Friday, September 25, 2009

Up the Academy (1980) review


This new section is devoted to obscure comedies that were either overlooked, or snubbed by a moviegoing public during their initial theatrical run. Some have cult followings and others are just comedies that have nostaligic appeal to me. This first entry is a personal favorite of mine and contains some pics from a lobby set I have in my collection....


Ron Leibman (Major Vaughn Liceman/uncredited), Wendell Brown (Ike), Tommy Citera (Hash), J. Hutchison (Oliver), Ralph Macchio (Chooch), Harry Teinowitz (Rodney Ververgaert), Stacey Nelkin (Candy), Tom Poston (Skip Sisson), Ian Wolfe (Comdt. Nelson Causeway), Antonio Fargas (Coach), Barbara Bach (Bliss)

Directed by Robert Downey

***WARNING! This review contains language of an adult nature***

Four misfits of society, "embarrassments to their communities", get sent to Weinberg Military Academy to learn discipline and social graces, but end up butting heads with the venomous Major Vaughn Liceman instead. Comical and sexual shenanigans ensue culminating in one of the boys getting caught in a compromising position with his libidinous girlfriend. With pictures of his romp in the sack a threat to his father being re-elected as Mayor, the quirky quartet devise their own hilarious plan to catch Liceman in the act. With both sides having something scandalous on the other, all bets are placed on the upcoming faculty/student soccer game. The stakes are high, but the misfits of Weinberg have no intentions of losing.

When National Lampoon's ANIMAL HOUSE (1978) became a massive success, the boys behind MAD Magazine figured they had as good a chance as any at producing a monetary sensation of their own. What they came up with was UP THE ACADEMY. But this ambitious leap from the pages of a popular comic magazine to the screen was a tumultuous journey that ended in disaster for most everyone involved.

The script from Jay Tarses and Tom Patchett was a bit more salacious than the founder of MAD, Bill Gaines, was willing to accept for his approval. A number of scenes were dropped (including those with nudity or sex), or cut altogether leaving a film that was still very much politically incorrect.

There are a number of racial jokes aimed at different minorities including Arabs, African Americans and Italians. There's also jokes and characters that poke fun of homosexuality and then there's flatulence humor which seems to be all the rage over the last ten years since writers are seemingly incapable of creating a comedy script that relies on wordplay to get laughs.

The bean eating sequence in BLAZING SADDLES (1974) is the pinnacle of fart jokes. UP THE ACADEMY has a character (the Commandant played by Ian Wolfe) who farts incessantly and the gag is played for all it's worth. A comment is made that "Anybody can get laid in a whorehouse". We then see the Comdt. being thrown from a trailer housing some prostitutes. Fanning the air as the hookers close the door, the dissatisfied and unhappy old goat releases a couple more gas bombs into the air. Homosexuals, both male and female get ribbed a lot here as well.

Tom Poston plays Skip Sisson, a fruity dance instructor who has a thing for the young men of the academy. He gets a little too excited fitting Chooch for his uniforms prompting the Italian hothead to pick up a pair of large scissors. Also, the female version of Weinberg, Mildred S. Butch Academy, is ripe with lesbian jokes. Some of the women talk about "working their nuts off", being grounded for shaving their legs and some others enjoy kicking back with a Hustler magazine.

"If you didn't have that filthy rag wrapped around your eyes then you could see the truth, then you would not lie!" According to Liceman, Hash's headdress makes him "stand out like a turd in a punchbowl."

As stated above, racial jokes abound throughout the film. Liceman refers to Hash as "Swami" and "Punjab" and Ike's religiously overzealous father refers to him as a "Jive ass nigga" at his intolerance of Ike's putting the moves on his step mothers. Antonio Fargas even gives him hell exclaiming he's a "disgrace to niggas' the world over", in response to his inability to grasp the basic fundamentals of soccer.

Seeing it today, it isn't TOO offensive in light of everything that has come after it. But if one puts themselves back in 1980, there really wasn't another comedy quite as rude, or rebellious (at least not another I can think of). Downey's film could be viewed as the progenitor to every obnoxious and flatulence saturated comedy to come down the pike since its inception. Nonetheless, the long, hard road to the screen resulted in UP THE ACADEMY bearing the marks of chaotic editing and a disgruntled actor and producer.

