favorite movie #99 - holiday edition: robin and the 7 hoods

Favorite movies that have had an impact on me - #99 - Robin and the 7 Hoods (1964) - Frank Sinatra and his Rat Pack buddies Dean Martin, Sammy Davis, Jr. have fun with this Robin Hood-inspired musical. There are fun musical numbers, lots of mobster-inflected dialogue, and a general devil-may-care attitude that makes the good guy gangster romp fun. Sinatra introduces the hit song "My Kind of Town,' but my favorite numbers are Sammy Davis, Jr. shooting up a speakeasy with "Bang! Bang!" and Bing Crosby presiding over "Mr. Booze." Crosby, Sinatra, and Martin also do a great rendition of "Style". All of the songs are by Sammy Cahn and Jimmy Van Heusen.

Sammy shoots and taps his way through the speakeasy

Sinatra belts "My Kind of Town"

How to hide a speakeasy

Link to Christmas:

favorite song friday: a dean martin holiday

Dean Martin does Christmas music like no one else.
Is he serious?
Does it matter?
He's just fun, fun, fun.


As adorable as he is singing "A Marshmallow World," his rendition of "Rudolph the Red-nosed Reindeer" is my favorite:

the dean martin celebrity roasts

The recently released collector's edition of The Dean Martin Celebrity Roasts is not just another compilation of the comedy show, but a true treasure.

Singer and entertainer Dean Martin had a career that spanned nightclubs, record albums, movies, and television. His variety show was a fixture on '70s television, but when ratings started to falter the show changed its format to a celebrity roast, featuring a "Man of the Hour" or "Woman of the Hour," patterned after the famed roasts held at New York City's Friars' Club. Dean served as Master of Ceremonies for most of the roasts (apart from his own roast, where comedian Don Rickles officiated).

Dean Martin and Don Rickles

The Dean Martin Celebrity Roasts are a time capsule of 1970s Hollywood, comic styles, and fashion. Martin included not only the top comics to insult and tease the person of honor, but current pop culture celebrities of the day, including politicians and athletes. Martin favorites like comedian Nipsey Russell, Foster Brooks, and impressionist Rich Little make numerous appearances.

The collector's edition includes twelve roasts on six discs, with an aspect ratio of 1.33:1 and a total running time of 1080 minutes. Each DVD includes a warning regarding the quality of transfer from the older original television specials, but the image, while not super-sharp, still looks good on a large-scale high definition television screen. The show ran from 1973 until 1984, and the roasts included in this box set cover that entire range. It's interesting to see the mixture of costars, comics, and pop culture icons in the list of roasters.

Disc One:

Bob Hope (original broadcast 10/31/1974)
Roasters: Flip Wilson, Ronald Reagan, John Wayne, Ginger Rogers, Foster Brooks, Jimmy Stewart, Milton Berle, Billy Graham, Rich Little, Howard Cosell, Jack Benny, Zsa Zsa Gabor, Nipsey Russell, Omar Bradley, Phyllis Diller, Neil Armstrong, Henry Kissinger, Don Rickles, Dolores Hope

Johnny Carson (original broadcast 11/1/1973)
Roasters: George Burns, Truman Capote, Doc Severinsen, Joey Bishop, Ruth Buzzi, Dom DeLuise, Bob Newhart, Louisa Moritz, Fred DeCordova, Jonathan Winters, Foster Brooks, Dionne Warwick, Rich Little, Barry Goldwater, Bette Davis, Martin Milner, Kent McCord, Redd Foxx, Jack Benny, Joanna Holland

Disc Two:

Jimmy Stewart (original broadcast 5/10/1978)
Roasters: Lucille Ball, June Allyson, Greer Garson, Red Buttons, Barry Goldwater, Henry Fonda, Eddie Albert, Foster Brooks, George Burns, Tony Randall, Don Rickles, Rich Little, Janet Leigh, Milton Berle, Jesse White, Orson Welles, Mickey Rooney, LaWanda Page, Ruth Buzzi

