Burke's Law

‘Burke’s Law’ stylized mystery series
GENE BARRY (left) is Amos Burke with Gary Conway at Detective Tim Tilson in "Burke's Law."

VIDEO VIPER for Oct. 2, 2009

Awhile back, I put the first season of the old mystery series "Burke's Law" on my Netflix account.
Surprising, there was a long wait. Either Netflix miscalculated how many people were interested in the campy series, or it had a cult following.
I remembered it from early childhood days and decided to relive some memories. As I suspected, it proved to be a hoot.
Gene Barry played handsome, millionaire Capt. Amos Burke, chief of homicide. Two years earlier, the dashing Barry ended a three-year run as “Bat Masterson.”
The basic story was the same each week and followed a premise set earlier by”Perry Mason” and copied later by “Ellery Queen,” “Murder She Wrote” and others. Someone would be murdered and the show's star would discover the murderer before the hour (including commercials) was up.
"Burke's Law" was a highly stylized version. The show would open with a random scene in America. One time, we see workers crunching debris at a dumpsite. On another, a friendly worker, complete with bowtie, pulls a switch so lots of screaming kids can enjoy a merry-go-round ride.
But inevitably, somebody yells and screams, because a body has been found.
Switch to Burke, who is a millionaire thanks to his daddy. So he enjoys the fruits and females of those efforts while working in homicide.
An early Aaron Spelling effort, other regulars included the boyish Gary Conway as Detective Tim Wilson, the scruffy Regis Toomey as Detective Les Hart and Leon Lontoc as Asian chauffeur Henry.
The series under this structure lasted from 1963 to 1965. Then cold-war secret agent programs because the craze, thanks to “The Man from UNCLE,” so Burke became a secret agent, the rest of the cast was dispatched and the series died a quick death.
Each episode for the first two years was called “Who Killed (fill in name)”?
Once the body was discovered, the point of view switched to the Burke character, usually in a tuxedo, hosting a party and adoring women, or enjoying a champagne-steeped interlude with one shapely female, but still clothed in a tuxedo.
He would get a phone call and signal to Henry to chauffeur him to the latest crime scene. There he would examine the crime scene, get updated on what happen and meet a series of lovely suspects, all willing to get to know Burke better.
One of the biggest draws of the series is the who's who of stars at the time who appeared, from William (”Life of Riley”) Bendix to Paul Lynde to both Gabor sisters in separate episodes (Zsa Zsa and Eva) to Elizabeth Montgomery, Juliet Prowst, Jay C. Flippen, Jim Backus and former silent screen star Gloria Swanson.
Some of the plots were pretty ingenius but there was always an air of comedy and fun.
The “law” part comes from witty sayings tossed about by Burke during the show.
He would say, “Beauties make the best suspects.” Then he’d smile and add, “Burke's Law.” Or “Murder is the only game you can never win.”
The first discs include vintage commercials. Lots of cigarette commercials. Also a comparison between the old and digitally remastered versions.
“Burke's Law” was revived for 13 episodes in 1994 with Barry still playing Amos Burke and Peter Barton as his son. I can't comment because I never saw it, but understand some episodes were recycled.
The original “Burke's Law” is a fun bit of nostalgia and camp. But then, all of you renting this series and kept me from getting the discs from Netflix until now, already know that.

Goodbye Mr. Chips

Mr. Chips’ great, old-fashioned film
Video Viper for Sept. 25,2009
ROBERT DONET plays Charles E. Chipping in "Goodbye Mr. Chips."

“Goodbye Mr. Chips” is one of those old-fashioned films that has a lot going for it.

It was the first of the dedicated teacher movies which plots life from young, inexperienced instructor to stooped-over, graying relic who is loved and respected by his peers.

The film has been remade and the plot has been reused, but this is the best version.

Also, the film came out in 1939, which automatically makes it a pure classic. Virtually everything that came out that year, from “ The Hunchback of Notre Dame” to “Stagecoach” to Wizard of Oz” to “Gone With the Wind” is an unquestionable artistic and popular success.

Mind you, I'm not judging Chips” by the year it was released only. And yes, if you had to guess the ending, it wouldn't be difficult. In fact, I will give you the ending right now. SPOILER ALERT: Chips dies.