Actor, Ron Leibman, who featured in such films as WHERE'S POPPA? (1970), SLAUGHTERHOUSE-FIVE (1972), THE SUPER COPS (1974) and NORMA RAE (1979) among others became disenchanted with the film and the direction it was taking. He subsequently had his name removed from the credits. It's a true shame that Leibman felt resentment for appearing as he owns the picture. His performance demands attention and he's absolutely hilarious as the overbearing and callous Major Liceman. Leibman is so good, it's difficult to imagine anyone else in the role. It's also perplexing to me that Leibman has disdain for this movie when he appeared in a supporting role in one of the worst movies of all time, RHINESTONE (1984). Now that's a stain on his resume Greased Lightning won't take off.

Leibman dominates every scene he's in and his character changes about halfway through the movie. It's later revealed that this hard ass shell of a man is the result of sexual repression and social nonacceptance. Once Liceman has an opportunity for a possible sexual liaison, he becomes like a shivering, blathering schoolboy and the real Liceman is revealed. Earlier in the film when he introduces himself to the new cadets he alludes to his own previous life as an outcast, or misfit, just like the four main protagonists.

The notion of friends is very important to Liceman as this passage attests, "Weinberg can be a very lonely place if you don't have friends...I know. I was seven years old when I first came to the academy. I didn't have any friends...nobody liked me..." Of course, the Major is incapable of making, or keeping friends just as Ike points out, "He didn't mean it when he said he wanted to be friends", prompting Chooch to respond with the illuminating and profound dialog, "No shit!"

Not only Leibman, but MAD Magazine also had their credit removed from the film in addition to a few appearances by their mascot, Alfred E. Neuman played by an actor with an Alfred mask on his head. However, VHS prints of the picture retained the MAD credit as well as the mascot appearances. The recent widescreen DVD release also contains these theatrical omissions.

Furthermore, Leibman's credit is missing on all known versions. MAD was so irate and embarrassed over their involvement they did one of their famous spoofs of the film in their magazine, only this was more spiteful and done in a detestable manner condemning the film and the periodicals association with the production.

"Doin' the best I can, Sgt. Patti"

It's a shame, though, that MAD didn't just let the writers cut loose with the material as they could have truly created something rude, crude and socially unacceptable. UP THE ACADEMY crosses that line, but seldom takes the ball and runs with it. Instead, it kind of just kicks it around a bit here and there.

Would you let this man cut your hair?

One aspect of UP THE ACADEMY that ensures its status as a cult film is its turbo charged soundtrack brimming with a plethora of punk new wave and rock tracks by numerous artists such as Blondie, Ian Hunter, The Boomtown Rats, Pat Benatar, Sammy Hagar, Cheap Trick and The Kinks among the bunch. Obscure, but critically lauded LA band, Blow Up (so named from the 1966 film), contributed three tracks to the film; the fist pumpin' anthem, 'Kicking Up A Fuss', 'Local Hero' and another anthem 'Beat the Devil', a track that sums up the plot of the movie nicely.

The Brave Young Men of Weinberg (working title for the film)

Personally, I think UP THE ACADEMY is a great movie. I never get tired of watching it and grew up with it catching the flick on HBO in the early 1980's. There were other raucous comedies at the time like USED CARS (which recently got a raw deal with a shitty remake), but MAD's sole excursion into bad taste comedy is memorable to a lot of people for different reasons. Without doubt, Ron Leibman totally makes this film a joy to watch and he has nothing to be ashamed of. Leibman was also funny as Capt. Esteban in 1981's ZORRO, THE GAY BLADE starring George Hamilton. Every scene involving Leibman is priceless and below are some choice lines of dialog from the film...

Liceman: (Liceman finds some stolen golden candlesticks) " take these candlesticks here for instance I do not think they belong in there now do they, punjab?"

Hash: "They were a gift from my uncle, sir."

Liceman: "You pick'em up."

Hash: "Yes, sir."

Liceman: "I ever catch you stealin' again, boy, I'm gonna rip ya balls off."

Hash: "Fair enough, sir."

Liceman: "Say it again."

Hash: "Fair enough, sir."

Liceman: "Say it again."

Hash: "Fair enough, sir."

Liceman: "Somethin' wrong with you, boy?"

Oliver: "No, it's just a little chilly in here."

Liceman: "Don't you mean it's just a little chilly in here, sir!"

Oliver: "Yes, sir."

Liceman: "Well say it!"

Oliver: "It's just a little chilly in here, sir!"

Liceman: "Say it again!"

Oliver: "It's just a little chilly in here, sir!!"

Liceman: "Say it again!!"

Oliver: "It's just a little chilly in here, sir!!!"

"This letter arrived for you a couple three days ago. I just around openin' it."

Liceman: (Having opened Olivers mail and warned him of going over the wall to see his girlfriend) "...Now, the rest of the letter's...just a bunch a...lovey dovey bullshit."