Sammy Davis, Jr. (original broadcast 4/24/1975)
Roasters: Milton Berle, Wilt Chamberlain, Freddie Prinze, Norm Crosby, Dionne Warwick, Joey Bishop, Nipsey Russell, Phyllis Diller, Jan Murray, Frank Gorshin, Foster Brooks, Don Rickles, Altovise Davis

Disc Three:

Jack Benny (original broadcast 2/21/1974)
Roasters: Jimmy Stewart, Joey Bishop, Florence Henderson, George Burns, Norm Crosby, Zubin Mehta, Pearl Bailey, Dick Martin, Mark Spitz, Wayne Newton, Rich Little, Demond Wilson, Jack Carter, Foster Brooks, Gary Burghoff

Lucille Ball (original broadcast 2/7/1975)
Roasters: Phyllis Diller, Dan Rowan, Dick Martin, Ruth Buzzi, Bob Hope, Milton Berle, Gary Morton, Gale Gordon, Totie Fields, Rich Little, Henry Fonda, Ginger Rogers, Foster Brooks, Nipsey Russell, Jack Benny, Vivian Vance, Don Rickles

Disc Four:

Dean Martin (original broadcast 2/27/1976)
Roasters: Don Rickles, Orson Welles, Paul Lynde, Joe Namath, Barry Goldwater, Angie Dickinson, Muhammad Ali, Jimmy Stewart, Gabe Kaplan, Gene Kelly, Hubert Humphrey, Charlie Callas, John Wayne, Joey Bishop, Rich Little, Ruth Buzzi, Tony Orlando, Georgia Engel, Nipsey Russell, Foster Brooks, Howard Cosell, Dan Rowan, Dick Martin, Bob Hope

Kirk Douglas (original broadcast 10/11/1973)
Roasters: Ted Knight, Norm Crosby, Jack Burns, Avery Schreiber, Rich Little, Lynn Anderson, Jackie Gayle, Don Rickles

Henry Fonda and Lucille Ball

Disc Five:

Michael Landon (original broadcast 12/7/1984)
Roasters: Melissa Gilbert, Brian Keith, Lorne Greene, Merlin Olsen, Vic Tayback, Maureen Murphy, Rich Little, Pat Harrington, Dick Butkus, Bubba Smith, Dick Shawn, Norm Crosby, Orson Welles, Don Rickles, Slappy White

Jackie Gleason, 2/27/1975
Roasters: Phyllis Diller, Milton Berle, Danny Thomas, Audrey Meadows, Gene Kelly, Nipsey Russell, Sandy Hirt, Sid Caesar, Sheila MacRae, Art Carney, Frank Gorshin, Foster Brooks

Disc Six:

Don Rickles (original broadcast 2/7/1974)
Roasters: Joey Bishop, Phyllis Diller, Lorne Greene, Dan Rowan, Dick Martin, Casey Kasem, Bob Newhart, Carol Channing, Nipsey Russell, Cliff Robertson, Jack Klugman, Pat Henry, Kirk Douglas, Rich Little, Telly Savalas, Charlie Callas, Foster Brooks, Eugene Cernan

Joan Collins (original broadcast 2/24/1984)
Roasters: John Forsythe, Aaron Spelling, Gavin MacLeod, Beatrice Arthur, Red Buttons, Phyllis Diller, Angie Dickinson, Charlie Callas, Rich Little, Anne Baxter, Don Rickles, Zsa Zsa Gabor, Dom DeLuise, Milton Berle

Orson Welles

It's nice to be reminded of some forgotten entertainers like Totie Fields, Freddie Prinze, and Frank Gorshin, mixing it up on the dais with Hollywood legends like Gene Kelly, Bette Davis, Bob Hope, Lucille Ball, and Johnny Carson. It's really impossible to pick a favorite roast from this set, as they are all entertaining. And once you have viewed all of the roasts, there is still a ton of bonus features to enjoy, including a nicely illustrated booklet, additional Dean Martin television specials (Dean's Place and Dean Martin's Red Hot Scandals of 1926), featurettes (The Art of the Roast, and The King of Cool: Always in Fashion!, and Legends of the Roasts), and celebrity interviews (Betty White, Don Rickles, Tim Conway, Jackie Mason, Ruth Buzzi, and Rich Little).

