Open All Night, a short-lived but beloved television series, on ABC. The show blends elements of workplace comedy with quirky character dynamics, offering a snapshot of life in a small convenience store. The series introduces Bubba Smith, the retired NFLer in his first regular comedic acting role. Personally, watching the first episode, I think Bubba’s dominating presence saves the show from boring and trite mediocrity.

The Premise

Set primarily inside a small, independently owned convenience store, Open All Night revolves around the lives of its eccentric staff and customers. The store is, as the title suggests, open 24 hours a day, is in the “bad area of town” and has been subject to burglaries.

The store is owned by a hopeful middle-aged man named Gordon, played by the talented actor George Dzundza. Gordon is the heart and soul of the store, desperate to balance his family life with his professional responsibilities. The first episode had the store owner working all night because he needs a new night clerk. His wife, whines that she wants him in bed, and keeps trying to give her irresponsible teen-aged son, the job of night clerk.

Open All Night plays with situational comedy in a way that makes the store itself almost a character in the show. The fact that it’s open 24 hours creates a never-ending series of events. The nighttime setting enhances the bizarre quality of the situations. Dealing with sleep-deprived customers and navigating the unusual interactions that arise when people venture out in the middle of the night. The show captures the oddball nature of the nighttime world.

Although Open All Night was short-lived—lasting just 13 episodes—its influence on television comedy remains significant. It paved the way for a new era of sitcoms that blended absurdity with grounded character relationships. It also probably catapulted Bubba Smith as an actor, leading to his part as High-tower in the Police Academy movies.

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Here Comes Mr Jordan stands out as a classic example of early American rom-com fantasy. Directed by Alexander Hall, this black and white treasure deftly intertwines humor, romance, and philosophical musings on life and death. Its enduring charm and insightful narrative continue to resonate with audiences, making it a noteworthy entry in Hollywood’s golden age.

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*Here Comes Mr. Jordan* begins with a whimsical premise: the story revolves around Joe Pendleton (played by Robert Montgomery), a young and promising boxer who meets an untimely death in a plane crash. Pendleton’s demise, however, is no ordinary death; he is mistakenly taken to the afterlife before his time. This clerical error, in the celestial bureaucracy, sets the stage for a comedic yet thought-provoking exploration of fate and destiny.

The film’s title character, Mr. Jordan (portrayed by Claude Rains), is the celestial bureaucrat who oversees the administration of souls transitioning from life to the afterlife. Rains’ portrayal of Mr. Jordan is both authoritative and affable, infusing the character with a blend of gravitas and geniality that enriches the film’s narrative. His role is pivotal as he becomes instrumental in correcting a subordinate’s  mistake.

As the story unfolds, Pendleton is given another chance at life, but with a twist—his soul is placed into the body of a wealthy, but nefarious man, who has just been murdered. This second chance serves as a catalyst for Pendleton to confront various aspects of human nature and morality. The film’s comedic elements emerge from Pendleton’s attempts to navigate his new life, adjust to his altered circumstances, and interact with the people around him, all while trying to return to his former life as a boxer.

The narrative structure of *Here Comes Mr. Jordan* provides a unique lens through which to view the human condition. Its portrayal of an afterlife bureaucracy, along with its exploration of human nature and redemption. One of the film’s standout features is its clever dialogue and witty script. The interplay between the characters, adds a layer of sophistication to the humor. The film balances its comedic moments with a reflective tone, exploring deeper philosophical questions without becoming overly heavy-handed.  *Here Comes Mr. Jordan* is a remarkable film that combines humor, romance, and philosophical inquiry into a cohesive and engaging story.

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The film’s influence extends beyond its initial release. It has inspired subsequent adaptations and remakes, including the 1978 film *Heaven Can Wait*, which echoes similar themes of mistaken identity and second chances. The original *Here Comes Mr. Jordan* remains a significant work in the genre of fantasy-comedy, illustrating how early cinema explored complex themes through accessible and entertaining narratives.

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A Vampire in Brooklyn was directed by Wes Craven, featuring a screenplay by up-and-coming screenwriter, and later established filmmaker, Roy Frumkes. The film stars Eddie Murphy, Angela Bassett, Allen Payne, and John Witherspoon. This unique blend of horror and comedy turns the idea of dark comedy on it’s head.

The film is set in Brooklyn,  and follows Maximilian (Eddie Murphy), a vampire who arrives in the city seeking a new place to thrive. Maximilian is on a quest to find his long-lost vampire queen, who, according to ancient lore, is the key to completing his eternal existence. He believes that she is a woman named Rita (Angela Bassett), a psychologist with a mysterious past that connects her to the vampire world.