Also, there are times you must suspend belief. First off, his real name is Charles Chipping. Funny in itself. But it takes years before anyone gives him the nickname “Chips.” Come on. In the real world, he would have been dubbed with that moniker on Day 1.

Played effectively by Robert Donat, Chips’ first experience in the classroom isn't good. He can't discipline the children and is told by the headmaster of the ancient and venerable boys school Brookfield he must control his class or be fired.

So he becomes overly strict and won't let the kids out of class on the day of the big cricket match. When Brookfield loses the match, he learns as valuable a lesson as the children.

The film quickly progresses to middle years and Donat is given an extra layer of makeup. He believes he will become head of one of the dormitories but is passed over despite his seniority. We come to realize after many years, Chips isn't a particularly good teacher.

His friend and German master Max Staefel, played by Paul Henreid of “Casablanca” fame, invites him on a walking tour of Austria as a different kind of vacation. While climbing the Alps, Chips meets a beautiful, independent woman, played by Greer Garson, who after must awkwardness, becomes his wife.

One of the best scenes is when Chips brings his new wife to visit the faculty and his fellow teachers believe she will be dour and frumpy, but she's beautiful and charming.

She teaches Chips to loosen up, joke with the kids, make school educational and fun. Sadly, she dies in childbirth, but the lessons she teaches Chips make him a better teacher and person.

There are so many poignant scenes. When Chips learns his wife and son are both dead, he insists on teaching his class anyway and the unknowing students try to pull an unfunny April Fool's joke on him.

When World War I erupts, many of the students and faculty we have come to know during the picture die in battle.

In this sense, “Chips” would make a pretty good double feature with the 1930 version of “All Quiet on the Western Front.”

love the atmosphere of the film, its sense of worth and purpose. We can feel the school's rich history, even though it was probably filmed on a back lot.

There are many unforgettable scenes in the film, one being when Chips realizes he is engaged and runs after the train carrying the Garson character.

It's old fashioned, the acting may be a bit broad for some and you might spend more time than you should looking at Donat's wrinkle-necked makeup.

But “GoodbBye Mr. Chips” is a treasure of a picture, one you will want to own and get it out and enjoy on cold, rainy nights.

GOODBYE MR. CHIPS

• Directed by Sam Wood

• Written by R.C. Sheriff and Claudine West

• Runtime: 114 minutes

• Suitable for the entire family

• 4 1/2 stars out of 5

Nick and Norah's Infinite Playlist

‘Nick and Norah’ infinitely too long, terrible
Michael Cera and Kat Dennings in "Nick and Norah's Infinite Playlist."

Video Viper for Sept. 18, 2009

I have to admit, I wasn't prepared for as bad as “Nick and Norah's Infinite Playlist” was.

It's supposed to be a teen romance comedy, but these supposed teens look and act more like people in their 20s, there's little romance or chemistry among the actors and nothing funny about it.

Michael Cera, who the year before was in the infinitely better “Juno,” plays the similar quiet, nerdy kid who happens to be in a rock band and is breaking up with his girlfriend.

Now the girlfriend, played by Alexis Dziena, goes to a Catholic girls school where they all wear the little Catholic uniforms. Among them is friend Norah (Kat Dennings).

The girls end up at a concert in which Cera’s band plays. The whole film takes place in one night, following the cast around. These types of movies have worked well in the past. Remember “Adventures in Babysitting?”

Now there's a movie where hilarious, interesting and compelling stuff happened to the characters. You won't find that in “Infinite Boredom.” (I hated the movie, I get to rename it.)

Maybe I should just describe what constitutes humor in this film. For instance, Cera drives a battered Yugo. So there are lots of scenes of the Yugo. The camera focuses on the Yugo nameplate as he is backing up so you remember it is a Yugo. The Yugo barely starts, It has a difficult time going forward. Somebody thinks it is a taxi. Do I have you rolling on the floor? Actually, this is probably the funniest thing in the film.

Now Nick's band includes two others who are gay. So people refer to it as “that gay band.” Are tears rolling down your eyes from laughing so hard?

And band members keep wanting to change the name of the band to another crude expression. What fun!