Oliver: "I'll tell her to stop that, sir."

Liceman: "Don't matter to me, boy. It's your mail."

Liceman: (To Oliver on whether he's been a good friend) "Now, sir...have I not been your friend?"

Oliver: "You have been my friend, sir."

Liceman: "Say it again."

Oliver: "You have been my friend, sir."

Liceman: "Say it again!"

Oliver: "You have been my friend, sir."

Liceman: (with evangelical conviction) "Say it again!!"

Oliver: "You have been my friend, sir."

Liceman: "Hash....that's what your friends call you now, isn't it, Hash?"

Hash: "Yes, sir."

Liceman: "Well, I am your friend, am I not?"

Hash: "Yes, sir."

Liceman: "May I call you Hash?"

Hash: "May I call you Lice?"

Liceman: "You like it when a gentleman ties you up?"

Potential sexual conquest #1: (with great surprise) "What?!?"

Liceman: "You know, with rope.....I got some parachute chord..."

"Here's to Butch and Weinberg..."

Liceman: "....Tickle ya ass with a featha'?"

Potential sexual conquest #2: (with disgusted look on her face) "What...!"

Liceman: "I said,'s particularly nasty weather...we been havin'"

And these....

Oliver: "I wrote to Candy over a week ago. Why hasn't she written me back?"

Ike: "She probably has. But you gotta be takes a long time for a letter to be Hell!"

Rodney: "You don't wet your bed, do ya'?"

Chooch: "No, I generally just piss over the side."

Ike: (As voiceover) "Dear reverend pop. I caught your act on the radio today. I hope the record sales are good. Oh, I also met your friend, the Devil. His name is Liceman. And you're right, he is white."

Hash: (Upon reaching a gas station run by cretins) "May we have some service, please?"

Gas station redneck #1: "Self serve...asshole!"

Hash: "Oh, let me get it!"

Ike: "Can I borrow the key, please?"

Gas station redneck #1: "Don't need a key to go in the woods...boy."

Ike: "Yazza..."

Bliss: (Describing a weapon of one kind, but a metaphor for another) "This hard, cylindrical, blunt ended artillery shell...smooth to the touch, but highly explosive when shoooved...into the chamber and fired."

To "say it again" just how funny Leibman is in this movie would be redundant, but necessary. Whenever he's on screen, you can't help but be in awe of the man. Not only that, but during the first half of the film, whenever he enters a room, a great wind blows announcing his entrance while Iggy & the Stooges' 'Gimme Danger' plays in the background. It's not until the last half of the movie that Liceman shows his true self, a man who longs for a friend and some female companionship, but is incapable of having either one.

A scene not in the finished film

His difficulty in finding a woman who doesn't mind having her "ass tickled with a feather" and his fondness for a terrible band named 'The Landmines' is proof of his status as a loner. Essentially he's just as much an outcast as his cadets he regularly chastises. His sexual fetishes bring about his downfall during the soccer race at the end when both cadet and instructor have something the other wants with the outcome of the game deciding who wins the "prize". The cadets have something up their sleeves, though, to make sure the odds are in their favor.

As with the later teen sex comedies of the 80's and the AMERICAN PIE movies that followed in the 90's, sex plays a big role in UP THE ACADEMY. Right from the outset when the viewer learns that the character of Ike has relations with his stepmothers, to the oversexed Oliver and his girlfriend Candy, to the nymphomaniac weapons instructor (played by Ringo Starr's wife, Barbara Bach), who treats her class as a metaphor for the sexual act all the way to Liceman's willingness to partake in bizarre sadomasochistic practices. It's all here.


The acting is also unusually good for this type of movie and it's a shame virtually none of the main performers outside of Macchio went on to anything of substance afterwards. Many of the other actors were veterans of television and movies such as Antonio Fargas (FOXY BROWN, STARSKY & HUTCH) and Tom Poston (NEWHART).

This shot, most likely a publicity still, isn't in the film, either

The script, as troubled as it was getting it up on the screen, defines the characters just enough to make them stand out. Oliver just wants to spend quality time with his busty girlfriend played by the terribly underused Stacey (HALLOWEEN 3) Nelkin. Ike wants to get up close and personal with his evangelist fathers wives. His second wife is played by none other than Tanya (BLACK SHAMPOO) Boyd. Hash is a young kleptomaniac who prays to cans of Castrol. Chooch comes from a mob family and just wants to be left alone. Rodney is a giggling, horny arsonist.