Some of the best roasters are of course comedians like Don Rickles, who excelled at insult comedy. But actors like Orson Welles and Jimmy Stewart may surprise viewers, as their jokes steal the spotlight from veterans like Milton Berle and George Burns. Admittedly, some of the humor is certainly not what would today be termed "politically correct," as jokes are told at the expense of race and women - just about any topic is up for grabs. Everyone is smoking and drinking and a little out of control. But that is the nature of a roast, and there is still an aura of camaraderie and fun that keeps everything light and entertaining. The Dean Martin Celebrity Roasts is as funny to watch today as it ever was, and no one seems to laugh louder than the butt of the jokes, the man or woman of the hour.

dean martin in something big

Article first published as DVD Review: Something Big on Blogcritics.

The newly released on DVD Something Big
is a comic western from 1971 featuring Dean Martin.

Practically every character in the film gets a chance to utter the two words "something big," as they describe bandit Joe Baker's (Dean Martin) scheme to pull off one more big heist. His brilliant plan is to trade a woman for a Gatling gun. But the woman he ends up choosing when he ambushes a stagecoach is Mary Anna (Honor Blackman), the wife of the territory's retiring U.S. Army colonel. Colonel Morgan (Brian Keith) hadn't exactly been eager to retire or see his wife again, who he had described to all of his men as a "cold fish." Baker forms a very different impression of Mary Anna after traveling with her on the way to the exchange. And he starts to wonder if his goal of a Gatling gun is so big after all.

But Baker's kidnapping isn't the only "something big" on the horizon. Making her way westward is Dover McBride (Carol White), a woman that Baker pledged to marry many years before who is determined to hold him to that promise.

Director Andrew McLaglen is no stranger to the Western genre. A veteran of such television series as Gunsmoke and Rawhide and films featuring John Wayne, like McLintock! and Chisum. The filming locations of Something Big outside of Durango, Mexico, add another layer of authenticity to the film.

The film is widescreen with a sharp transfer that looks crisp and clean on a large-scale high-definition television screen. The title song, "Something Big," was written by Burt Bacharach and Hal David and performed by Mark Lindsay. The film runs approximately 108 minutes, with Dolby digital (mono) sound and subtitles. The film is rated PG-13 for some violence and adult themes. The DVD includes a theatrical trailer, but no other extras.

Movie buffs will love seeing the many assorted character actors who round out the cast: Ben Johnson, Joyce Van Patten, Harry Carey Jr., Albert Salmi, Merlin Olsen, David Huddleston, and Paul Fix as an American Indian chief.

The film is definitely dated. Its portrayal of Native Americans is far from what modern audiences would consider politically correct. Most of the characters are broad caricatures, and Something Big has to be viewed in its context of the late '60s, early '70s. But the intention of the film is to amuse, and it manages to do that with good humor. Dean Martin is at ease as a headliner with no need of his usual Rat Pack buddies. He helps make Something Big an entertaining experience.

blonde heat

In Blonde Heat: The Sizzling Screen Career of Marilyn Monroe author Richard Buskin chronicles all of Marilyn Monroe's thirty films, highlighting the dramas that occurred behind-the-scenes, as well as giving details of the casts, crews, and plots of each film.

He also includes quotes from some of her directors and costars over the years, including Jack Lemmon, Billy Wilder, Jean Peters and Jane Russell. Buskin also includes some interesting quotes from the actress herself:

"I think cheesecake helps call attention to you. Then you can follow through and prove yourself." — MM, 1951.

