the scenes clips and press conferences, we get a sense of what it was like to be at the center of all the Beatlemania  madness. Ringo says it best: “We just wanted to play… playing was the only thing” far as these talented musicians were concerned, but the hype and hysteria, with screaming teenage fans drowning out the music, led the boys to stop touring and become a studio only band. George: “There wasn’t any joy in it, the music wasn’t being heard… it was just a freak show”.

We also get a sense of the camaraderie between the four lads from Liverpool, thrust from their working class roots into the spotlight of stardom. If you weren’t around then, I don’t think you can fully comprehend how big they were… all in a time before social media and the 24-hour news cycle. The Beatles’ popularity was strictly organic, and spread like wildfire not only in America, but globally. It took a wry, cheeky sense of humor to cope with the craziness surrounding them and trying to stay true to their art. That didn’t always go over well, as there was a Beatle backlash when John made the remark they were “more popular than Jesus” to a magazine writer, a quote that saw many Bible Belt states holding Beatle record burning parties.

The band always said it’s all about the music, and this film has plenty of it, from seldom seen performances of “She Loves You”, “I Want to Hold Your Hand”,  and “Twist and Shout” to more familiar ones to fans like their rendition of “All My Loving” on THE ED SULLIVAN SHOW. There’s clips from the movies A HARD DAY’S NIGHT and HELP!, and tunes such as “I Saw Her Standing There”, “Roll Over Beethoven”, “Boys”, and “Day Tripper”, among others. The film covers their final ’66 stadium tour, the first of its kind in rock history, from the insanity at New York’s Shea Stadium to their farewell to concerts at San Francisco’s Candlestick Park. By this time, the band had had enough, and retreated to the studio, evolving into a more experimental, avant-garde style, culminating with their masterpiece “Sgt. Pepper” .

Credit is given to manager Brian Epstein, a visionary who knew The Beatles had that something special and groomed them for success, and record producer George Martin, who became their musical mentor and guided them through their career. The film has some talking head sequences (no, not David Byrne and company), including famous people like Elvis Costello, Whoopi Goldberg, Eddie Izzard, and Sigourney Weaver. It concludes with The Beatles’ last live performance on the rooftop of their Apple Corps building (used in the 1970 doc LET IT BE), singing and playing “Don’t Let Me Down” and “I Got a Feelin'” like it was 1964 all over again. But  by this time, the band was being pulled apart by internal egos and outside influences, and the entity known as The Beatles was dissolved. The band is gone, Lennon and Harrison are dead, but the music remains eternal, a joyful noise that rocked the world for a brief, shining period of the 1960’s. Ron Howard has put together a film Beatle fans of all ages will cherish, whether you were there at the beginning or discovered them after the fact. It’s one of the best rock docs I’ve seen, mostly because of the music.

Rockin’ in the Film World #14: SKI PARTY (AIP 1965)

American-International Pictures takes the “Beach Party ” concept to the slopes in 1965’s SKI PARTY, an endearingly goofy ball of fluff headlining Frankie Avalon, Dwayne Hickman, Deborah Walley , and a pre-‘Batgirl’ Yvonne Craig . It sells itself with a sly wink to the audience that says, “We know the whole thing’s absurd, and we don’t care”! Besides the off-the-wall comedy, the film features above average musical interludes by guests Lesley Gore and the Godfather of Soul himself, James Brown.

Frankie and Dwayne play a pair of slightly overage college students (Avalon was 25, Hickman 31!) trying to woo Deborah and Yvonne. The two knuckleheads can’t figure out why they can’t get to first base, while college Romeo Aron Kincaid scores with every babe on campus. When the whole gang (including Beach movie regulars Luree Holmes, Michael Nader, Salli Sachsee , and surfing champ Mickey Dora) go on a skiing vacation during mid-term break, Frankie and Dwayne disguise themselves as British birds “Jane” and “Dora” in an attempt to learn the secret to achieving paradise by the dashboard lights!

Avalon and Hickman make SOME LIKE IT HOT’s Tony Curtis and Jack Lemmon look like a couple of Playmates, but that doesn’t stop Kincaid from falling madly in love with “Dora”! ‘Beach’ girl Bobbi Shaw plays a sexy Swedish ski instructor (“Yah, yah”) who Frankie seduces to make Deborah jealous, with  him entering a ski jump contest even though he can’t ski! His brilliant idea is to jump in a helium-inflated suit, with disastrous results. Funnyman Robert Q. Lewis is on hand as the screwball ski lodge director, and a yodeling polar bear keeps popping up for no reason except to add even more surrealism to the story. If you’re wondering where Annette is, she has a cameo in the beginning as a college biology professor (!!), and the ubiquitous Dick Miller appears towards the end as a cab driver.

SKI PARTY was the first feature film for director Alan Rafkin, whose TV resume reads like a Sitcom Hall of Fame. Just a small sampling: MY FAVORITE MARTIAN, THE DICK VAN DYKE SHOW, THE ANDY GRIFFITH SHOW (27 episodes), GET SMART, THE ODD COUPLE, THE MARY TYLER MOORE SHOW , THE BOB NEWHART SHOW, SANFORD & SON , M*A*S*H, LAVERNE & SHIRLEY, IT’S GARRY SHANDLING’S SHOW, COACH (87 episodes), and SUDDENLY SUSAN. Rafkin’s also responsible for a pair of Don Knotts movies, THE GHOST & MR. CHICKEN and THE SHAKIEST GUN IN THE WEST.

Also making his first movie straight from the TV ranks was screenwriter Robert Kaufman. Kaufman fared better in his film career, writing the DR. GOLDFOOT spy spoofs starring Vincent Price , DIVORCE AMERICAN STYLE, FREEBIE AND THE BEAN, THE HAPPY HOOKER GOES TO WASHINGTON, the vampire comedy LOVE AT FIRST BITE, and HOW TO BEAT THE HIGH CO$T OF LIVING. His script finds Avalon and Hickman frequently breaking the Fourth Wall, along with a slew of slapstick hijinks (and you all know how much I love slapstick hijinks!).

As I said before, the music is solid 60’s gold, with Lesley Gore doing her big hit “Sunshine, Lollipops, and Rainbows”:

The whole things ends up on the beach (where else?) with The Hondells doing a couple of surf numbers. The four main stars get a few decent rocking tunes to sing, but the highlight comes when James Brown and The Famous Flames, playing the resort’s ski patrol, perform the smash “(I Got You) I Feel Good”. And on that note, take us home, James:

More “Rockin’ in the Film World”:

ROCK AROUND THE CLOCK

THE BLUES ACCORDIN’ TO LIGHTNIN’ HOPKINS

BEACH PARTY

WILD IN THE STREETS

JAILHOUSE ROCK

IT’S A BIKINI WORLD

A HARD DAY’S NIGHT

BEYOND THE VALLEY OF THE DOLLS

JIMI HENDRIX: ELECTRIC CHURCH

THE GIRL CAN’T HELP IT

HAVING A WILD WEEKEND

HEAD

KID GALAHAD