Hash (right) happens to "dig pig balls"

Despite its rocky road to gain some form of recognition aside from its small cult following, there's far more characterization here than people give the film credit for. The film bombed during its original theatrical run, but managed to survive on cable television and a was a staple of USA's Up All Night program where it played in a seriously cut version.

Finally receiving its long awaited due on DVD, Warner released the film a couple years ago in 2:35 widescreen so viewers can finally see some bits that were cut off the sides on the fullscreen VHS versions.

One more gratuitous pic with Stacey Nelkin

The only thing that would have made the package perfect would have been a documentary, or a commentary track discussing the films tumultuous trip to the big screen, or even the complete 26 track soundtrack as a second disc would probably be too much to ask for, but very much welcome. Oh, well, fans at last get the movie in letterboxed format. I'll "say it again", UP THE ACADEMY rocks as an unsung politically incorrect comedic cult classic.

This review is representative of the Warner Brothers DVD.

Terror of Mechagodzilla (1975) review


Katsuhiko Sasaki (Akira Ichinose), Tomoko Ai (Katsura), Akihiko Hirata (Dr. Shinzo Mafune), Katsumasa Uchida (Interpol agent, Jiro Murakoshi), Goro Mutsumi (Mugal)

Directed by Ishiro Honda

Commander Mugal, leader of alien beings residing on a dying world, hatch a plan to decimate Earth cities in an effort to provide a new civilization for their own diminishing race. To accomplish this, Mugal and his minions have redesigned the powerful giant robot, Mechagodzilla. With the aid of a disgruntled and disgraced Earth scientist, Dr. Mafune, the aliens utilize Mafune's own monstrous discovery, a prehistoric creature named Titanosaurus to level Japan. Godzilla, with the help of Interpol and Japans military forces, must battle the aliens and their monsters to stop the destruction of Japan.

Famed director and colleague of Akira Kurosawa, Ishiro Honda returns to the Godzilla series to helm the last entry of the 'Showa' Godzilla films. This final film for nearly a decade proves to be a somber affair and easily the most adult entry in over ten years. Bolstered by an amazingly downbeat and throbbingly menacing score by master Japanese composer, Akira Ifukube, Honda's last hurrah has a lot to recommend it to Godzilla fans. Some may be put off by a general lack of monster action during the first half, this one focuses a lot of attention on some of the characters. Although there is monster action sprinkled throughout, the bulk of it doesn't come until the last 30 minutes.

By this time in Toho's famed franchise the writing was on the wall that changes needed to be made due the downward spiraling box office returns. Some of the previous films during the 70's were lackluster and embarrassing efforts that, despite being extremely silly in some cases (GODZILLA VS. THE SMOG MONSTER, GODZILLA VS. GIGAN and GODZILLA VS. MEGALON I'm looking at you), nonetheless have their succession of fans. Considering GODZILLA VS. MECHAGODZILLA (1974) attracted a slightly bigger audience than the previous few 70's entries, Toho initiated a contest for fans to submit story ideas for a new G film. The winner, Yukiko Takayama, impressed producer, Tomoyuki Tanaka to such a degree, that he hired her to write a full script. This was the first time a woman had written a script for a Godzilla movie.

What is fascinating about TERROR OF MECHAGODZILLA, is that a woman is the centerpiece of the picture. The entire film revolves around the character of Katsura Mafune played by Tomoko Ai. She is an extremely tragic figure and the amount of screen time she receives lends this film some heart and soul that is lacking in the other 70's Godzilla pictures. Honda gives her and her possible love interest, Ichinose (Katsuhiko Sasaki) more time on screen than normally afforded human characterization in these movies at least at this stage in the series.

Katsura has more of an impact on the film for several reasons. Her father, Dr. Mafune, has a hatred for mankind as they dispelled his ideas about the existence of a living dinosaur. As a result of his scientific exile, he seeks revenge on mankind by helping the black hole aliens in taking over the world starting with Tokyo. What's especially cruel is that the aliens use Mafune's daughter as the catalyst for their own insidious plans.

With the new refurbished Mechagodzilla, the aliens likewise turn Katsura into a cyborg (in a startling scene we see a bit of nudity as Katsura is operated on after falling from a cliff) and later implant Mechagodzilla's controls in her stomach. She eventually falls in love with Ichinose, but is torn between her remaining human heart and emotions and the cold thought process of a machine that lives to obey its creator. Honda handles this aspect of the film with a maturity not seen since some of the earlier Godzilla films from the 1960's and even the original film from 1954.

