Saturday Salute: TV Cartoons Perfect for the Fourth of July

By Michael Lyons

Saturday morning cartoons are often times more associated with Fall, back-to-school and the one day respite from homework, teachers and tests that they provided for many years.

However, there are a select few shows that fit perfectly in the summer, more specifically, Independence Day.  Through the years, when cartoons ruled Saturday morning TV, several of the major Studios created patriotic-themed shows.

As we approach the Fourth of July and one finds themselves unable to watch another annual rerun of “Independence Day,” it may be worth visiting, or re-visiting, one of these seldom seen TV Toon oddities.

“Hector Heathcote” (NBC, 1963).  From Terrytoons, the Studio that had given us Mighty Mouse and Heckle and Jeckle, came this show about the title character, a mild mannered teenager during Colonial times, who finds himself unwittingly getting involved during various moments in American History.

With his British accented bulldog Winston at his side, Hector would face off against the bully, Benedict.  With sometimes smart, sharp humor, “Hector Heathcote” found creative ways to weave in history into its Saturday morning silliness.

“The Funky Phantom” (ABC, 1971).  The once reigning kings of Saturday morning TV, Hanna Barbera, used the “Scooby-Doo” model for this show.  Instead of a dog going on adventures with a group of teenagers, this show centered on a spirit who befriends a group of groovy kids.

This, however, is the ghost from the Revolutionary War-era, Jonathan Wellington Muddlemore, a/k/a “Mudsy” (“The Sprit of 1776!” He declares) and his cat, Boo.

Mudsy also sounds suspiciously like Snagglepuss (actor Daws Butler provided both voices).  While not the popularity, or the re-watchability,  of other HB shows from this era, “The Funky Phantom” is still an oh-so-70’s Hanna-Barbera guilty pleasure.

“US of Archie” (CBS, 1974).  Just in time to join the nationwide fervor for the 1976 Bicentennial celebration, Filmation Studio brought us this spin on their already popular series “The Archies” (which was already an adaptation of the popular “Archie” comics series).

In “US of Archie,” Archie, Jughead, Betty, Veronica and all the gang re-enact significant moments in American history (everything from Votes for Women to the Underground Railroad).  Heavy on the education and light on entertainment, many fans preferred the lighter, musical “Sugar, Sugar” days of “Archie” to “US of Archie.” Unfortunately, the show just barely made it to the Bicentennial and was cancelled in 1976.

Today, “USA of Archie” is not only perfectly patriotic, it’s also a capsule of a time gone by.

So, this year, on July Fourth, before the fireworks and pomp and circumstance that the evening brings, wake up early with a big bowl of surgery cereal and celebrate with these shows that represent a time in TV that’s now sadly gone forever.  In fact, you could say that these Saturday morning cartoons are now a part of American history.

Sources:

IMDb

Wikipedia

Dark Victory: The 30th Anniversary of “Batman ‘89”

By Michael Lyons

During the summer of 1989, you would have not only had to have been living under the proverbial rock, but in the basement apartment under that rock, to not know about “Batman.”

Director Tim Burton’s take on one of the world’s most iconic super heroes was, quite literally, everywhere with one of the world’s greatest mass-marketing campaigns ever.

And, no matter your feelings or fandom with “Batman,” the character or the movie, there is also no denying that this film was groundbreaking in so many ways and changed the landscape of movies (and, specifically, summer movies) forever.  And now, this summer, “Batman” celebrates its 30th anniversary.

Turning away from the campy (but lovable) style of the ‘60’s TV Show and leaning more on the character’s DC Comics roots and mythology, this version of “Batman” would be more serious and brooding than audiences were used to.

Couple this with the casting of Michael Keaton in the lead role of Bruce Wayne/the Caped Crusader and no one knew what to expect from this “Batman.”  The choice of Keaton was quite controversial at the time.  Best known as a comedian, in movies like “Mr. Mom” and Burton’s own “Beetlejuice,” fans were beside themselves when other serious and action-oriented stars of the time weren’t chosen.  Luckily there was no internet in ‘89, otherwise  it would have broken.

Then, there was also the jaw-dropping choice to have Jack Nicholson play Batman’s arch enemy, The Joker.  Not only one of the biggest names in film, but one of the most respected actors of any generation, Nicholson was more associated with serious, dramatic, Oscar-season films, than Summer blockbusters, up to this point.

His casting was a true coup and he went on to define the villain for the generation who grew up with this film.  He also garnered a paycheck and a portion of the profits from the film that is still a legend in the industry.

“Batman” (or “Batman ‘89,” as it’s come to be known to differentiate it from the multiple versions of the character that have come before and since) as film, is less an origin story of the title character (although that’s weaved in through flashback).

As the film opens, a mysterious “giant bat” has been seen in Gotham City and a group of underworld criminals, which include the brutal Jack Napier (Nicholson) attempt to take control of the City.