Then there's friend Caroline, played by Ari Graynor, who gets drunk and repulsive. The running joke is she keeps chewing her gum no matter what. So she goes into a dirty, public restroom and we get to see her vomit. Then she puts her hand in the vomit-filled toilet and fishes out the gum and puts it back in her mouth.

OK. If you had any desire to see this film, please reread this past paragraph.

Now in true romantic movie fashion, Nick and Norah must become a couple. But romance movie plot dictates Nick must first try to get back with original girlfriend, played by Dziena. Keep in mind there is no chemistry among any of these people. Nick must realize at some point he loves Norah, and leaves old girlfriend to find her.

All I'm thinking is let this thing end.

The “Infinite Playlist” refers to Nick's interest in music and making mixed CDs. Yet there is nothing to hint in this film why he or any other characters are interested in music.

All I can say is once you have met Nick and Norah, you never want to see them again.

NICK and NORAH'S INFINITE PLAYLIST

• Directed (sort of) by Peter Sollett

• Written by Lorene Scafaria (screenplay), Rachel Cohn (novel)

• Runtime: 90 minutes, it just seems longer

• Rated PG-13 for mature thematic material including teen drinking, sexuality, language and crude behavior

• 1/2 star out of 4 (only for the Yugo)

Studio One

Step back to early TV with ‘Studio One’

BETTY FURNESS shows off a 1950s Westinghouse refrigerator on "Studio One."
Star Beacon for Sept. 11, 2009

OK, bear with me for a short history lesson, then a review.

The industrial revolution of 100 years ago resulted in fewer people working on farms. It meant a bit more leisure time. Unfortunately, technology hadn't gotten caught up yet. During evening hours, you could play games, read, but there was no TV, no radio and movies were still pretty much a novelty. They would show them on the wall at night in the drug store after it closed.

As a result, there were many traveling shows, operas, lectures, plays that would travel from city to city. Even small cities.

Once radio entertainment, which included comedies and dramas, became mainstream in the late 1920s, traveling shows became less in demand. Also, you had movie theaters opening, sometimes large and ornate with huge pipe organs to produce the soundtrack to silent films.

Ah, but after World War II, a new novelty was produced, which again brought us programs, operas and plays, right in our own homes.

It came on a tiny, fuzzy, 10-inch display and they called it television.

Imagine sitting at home in 1949 and watching a play with professional actors right in your own home. It must have been an unbelievable experience.

“Studio One,” sponsored by Westinghouse, was one such experience. It aired from 1948 to 1958 and was produced live. A huge studio included many obvious cardboard backdrops and everything was live.

“Studio One” episodes are available on DVD and if you have Netflix, proves to be an interesting history lesson on early television.

Television may have been technically pretty crude back then, but it was much more highbrow. The latest plays, the classics, would come into your living room, including “Wuthering Heights,” “Julius Caesar” and newer stuff, like “Twelve Angry Men.” This latter play, by the way, was thought to be lost but was discovered by a researcher for The History Channel in 2003.

The only way to preserve these programs back then was to point a film camera at a TV monitor as the live broadcast went out and record the proceedings. Even then, narrow-thinking individuals later ordered some of this film destroyed because they were taking up too much room.

Big movie stars of the time couldn't be seen on TV, so it was up to largely unknowns to play the parts. You may have heard of some of them: Jack Lemmon, William Shatner, Ed Asner, James Dean, Warren Oates, Charleton Heston, Lee Remick and so many more.

Shatner, in one of the extras, describes the huge cameras used with the silent, whirring fans needed to keep them cool.

What the people involved did was pretty extraordinary. There was no stopping, no retakes. If you made a mistake, you went on. In “The Remarkable Incident at Carson Corners,” children in a classroom invite their parents one evening for what inevitably shocks them, a mock trial in which they charge a janitor with contributing to the death of a child from a faulty fire escape.

The play is interesting, not outstanding. In one scene, a boy who looked maybe 10 is on the stand and is asked to describe an incident leading to the death. There is a flashback.

In a movie, the flashback scene may be filmed days or weeks later or before the courtroom and repeated as necessary until perfect.

This is live television. This boy had to jump from the chair and run to another set, change clothes and be in the flashback scene.