Not only Marilyn's movies but her surviving screen tests, her one television commercial, and an appearance she made on Jack Benny's television show are included in the volume. Because of the nature of her film contract, Marilyn could not appear Whenever she chose on television, radio, or record music - she could not appear in different mediums as interchangeably as today's stars can. One of the reasons modern movie stars have more freedom is because Marilyn fought hard to win hers.

With David Wayne in How to Marry A Millionaire

Marilyn's notorious "difficult" behavior is put into context by people who worked with her before she became a worldwide sensation. Marilyn learned early on in her career that people would wait for her.

"She was only making $500 a week but she enjoyed a remarkable position because she could come in at any bloody time she wished. … I mean, all of the studio personnel were alerted that no matter what time Marilyn came in, nobody was to bark at her or ask her where she had been, and the reason for that was that Joe Shenck, who owned 20th Century-Fox, was head over heels in love with Marilyn." — Actor David Wayne, who worked with Marilyn in four films, starting in 1951 with As Young as You Feel, and then in We're Not Married (1952), O. Henry's Full House (1952), and How to Marry a Millionaire (1953).

Interspersed in the behind-the-scenes sections on various films are some of the familiar stories that have appeared in many other biographies of the star, including her failed marriages and struggles with barbiturates.  But Buskin is most interested and most interesting when he is chronicling Marilyn's struggles and legal wrangles with her film studio, Twentieth Century-Fox.

"[After Marilyn fled Hollywod and formed her own production company, Marilyn Monroe Productions] Fox verbally promised to give her a $100,000 bonus for appearing in [The Seven Year] Itch, while also agreeing to pay drama coach Natasha Lytess, vocal coach Hal Schaefer, choreographer Jack Cole to work with her on [There's No Business Like] Show Business. What's more, a new, more financially rewarding seven-year contract would be implemented in August 1954. Round one to Marilyn – at least in terms of her dealings with the studio."

Perhaps the most fascinating and tragic story that Buskin tells in Blonde Heat is how completely insane were the dealings of the studio with their stars, especially Marilyn, during the making of the ill-fated Something's Got to Give, the film that she was never able to complete before her untimely death in August 1962. The production had been troubled from the start. A remake of the Cary Grant/Irene Dunne comedy My Favorite Wife, Something's Got to Give had an unfunny script that was constantly being tinkered wth, which added to the tension and dissatisfaction of everyone on the set. Things went crazy, and fast as the shoot progressed.

Because of the over-budget spectacle Cleopatra, Fox was going bankrupt, and decided to take its wrath out on an easier target than Elizabeth Taylor, who was still needed to complete the bloated extravaganza. Fox execs fixed on Marilyn, deciding to teach A lesson to all of its "wayward" stars, through her. Marilyn had missed many days on the set, due to a recurring sinus infection, and when it became clear that Something's Got to Give was in serious trouble, Fox decided to fire her for breach of contract. They filed a suit against her for $500,000 and hired Lee Remick to replace her. But costar (and producer) Dean Martin refused to work with anyone but Marilyn, so Fox sued him for $500,000, too. Costar Cyd Charisse sued Dean for $14,000 for lost earnings. Not satisfied, Fox raised its lawsuit against Marilyn to $750,000, and sued Dean (as producer) for $3,339,000. Dean counter-sued for $5,885,000.

Even with all of this crazy litigation by August 1 the astute Marilyn had managed to patch things up with Fox. The lawsuit was dropped and she was rehired. She also signed a new two-picture deal — a raise on Something's Got to Give, from $100,000 to $250,000 (the most she had ever made on a picture) and $750,000 for her next picture. Marilyn had also been busy, meeting and planning some other new projects — I Love Louisa (which became What A Way To Go!, Harlow, a musical version of A Tree Grows in Brooklyn, and some potential projects with Brigitte Bardot, to be filmed in Europe. What a combo they would have been.