During a raid at a chemical plant where the mobsters come up against Batman, Napier falls into a vat of chemicals and emerges horribly disfigured as The Joker.

The Joker then launches a creepy, diabolical plan to put a smile on every citizen’s face and take over Gotham, which results in a showdown between the demented clown and cowl-cloaked hero.

The look of “Batman” is a true original.  It’s still fascinating to revel in the details of the film, with its cross between film noir and the world of Tim Burton.  The late, brilliant Art Director Anton Furst won an Oscar for his design of Gotham City, replete with Art Deco buildings that seemingly soar into the heavens.

Laid over this is an soaring, operatic score by Burton stalwart Danny Elfman, that not only feels at home in this world, but has gone to be one of the most recognizable film scores ever.

After so much hand-wringing, Keaton surprised everyone and made for a great Batman.  Tough and feral while in the cape and cowl (his sneer as he faces-off with Joker at the end is perfect) and also leaning on his comic timing while playing the absent minded Bruce Wayne.

And Nicholson?  Well, he is just SO Nicholson in this movie it’s not even funny.  He brings so much of his eyebrow arching persona to the Joker that he rightfully walks away with the film.  There’s also his oh-so-many quotable lines, like, “Can somebody tell me what kind of world we live in, where a man dressed up as a bat gets all of my press?!?”

Released June 23, 1989, “Batman” demolished everyone’s expectations of how well a summer blockbuster could perform, earning over $400 million at the box office and becoming the fifth highest grossing film of all time.  In fact, the film broke a record for how quickly it reached $100 million.  “Batman” was even one of the first movies to feature Thursday night showings at theaters and went on and on and on the entire summer.  

Part of the film’s success was the ubiquitous marketing campaign in place.  The simple “Bat-logo” movie poster was splashed everywhere and there were over 300 licensees, producing everything from action figures to cereal.  You couldn’t even turn on the radio without hearing one of the several songs that Prince had written for the soundtrack, which included the #1 hit, “Batdance.”

“Batman” was more than a movie, it was an Event.  One so big, that moviegoers felt that they HAD to see it and not just some time that summer, but opening weekend.

In fact, the movie went on to usher in the age of the “Event Movie,” in Hollywood throughout the ‘90’s.  A number of movies copied the “Batman Formula” of the Uber-hype machine and were transformed from movie to Event.  Among them were “Jurassic Park,” “The Lion King” and “Independence Day.”

But, this new era of the Summer Blockbuster began 30 years ago this summer with “Batman,” a movie that made an entire generation fall in love, not only with the Caped Crusader, but with movies themselves.

As the title character himself said, “I want you to tell all your friends about me...

...I’m Batman.”

Sources:

IMDb

Wikipedia

“Toon”-ing in to Father’s Day: Remembering Hanna-Barbera’s “Wait ‘Til Your Father Gets Home”

By Michael Lyons

Sandwiched in the middle of Hanna-Barbera’s “Flintstones” decade of the ‘60’s and “Smurfs” decade of the ‘80’s was the Studio’s eclectic “Golden Age” of the ‘70’s.  

It was during this time that the preeminent TV animation studio of the time created shows that ran the gamut of every genre possible.  One of these seldom seem shows from this time in “HB History” is “Wait ‘Til Your Father Gets Home,” a prime time animated sitcom that ran from 1972 to 1974 on NBC.  And, if “The Flintstones” was Hanna Barbera’s take on “The Honeymooners,” then “Wait ‘Til Your Father Gets Home” was their version of “All in the Family,” as it was an “of its time,” no-hold-barred look at fathers and families.

“Wait ‘Til Your Father Gets Home” centers on Harry Boyle (voiced by actor Tom Bosley, who would later go on to voice “Mr. C.” On “Happy Days”) and his family, wife Irma, teenage daughter Alice, unemployed college graduate son Chet and their youngest boy Jamie.

Harry is an average, middle-aged guy, working as a restaurant supply salesman, who may be seemingly surly and argumentative at times, but at the end of each episode audiences would learn how much he truly loves his family and would do anything for him.

The series started life as an episode of the ABC anthology series, “Love American Style,” entitled “Love and the Old Fashioned Father,” a very adult show that would air late in the prime time line up.

“Wait ‘Til Your Father Gets Home” would reflect this rather adult tone and was quite the departure for Hanna-Barbera, as there were episodes that dealt with such topics as the generation gap (focusing on the “Hippies” of the time), race relations, bigotry, adultery and even pre-marital sex...Yabba Dabba...Whoa!

There wasn’t even anything very “animated” about this animated sitcom, no brontosaurus staircases from “The Flintstones” or space-age “Jetsons” flying cars.  “Wait ‘Til Your Father Gets Home” is all very rooted in reality.  So much so, in fact that it could’ve been live-action.