And remember, there is a minefield of wires and cords about the stage.

In one of the extras, actor Johnathan Harris describes how he was in one scene and when it switched to the next scene, was in that one too. There were no breaks. He was in a different shirt and tie. Harris, best known as the ornery Dr. Smith in “Lost in Space,” was there, but admits, “I don't know how they did it.”

Sometimes the technology of the day made you concentrate on the plot less. When a woman was working in a prop kitchen, I wondered if she could get water from the faucet. At one point, she indeed did.

Maybe the highlight of the whole process was the Westinghouse commercials. They are a hoot.

Betty Furness, who was an actress in a “Studio One” episode, filled in on a commercial when the regular person failed to show. She did such a good job, she was hired as the permanent Westinghouse spokeswoman.

We see her discuss the marvels of Westinghouse frost-free refrigerators, stoves with sensors that would make certain nothing on the stove boiled over (what happened to those?), clothes washers she called “Laundromats” and fancy, 21-inch televisions that required only one dial to tune stations. Plus, if color TV ever becomes available, a black-and-white Westinghouse could be converted (that never happened.)

And “Studio One” had great writers, including Rod Serling, later of “Twilight Zone” fame.

You can tell cast and staff strived for excellence within the means of its time when producing “Studio One.”

It is worth a nostalgic look back.

Boy in the Striped Pajamas

‘Striped Pajamas’ new look at Nazi tragedy

ASA BUTTERFIELD in "The Boy in the Striped Pajamas."


How many ways can you make a movie about the atrocities of Nazi Germany?
As it turns out, plenty.
How about through the eyes of an innocent child who remains naïve throughout the film “The Boy in the Striped Pajamas.”
Bruno (Asa Butterfield), 8, is the son of a Nazi death camp commander. His father, played by David Thewlis, doesn't seem particularly cruel. He's concerned about the family welfare. When he's promoted to head a Nazi concentration camp and the family must leave their large Berlin mansion, Dad tries to make the transition as smooth as possible while protecting his own career.
Bruno's grandmother, the commander's mother, played by Sheila Hancock, voices her worries about Adolph Hitler and the Nazis. She isn't the last in this no-holds-bar film.
The new home is fenced in, guarded by Nazi soldiers. From his room, Bruno can see what looks like a farm in a distance. Bruno misses his friends. He can't go beyond the gate and there is nobody to play with. He thinks at the “farm” there must be lots of kids and lots of fun.
No matter the hints, Bruno is too young to realize the debts of cruelty that human beings can conflict. He wonders how the sickly, bent over servant who peels potatoes and does odd jobs can actually be a doctor. Why would a doctor give up his career to peel potatoes for a family?
Bruno's older sister, played by Amber Beattie, is taken by a Nazi soldier and swallows the whole Hitler deal, including posters on the wall.
Mother, played by Vera Farmiga, is ill-at-ease about the whole situation. She is taken back by these living dead Jewish creatures who work at her home. She argues with her husband. She really comes unglued when a soldier tells her what the black smoke and awful smell comes from.
Meantime, Bruno finds a way to visit the “farm” and meets a young boy played by Jack Scanlon on the other side of the barbed wire. He wonders why the boy is there, can he come out to play and why is he always hungry?
He never understands what the farm is and can't comprehend when his tutor describes how Jews aren't even human, when his friend seems perfectly fine.
There are some gruesome and sadistic scenes, like when the Jewish doctor-turned servant accidentally spills some wine because he is so weak and is brutally beaten. Bruno watches as his father does nothing.
If there is a criticism of the film, it is the fact everyone speaks with strong British accents but are supposed to be Germans. It takes some getting used to.
Seeing the atrocities of Hitler through a child's eyes adds a new perspective to an old subject.
The ending is especially startling. I'll leave you to discover it for yourself but you won't forget it.
“The Boy With the Striped Pajamas” is worth your time and attention.

THE BOY WITH THE STRIPED PAJAMAS • Written by John Boyne (novel) and Mark Herman (screenplay) • Directed by Mark Herman • Rated PG-13 for mature themes about Nazi holocaust • Runtime: 94 minutes • 4 1/2 stars out of 5