Maximilian’s arrival in Brooklyn is marked by a series of gruesome killings, which capture the attention of the local police, including Detective Justice (Allen Payne).  Detective Justice finds himself increasingly entangled in the case, as the body count raises, it even intersects with his personal life. Meanwhile, Rita is drawn into Maximilian’s dangerous charm, and it becomes clear that her connection to him runs deeper than initially thought.

Throughout the film, Maximilian’s quest unfolds amid a backdrop of dark humor and urban eccentricities. The film combines traditional vampire lore with comedic elements, particularly through

“A Vampire in Brooklyn” attempts to merge the horror genre with comedy. Eddie Murphy’s versatile performance, which includes a dual role as Maximilian and a host of supporting characters. His portrayal of Maximilian is charismatic and adds a comedic twist to the traditional vampire archetype. Murphy’s ability to shift between comedy and drama provides a dynamic edge to the character and keeps the film engaging. Directed by Wes Craven, known for his work in the horror genre, the film brings a unique flavor to vampire mythology. Craven’s direction gives the film a distinctive style, blending suspenseful moments with light-hearted humor.

Angela Bassett delivers a strong performance as Rita, bringing depth to a character who is central to the film’s plot. Her role as a psychologist who is unwittingly connected to the vampire world adds a layer of complexity to the narrative. Bassett’s portrayal is the “straight-man” in the film, balancing out the comedic elements brought by Murphy.

A Vampire in Brooklyn, driven largely by Eddie Murphy’s performance, is an interesting experiment in combining horror with comedy. While it may not be a classic of either genre, it provides an entertaining and occasionally humorous take on vampire mythology. The film’s blend of a modern urban setting, coupled with Murphy’s versatility, makes it a notable entry in Wes Craven’s filmography.

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“The Gods Must Be Crazy,”  is Jamie Uvs, 1980 cinematic treasure that explores culture clash through humor.  The film explores the collision of two worlds—the traditional, harmonious life of the San people and the chaotic, technologically driven modern world. The vast and serene natural landscapes of the Kalahari desert are contrast against the chaotic man-made city.

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Examining the consequences of modernity on indigenous cultures, the movie revolves around the arrival of a Coca-Cola bottle dropped from an airplane, which disrupts the serene existence of the San tribe. The bottle, initially seen as a gift from the gods, soon becomes a source of conflict and chaos among the tribe members. The film uses this simple yet powerful premise to delve into complex themes of cultural clash and societal values.

One of the film’s strengths lies in its ability to navigate between humor and poignant social commentary. The comedic elements, often slapstick and exaggerated, serve as a vehicle to highlight the absurdities of modern society from the perspective of the San people. The juxtaposition of the simple, communal life of the tribe with the complexity and superficiality of the modern world provides a satirical lens through which the audience can reflect on their own societal norms.

The character of Xi, portrayed by the exceptional N!xau, becomes the unwitting protagonist in this cultural collision. His journey to dispose of the troublesome Coca-Cola bottle takes him on an unexpected adventure, bringing him into contact with characters from different walks of life. The film subtly comments on the folly of technological progress, and the impact of materialism,through Xi’s interactions. In doing so, it highlights the importance of simplicity and community.

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“The Gods Must Be Crazy” is more than just a comedy; it is a thought-provoking exploration of cultural clashes and the consequences of modernity. As society makes it’s next technological leap embracing AI, one is left wondering what culture clash will modernity bring us next. How will it look? Will it be the city dweller who wanders into the wilderness and is bewildered and helpless without his gadgets and technologically fed instructions?

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Revenge of the cheerleaders was directed by Richard Lerner. The film flips gender roles on their heads when a group of high school cheerleaders decides to try and beat the boys at their own game, making a football team of girls.

The female cast was relatively uncommon in the 70s when the damsel in distress was more typical of Hollywood productions. The cheerleaders portrayed as strong and independent women, were more than capable of taking on the local football team and their chauvinistic attitudes. The message of female empowerment was seen as a feminist anthem. But unfortunately, this low-budget production was cliche, lacking depth of characters.

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An independent film, “Revenge of the Cheerleaders” was shot in 1974, but took two years to hit the theaters. Ahead of its time, it has become somewhat of a cult classic for paving the way for other all-female comedies, such as “Legally Blonde” and “Bring It On.” And while it helped increase visibility for women in the film industry, it is also credited as giving us 70/ 80s heart-throb David Hasslehoff’s first film appearance.

