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Diagnosis Murder's famous M*A*S*H-homage episode 'Drill for Death' with guest stars
Loretta Swit (M*A*S*H TV show as Houlihan)
Sally Kellerman (MASH movie as Houlihan)
Jamie Farr
William Christopher (in both one of the worst bald caps and the worst beard/wigs I've ever seen)
Elliot Gould
Christopher Norris wasn't on M*A*S*H, she was on Trapper John MD.
A few more pics for fun
(aftermash blog briefly posted on this episode)
Today in the Department of Before They Were Star Trek Stars: Jonathan Frakes guest stars in "Stages of Fear," episode 8 of the seventh season of Barnaby Jones (original air date November 23, 1978).
Frakes plays the castmate and boyfriend of a young actress who's being stalked and terrorized during rehearsals for a new musical. The producer hires Barnaby Jones's detective agency to investigate. Frakes' character dies halfway through the episode and does a Sunset Boulevard in the swimming pool. I'm wondering if this was before the back injury, because he does some pretty athletic diving in the first swimming pool scene. Or maybe the symptoms just got worse over time; I know how that goes.
Other Trek connections: Jerry Goldsmith wrote the theme music for both Barnaby Jones and Star Trek: The Next Generation, as well as music for several Star Trek movies.
"Hunchback '88" by Christopher Norris, 2018
inside the castle | » HUNCHBACK ’88
Barnaby Jones "Stages of Fear" (1978)
season 7 episode 8
Summer of ‘42 (1971). During his summer vacation on Nantucket Island in 1942, a youth eagerly awaiting his first sexual encounter finds himself developing an innocent love for a young woman awaiting news on her soldier husband's fate in WWII.
This is such a morally grey, emotionally complex film, and the relationship at the core of it is one that’s a lot more compelling than I was actually expecting. It operates well as a layered exploration of innocence lost, trauma and those left just beyond the shadow of war in more ways than one. It’s really good! 7.5/10.
Summer of ‘42 (1971)
For the last 2-3 months, save for some updates on other posts, I have not made a new post on this blog because of being constantly busy. But enough about that. One film I had on my DVR for the longest time, but put off watching was Robert Mulligan’s adaptation of Herman Raucher’s autobiographical tale “Summer of ‘42″. All I can say is it’s a symphony of innocence and coming of age and it’s beautifully done.
Teenager Herman, nicknamed Hermie (Gary Grimes) is on vacation with his parents in Nantucket in the summer of 1942. He and his two friends Oscy and Benjie (Jerry Houser and Oliver Conant) spend their days walking on the beach and talking about sex and getting laid, while surrounded by teenage girls their age. But Hermie eyes the much older Dorothy (Jennifer O’Neill) whose husband is away overseas in WWII. In order to catch Dorothy’s attention, Hermie acts more mature by helping her with groceries, putting boxes in her attic and drinking coffee in her presence. As a result, Hermie becomes more aware of his sexual desires and over the course of the summer, his life will never be the same.
Robert Mulligan does a great job in re-creating Herman Raucher’s childhood, showing both the comedic and profound moments of that one summer. The comedic moments are the ones that make “Summer of ‘42″ an enjoyable experience instead of a strictly maudlin and depressing one. The best scenes are when Hermie and Oscy are trying to tempt their girlfriends Miriam and Aggie (Christopher Norris and Katherine Allentuck) while watching “Now Voyager” at the local movie theater and when Hermie is trying to buy condoms at the local pharmacy in a very awkward back and forth with the pharmacist (Lou Frizzel). Without these segments and instead Mulligan focused squarely on the Nicholas Sparks and John Green type schmaltz, “Summer of ‘42″ would not be the memorable film that it is today.
Grimes, Houser and Conant make a great trio of puberty teenagers in their pursuit of the female sex. Their conversations don’t seem like full fledged dramatic pieces like episodes of Degrassi, but the typical back and forth mannerisms that you’d expect from typical 13 and 14 year olds. Jennifer O’Neill as Dorothy is a perfect combination of demure and shy. The climatic scene, of which I won’t give away, is an acting showcase that I rarely see in recent performances. It’s not overdone and you can tell how her character is feeling at that moment. While the acting from the cast may not be the greatest I’ve seen, it nonetheless is most likely how the events unfolded.
The ingredient that if missing would alter the final product is Michel Legrand’s Oscar, BAFTA and Grammy winning majestic music score. The swell of the violins and the Romance era sound of the piano represents the progression of life and finding oneself. Especially in the aforementioned climatic scene, the melodies and countermelodies slightly intensified the moment without fully overwhelming the viewer. A score like that is few and far between in recent cinema and the closest one that came to matching Legrand’s beauty was Michael Nyman’s score for “The Piano”. Now it seems to be generic strings, synthetic drum tracks and minimalist music instead of raw traditional strains.
The other Oscar nominations for “Summer of ‘42″ were for best Original Screenplay for Herman Raucher (the novel was released later), Best Cinematography and Best Editing. Gary Grimes received Newcomer nominations from both the Golden Globes and the BAFTAs losing the former to Desi Arnaz Jr. and the latter to Dominic Guard in a great performance from another film scored by Michel Legrand, “The Go-Between”. “Summer of ‘42″ remains one of the best American coming of age films ever, a craze that has continued recently with the amazing “Lady Bird”. I hope that more of these type of films are made and showcase the younger generation coming into their own worlds.
8.5/10
It is not, as Derrida says, "a matter of inverting the literal meaning and the figurative meaning but of determining the 'literal' meaning of writing as metaphoricity itself." It is here that deconstruction finds its rock-bottom sense of the irreducibility of metaphor, the differance at play within the very constitution of 'literal' meaning. It finds, in short, that there is no literal meaning.
Christopher Norris, Deconstruction: Theory & Practice