The look of the show was even a departure for Hanna-Barbera, with a more simple, minimalistic tone that seemed more suited to Sunday comic strips of the time than TV animation.

There were some familiar HB elements, however, like their familiar laugh track and voice actors like Joan Gerber, John Stephenson and Lennie Weinrib.

It even had another staple from Hanna-Barbera, the catchy, ear worm of a theme song that includes the lyrics that seem to sum up the sitcom: “Dad’s not so bad and he seldom gets mad and we aren’t about to desert him.”

 “Wait ‘Til Your Father Gets Home” looks at main character Harry as the hero and like most Dads, a put-upon, unsung one at that.

This makes this lost Hanna-Barbera sitcom perfect viewing for Father’s Day.  Bringing this show out of the “HB Archives” and dusting it off for a marathon would be perfect...but before you watch it just “Wait ‘Til Your Father Gets Home!”

Happy Father’s Day!

Sources:

IMDb

Wikipedia

  

Like, Totally Blockbuster: Remembering the Summer Movie Season of 1984

By Michael Lyons

If the Summer Movie Blockbuster was born in the 1970’s, with box-office behemoths like “Jaws” and “Star Wars,” then it stands to reason that the Summer Movie Blockbuster grew into its “Golden Age” in the 1980’s.

And one Summer during this “Golden Age” would shine brightly.

The Summer Movie Season of 1984.

The sequel to one of the most popular adventure movies of all time; the world’s biggest box-office comedy; movies that changed the rating system forever and the film that gave us the phrase “Wax on, wax off.”

And that all happened in three months, thirty five years ago.

A mixture of blockbusters that pierced our pop culture core and movies that were mild success that have gone on to become ‘80’s time capsule cult favorites, the hits just a kept on comin’ faster than Casey Kasem could have announced ‘em.

It all started off with a whip-crack on Memorial Day Weekend with “Indiana Jones and the Temple of Doom,” a highly anticipated follow-up to 1981’s “Raiders of the Lost Ark.”

This was followed in June by “Star Trek III: The Search for Spock,” another successful sequel in that franchise that allowed the films to go on for years to come.  That month also saw “Ghostbusters,” which became part of our pop-culture like few movies had and also went on to become not only the biggest movie of the year, but also the most successful comedy of all time.  Still, to this day, “Ghostbusters” remains one of the most memorable, quotable and re-watchable films ever made.

Then, there was “Gremlins,” the second Spielberg one-two punch of the summer (he produced “Gremlins” and directed “Temple of Doom”).  This cartoon-inspired tale of the “Mogwai,” along with “Temple of Doom,” were so intense that it warranted the creation of a new rating from the Motion Picture Association of America.  And, thus was born “PG-13: Parents Strongly Cautioned-Some Material May be Inappropriate for Children Under 13.”  It was a rating for those movies that were too strong to be PG and too tame to be R.  Still in effect today, the rating allows for a wider audience for many movies. 

“The Karate Kid” also debuted this summer and became a beloved “Rocky” story for a new generation (which made sense, as it was directed by John G. Alvidsen, who had helmed “Rocky” just eight year before).  “Karate Kid” was a character driven, no FX movie, which summer movies seasons rarely provide today.

As the Summer moved on, audiences got “The Last Starfighter,” a science fiction fantasy that revolved around video games as training ground for a galactic battle (oh, how ‘80’s!) and also featured landmark use of computer effects (that, in today’s world look like a video game).  

There was also “The Muppets Take Manhattan,” which many fans count as their favorite (as well as the film that gave us Muppet Babies!) and the epitome of ‘80’s fantasy films, “The Never Ending Story.”  And don’t forget one of the’80’s best remembered “teen comedies,” “Revenge of the Nerds.”

There was also the release of “Red Dawn,” the brutal, teen World War III movie that was the first film to be rated...you guessed it...PG-13.

Then, just as July was giving way to August and the waning days of Summer and Summer Movies, one of the musical icons of the decade, Prince brought us “Purple Rain.”  An original vision, that expanded on the music videos of the time and provided songs that became not just the soundtrack of 1984, but are still some of pop music’s most memorable hits.

There were other, moderate to less successful films of the summer, like director Walter Hill’s rock and roll action flick, “Streets of Fire,” to Tom Hanks crass, yet likable comedy “Bachelor Party” and “Top Secret,” the Zucker Brothers parody of...everything.  But, even those films have developed quite the following through the years.

A favorite Summer of Movies is always a subjective thing.  Movies become the backdrop to whatever we may have had going on in our lives at that time, which can always cast the films (and the Summer) in an overly nostalgic glow.

Some may prefer 1982 and the Summer ET wanted to go home, or ‘85 when Marty took the DeLorean back in time or when Batman ruled Gotham City and the world in ‘89.

But, while there was a luster during many Summers of this “Golden Age,” there is one Summer that did indeed shine brightly.

The Summer Movie Season of 1984.

Sources:

Wikipedia