What really makes Revenge of the Cheerleaders stand out is that it was made at a time when competition and sexuality were mainstream. Today, female sexuality is cloistered to the adult industry and has a price tag attached to it, with a big chunk of that going to the corporate controllers of big-tech. In the 70s, female sexuality was equated to empowerment and could be either given away with a carefree spirit or used as a weapon to entrap a foe. But most of all, it was within the control of the woman wielding it.

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Furthermore, aside from the entertainment factor of professional sports, today competition is both discouraged and vilified. The very nature of female sports which were only just beginning to become widespread in the 70s have almost been annihilated in a few short years recently. So “Revenge of the Cheerleaders” is a nostalgic quirky film appealing to fans of cheerleading and sports comedies. While not the most original or well-crafted film, it still manages to entertain and inspire, acquiring a position in the pantheon of classic cheerleading movies.

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Blue Summer, directed by Frank Perry, was overshadowed by other coming-of -age films released in 1973.  This feel-good movie really captures the care-free lifestyle and casual attitudes of the youth of the time. The film never gained widespread acclaim or a cult following because of poor marketing and for targeting a mature audience without the element of nostalgia.  Despite its intriguing premise and notable cast, there are several reasons why this might failed to achieve cult classic status.

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Perhaps too “real” for the mature audiences for which it was intended,  Blue Summer highlighted the sexual attitudes of the youth at the time, but may have alienated the more conservative older generation.  Coming of age films must either be time capsules of  personal experiences, capturing memories and nostalgia, or geared to a younger audience who dream of the liberties of making their own rules.  Blue Summer failed here because it had too much sexual content for the younger audience and was too current for the older adults.

Blue Summer tells the story of a group of teenagers who spend their summer vacation experimenting with drugs, sex, and rock and roll.  While these themes are fairly common in coming-of-age movies today, they were still considered taboo in the early 1970s, so many people missed the movie. Many people may have found the film’s depictions of drug use and promiscuity shocking or distasteful.

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Despite these factors, Blue Summer has since gained a small following of fans and enthusiasts. Many people appreciate the film’s realistic portrayal of teenage life and its willingness to tackle taboo subjects. But mostly, now it can offer some nostalgia  for the boomer generation. And in this modern era of widespread pornography, the titillating soft core film has it’s own almost romantic appeal.

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Airplane! was written by Jim Abrahams, and the Zucker brothers, David and Jerry, this was also their directorial debut. The film is a parody of the Air Travel disaster movie genre which dominated the silver screens in the 70s. “Airplane!” is a mockery of those films, filled with irreverent humor, it offers a satirical take on the conventions of the genre.

The Zucker, Abrahams and Zucker trio (ZAZ) were seasoned comedy writers for stage, with a knack for incorporating pop culture into their skits. Needless to say, one of the strengths of the film is its writing. The script was filled with witty one-liners, absurdist humor, and clever references to other films and pop culture. The tightly written script wasted no time on filler, with a relentless comedic pace. The humor of “Airplane!” is both broad and subtle, appealing to a wide range of audiences and making it a timeless classic. Although some would argue that it is too low brow or contains too much physical humor. The film’s comedic pace actually means that some of the more subtle aspects might be missed at first watch.

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Another standout aspect of “Airplane!” is its all-star cast. ZAZ insisted on a handful of actors known only for their serious tough guy roles prior to this movie. Leslie Nielsen in particular rekindled an interest in the “straight-man” comedian. He became known for his deadpan delivery in absurd comedic situations in multiple films following Airplane. Equally Robert Hays, and Julie Hagerty give standout performances, delivering their lines with deadpan precision and bringing the film’s humor to life.

The film’s production design also contributed to it’s comedic appeal, with its lush, over-the-top sets and visual gags. From the brightly-lit control tower to the sumptuous first-class cabin, the film was just as filled with sight gags as it was one-liners. Giving the audience a sense of heightened reality that perfectly fits the film’s outlandish humor.

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Considered to be one of the greatest comedies of all time, the influence of “Airplane!” can still be seen in many films today. Its success helped to establish the career of its creators, who went on to make several other iconic comedies, including “The Naked Gun”, also with Leslie Nielsen. “Airplane!” was a pioneer that popularized the use of sight gags and physical comedy in the disaster movie parody genre. An unforgettable film, “Airplane!” will continue to be enjoyed by audiences for generations to come.

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Subtitled a tribute to American ingenuity, Fun with Dick and Jane is loosely based on the characters of first readers it’s audience grew up on. The movie is a comedy about an American family living the dream, until Dick is fired and their “keeping up with the Jones” lifestyle comes crashing down around them. Jane is unskilled, Dick is more concerned with keeping up, appearances than his credit score. Plus, the clock is ticking as they loose their car, their yard and are barely keeping a roof over their heads.