A set photo from Something's Got to Give, taken by Lawrence Schiller

But as we know, Marilyn never was able to complete any of those films, or Something's Got to Give. Her unfulfilled promise is why she still remains so elusive, so enigmatic. Buskin has done a great job covering her life and her films in his enumeration of Marilyn's career in Blonde Heat. Marilyn is long gone, but her films remain, and what seems universally agreed upon is how she loved the camera and it loved her back. Marilyn was simply born for the camera.

"No matter what her lack of technique was every shot of her — as long as she didn't back out of her light — was a treasure. She just could not be badly photographed. It was impossible." — Actor David Wayne 

"She doesn't do anything right and she drives everybody crazy, but then you go in the projection room, look at her on screen, and go 'Wow!'" — Director Jean Negulesco (How to Marry a Millionaire), to actress Jean Peters (As Young as You Feel, Niagara) 

"She was practically perfect to photograph. ... No two eyes are alike on a human face — one will be a bit smaller or a slightly different shape — and a real artist will capture the essence in getting the likeness of the person. However, if you could measure Marilyn's eyes and facial features, they were almost perfect. The end of her nose was tipped up a bit, but it was charming, and she was absolutely lovely. She photographed perfectly from any direction."— Cinematographer Jack Cardiff (The Prince and the Showgirl)

you've either got or you haven't got style

We watched the movie Robin and the Seven Hoods last night and it was, as always, a lot of fun. What really struck me as I watched Frankie, Dino, and Der Bingle was the absolute joy and ease they had in performing, which was translated directly to the audience. It's impossible to watch them do this number and not smile.

I don't think that their style should or could really be copied (no matter how many try), or that it would even sound right in today's world as anything contemporary. But it seems that so many entertainers today are so labored, so overdone. So many cheerleader-style synchronized dancing and microphone headsets. It's all such a production. There's lots of pyrotechnics, but little joy.

I really enjoy Lady Gaga, but was exhausted after watching her recent special on HBO with all of the elaborate stage sets and back-up dancers. I realize that's what a concert is these days, but the most powerful moments of the program were the a capella version Gaga and her company did of "Born This Way" over the closing credits. She has been doing some more soulful renditions of her songs lately, without all of the sturm und drang, so she must realize too, that sometimes simple and easy is best.

And if any of today's performers would like to see how a relaxed performance can yield high results, all they have to do us take a look at these three guys:

(b)ratpack

The kid loves Der Bingle. She's almost seven, but I think she's seen White Christmas that many times already. Over the holidays we watched that movie a few times as well as a special on PBS on Bing, featuring his many television specials and guests.

[on Frank Sinatra] Frank is a singer who comes along once in a lifetime, but why did he have to come in mine?

I actually remember seeing Bing's duet with David Bowie on television with my parents in Crosby's Christmas special first run, although I didn't realize at the time that Bing was recently no more. I guess my parents didn't tell me.

[about Elvis Presley] He helped to kill off the influence of me and my contemporaries, but I respect him for that. Because music always has to progress, and no-one could have opened the door to the future like he did.

I just downloaded some pix from the iPhone and lo and behold my budding iPhonographer had documented one of the best numbers on the special, Bing with Frankie and Dino. My little (b)ratpacker. Maybe I can rent Robin and the Seven Hoods next ...

[on Judy Garland] The most talented woman I ever knew was Judy Garland. She was a great, great comedienne and she could do more things than any girl I ever knew. Act, sing, dance, make you laugh. She was everything. I had a great affection for her. Such a tragedy. Too much work, too much pressure, the wrong kind of people as husbands.

Der Bingle quotes from imdb

Related articles

• Hear Bing Crosby at his best (sfgate.com)

dino does rudy

Does anyone have a lazier, more delightful inflection than Dean Martin?



"Poor Rudy"

"Rudy the red-beaked reindeer"