Showing posts with label morgan fairchild. Show all posts
Showing posts with label morgan fairchild. Show all posts

Tuesday, May 6, 2014

Concrete Cowboys (1979)



          The TV movie Concrete Cowboys is a staple of DVD bargain bins everywhere, and packaging usually suggests that small-screen icon Tom Selleck is the picture’s leading man. Yet Selleck actually costars with good-ol’-boy country singer Jerry Reed, who gained mainstream attention by appearing in several Burt Reynolds movies and then built a respectable acting career. Anyway, Concrete Cowboys was made as the pilot for a proposed detective series, but the show didn’t materialize for another two years. (More on that later.) The movie concerns easygoing drifters J.D. (Reed) and Will (Selleck), who hop a train headed for Hollywood, with only the vaguest notions of what they’ll do for money upon reaching California. When the train passes through Nashville, country-music superfan J.D. insists on stopping for a visit. The boys contact their friend Lonnie (Randy Powell), a Nashville-based PI, and crash at Lonnie’s place while Lonnie travels for work. Thus, when a mousy young woman named Kate (Morgan Fairchild) shows up at Lonnie’s door looking for investigative assistance, the boys pretend to be PIs so they can earn a quick buck. This puts them on the trail of Kate’s missing sister, Carla (also played by Fairchild), a wannabe country singer. Chases, intrigue, and plot twists ensue.
          Yet Concrete Cowboys is less about the mystery at the heart of the narrative and more about the cutesy bickering between the protagonists. Reed plays slick and wired, while Selleck goes for forthright and quiet. Both actors put in valiant efforts, but their energies never coalesce into the wonderful intangible of chemistry. Further slowing the picture’s momentum is the sluggish plot, which relies on such hokey devices as an actress playing dual roles and various characters giving conflicting recollections of the missing girl. Even the main plot hook is a tired cliché—the ambitious starlet willing to sleep with anyone who might help her find success. In its favor, Concrete Cowboys has the novelty of a Nashville setting, complete with cameos by legit country-music stars Roy Acuff, Barbara Mandrell, and Ray Stevens. (Stevens performs one of his signature comic tunes during a nightclub scene.) In the end, though, it’s unsurprising that this pilot did not immediately beget a series. And by the time that finally happened in 1981, Selleck had gotten a show of his own (Magnum, P.I.), so Reed inherited Geoffrey Scott as a costar for the very short run of the Concrete Cowboys weekly show.

Concrete Cowboys: FUNKY

Friday, March 25, 2011

Satan’s School for Girls (1973) & The Initiation of Sarah (1978)


          Two of Hollywood’s favorite lowbrow fascinations intersect in these craptastic telefilms, both of which depict the troubles that befall coeds whose dorms are fronts for Satan-worshipping cults. College girls and cultists: Two great tastes that taste great together. Produced by schlockmeister Aaron Spelling, Satan’s School for Girls is the real howler of the pair, cramming all sorts of shock-cinema gimmicks and gobs of kitschy ’70s-ness into a runtime that barely reaches 80 minutes; everything about the movie is so goofy that Satan’s School for Girls is a hoot from start to finish. Unlucky student Elizabeth Sayers (Pamela Franklin) enrolls in a private school under an assumed name so she can investigate why her sister killed herself while attending the school, only to discover that sis was a victim of the headmistress and students, who, as the title suggests, shill for Satan. Two of Spelling’s most famous protégés, future Charlie’s Angels beauties Kate Jackson and Cheryl Ladd, are among the students enthralled by the Prince of Darkness, so despite shlocky production values, Satan’s School for Girls offers plenty of eye candy. The ending is also hilariously overwrought, going all the way down the bad-cinema rabbit hole.
          A few years later came The Initiation of Sarah, the story for which was co-written by future Fright Night guy Tom Holland. In this one, pretty coed Patty Goodwin (Morgan Brittany) and her “plain” adopted sister, Sarah (portrayed by the not-plain hottie Kay Lenz), get picked for different sororities, which have been locked in a bitter feud for decades. Patty joins the stuck-up babes at Alpha Nu Sigma, while Sarah ends up with the misfits at Psi Epsilon Delta. Copping plot devices from Stephen King’s then-recent novel Carrie, the story depicts Sarah’s discovery of telekinetic superpowers, then shows what happens when the beeyotches at Alpha Nu push Sarah too far. Meanwhile, PED’s housemistress, Erica Hunter (Shelley Winters), reveals her true identity as a nutjob cultist trying to use Sarah’s powers for revenge against Alpha Nu.
          Lenz’s sad-eyed sexiness and Winters’ gorgon routine are fun to watch, plus it’s enjoyable to see Airplane! guy Robert Hays in an early role. Icy sexpot Morgan Fairchild steals the show, however, with her villainous turn as the queen bee of Alpha Nu. A vision of uptight late-’70s comeliness with her feathered Farrah hairstyle and perfect alabaster skin, she’s entertainingly conniving. Both of these telefilms are unapologetically silly, but that’s exactly why they’re so watchable—and it’s probably why both got remade. The redux of Satan’s School for Girls (with Shannen Doherty!) hit the tube in 2000, and The Initiation of Sarah v.2.0 aired in 2006.

Satan’s School for Girls: FUNKY
The Initiation of Sarah: FUNKY