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A tribute to baby boomer mentalities

Personally I think that this is better described as a tribute to privileged narcissism. Fun with Dick and Jane is first lighthearted about the characters taking responsibility for their situation. The premise is that in desperation to continue living the good life, Dick and Jane turn to a life of crime. This is sickly narcissistic, when so many Americans, never get to live the lifestyle they wanted to maintain. The complacency that Dick and Jane have towards those they steal from is unjustifiable. They argue that the crime is victimless, or that the big corporations had it coming, in the same way looters are plundering stores with impunity these days.

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I still think that Fun with Dick and Jane has some appeal to the boomer generation it targeted. Maybe for nostalgia, the 1977 release means that this film is filled with 70s fashions and decor. Or maybe something to reflect on, to understand the path we’ve chosen as a society. Fitting really when you think about it. The short stories that the characters were based on were meant to give the life skill of reading to a generation. The film, taken in retrospect of today’s widespread parallels, gives us a life lesson in the consequences to a society for accepting and rewarding those who break the rules.

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Erik the Viking is a silly viking themed comedy brought to us by Terry Jones of Monty Python. While not quite as side splitting as some of Monty python’s other films, it is nonetheless enjoyable. Erik played by Tim Robbins is a viking who has tired of the pointless pillaging. He falls in love during one of his villages’ raids on another, and accidentally kills the woman, trying to save her from being raped. This traumatic incident causes him to question everything. Freya, (a wise woman hermit), played by Eartha Kitt (aka. Cat Woman) suggests to him a way to change the never-ending cycle of killing by bringing the sun back to his lands.

Gathering up the men of his village, Erik the Viking ventures out into the unknown. The hodge-podge band of warriors includes father and son berserkers, a fearless viking, who lives to die by his sword, a Christian missionary, the blacksmith and their leader Erik, who is haunted by the woman he accidentally killed. Together they must face a rival band of vikings, a “sea-dragon” and falling off the edge of the world on a mission to enter Valhalla alive.

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The theme seems to be that what someone believes can change his destiny and much of the comedy is built around the concept of blind faith. About halfway through the movie, Erik the Viking gets a new girlfriend. Her father, played by Terry Jones (who also directed the film), barges in on them and she gives Erik a cloak of invisibility. It is really only a scarf and yet her father is blind to seeing anyone wearing it. Erik the Viking, falsely believes that the cloak really renders him invisible, so he takes it into battle. Only the preacher on his ship is similarly fooled by the clock and Eric fails to notice that the rest of his crew can still see him. Fearlessly, he bounds into the heavily armed opposing ship, dancing around like a fool. He knocks about the enemy soldiers, who wearing fearsome disguises, have up until now had their foes flee in terror and aren’t sure how to respond to his lunatic antics.

It’s just a funny movie

It’s a silly movie that’s almost as crazy as Dolomite. The violence is glossed over, and the sexual themes are PG rather than racy; it is after-all a comedy.

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Based on the 1930s comic strip character, the movie brought larger than life personalities to the silver screen. Starring the incomparable Robin Williams, in the title role; his first motion picture. Robin Williams personified Popeye with such zeal, right down to the iconic laugh from the cartoons, that one could imagine the role was made for him. However the fast-mouthed stand-up comic turned quirky alien (Mork & Mindy), had an uphill battle to be taken seriously as a movie star. Needless to say, Popeye is just one of dozens of great examples of this character actor/comedian’s genius.

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Joining the cast of character’s are Shelley Duvall as the twig figured Olive Oil and Paul L.Smith as the burly Bluto. The movie plot introduces all the main characters of the Popeye story-line including Swee’Pea, Poopdeck Pappy (Popeye’s dad) and the ever hungry and broke J. Wellington Wimpy. We also learn that Popeye actual hates his spinach. That is until his father convinces him to eat it, and his vitamin enriched super power strength takes over, to save the day and our beloved from certain doom.

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Production of the film was in Malta and the over-built set is apparently still available to visit as a tourist attraction. Popeye is a musical that was meant to go head to head with the film Annie, so critics tore apart the script and soundtrack that had to be pieced together from scratch instead of being tested out on Broadway. Actors in Popeye even recorded some of their songs live action instead of lip-syncing to prerecorded in studio songs, which is customary for musical movies.

Ever popular with children, especially fans of the cartoon Popeye. Popeye the movie is fun family entertainment sure to delight for years to come.

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