Also on hand from the first GODZILLA is Akihiko Hirata who played Dr. Serizawa in the movie series opener. Hirata again plays a mad scientist, but this time not for the good of mankind. It was his colleagues that thought his ideas were absurd that drove him to madness. Hirata plays the role as a disgruntled, and sometimes unhinged old man. Ultimately, in classic tragedy fashion, Mafune brings about ruin for those closest to him. His somewhat unkempt look gets across the notion he is a few sandwiches short of a picnic, if not a bit a bit silly looking with the bushy white wig and mustache.

Teruyoshi Nakano also created some good effects work for this production. Granted, not everything works, but there is an improvement over most of the previous films from the 1970's. Mechagodzilla has been changed slightly from the previous movie and much is made of his impending assault on Tokyo.

Nakano goes to town with some superior city destruction during the last half hour when the gigantic cyborg is finally unleashed on the world. These scenes of destruction are most impressive especially a shot of MG decimating several blocks at once with rotating missiles. It looks like an earthquake as the streets erupt in dirt and concrete, automobiles fly into the air and then everything sinks below the surface.

As already mentioned, there is a noticeable lack of monster action till the last 30 minutes (aside from a brief attack around the 45 minute mark). But upon multiple viewings, it works in the films favor as this last film for nearly a decade benefits from some much needed human interaction which was seriously lacking in most of the 70's films.

There is also some questionable violence (an escapee is shot to death by the aliens, Mugal beats his men with a whip) that is all the more strong because of the darker tone of the movie. Ishiro Honda really makes his last Godzilla film count imbuing the production with a somber tone, but cuts loose during the monster melee at the end showing off some wild wrestling style action. Godzilla indulges in some boxing maneuvers and Titanosaurus shows he has one helluva upper cut and kick.

The movie contains some low angle shots during some of the monster scenes particularly those featuring Titanosaurus. In most other movies, the monsters were seen from a distance during their on screen battles. With a few camera shots taken at a low angle, the impression of size is more profound making the beasts seem much larger belying the fact there's a man in a rubber suit performing the action. Godzilla's first appearance is also unusual.

Titanosaurus is making a shambles of the city as the camera slowly pans left and we see a silhouette appear in the background. The darkness is illuminated revealing the shadow to be Godzilla. He punches his fists together and the two creatures have a brief skirmish before the brain wave controlled Titanosaurus is called away to fight another day. Godzilla's appearance during the final fight is also a surprise appearance. He just shows up as Titanosaurus is about to crush two children underfoot. You never know if the kids are killed, or not, though.

The big end battle is very exciting, if a bit silly. Godzilla and Titanosaurus both fight like they're in a wrestling match. The fight is replete with punches, kicks, tackles and body slams. Personally, I happen to enjoy monster fights like this as it adds a level of humanism to the creatures you would otherwise not get. It really helps in rooting for Godzilla. Another moment (as in other 70's entries) where the monsters are humanized is when Titanosaurus sends Godzilla flying through the air after delivering one helluva soccer kick. Causing an earthquake when he hits the ground, the creature with the thunderbolt kick lets out a big monster belly laugh in amusement.

The Godzilla costume used here encores from the previous film (with some minor modifications) and is probably my favorite of the 70's pictures. The King of the Monsters has a face akin to a scrappy bulldog which somehow makes all his punching combinations and slams that much more fun to watch. The one fault with the costume is during the last scene when a promotional suit was substituted for a shot of the big guy smiling at the humans just before he heads out to sea.

The Mechagodzilla (bearing an MG2 insignia) suit is a new creation from the previous film bearing a more slender frame and more darker metallic tone. For much of the final battle, MG is a more sinister, guileful robot creature than in the previous movie. Here, it sort of lets Titanosaurus do the bulk of the fighting and only steps in when the need arises. When the alien creation finally cuts loose with all his weaponry, this segment is actually ported over from the previous MG film, only the negative is flipped showing the action taking place on the opposite side.

In this film, like some of the others prior, there is a concrete effort to meld the human action with the monster action. Whilst the giant monsters battle amidst the ruins of Tokyo and the surrounding countryside, the military and Interpol agents aid in the fight as well as pursue the alien invaders.

TERROR OF MECHAGODZILLA was drastically cut for its theatrical release as THE TERROR OF GODZILLA. Its subsequent US video release from Paramount I bought was even missing the title of the movie! Their print was the same cut version from the theatrical release only they removed the TERROR OF GODZILLA title to avoid confusion.

It's a shame so much of the human drama was eliminated as it's very effective. Some of the scenes that fell victim to the editors scissors was a crucial moment and long sequence during the conclusion that involved the destruction of Mechagodzilla and the chacters of Katsura and Ichinose. Another scene was a bit of violence where one of the aliens is strangled and as he dies, he rips his face off revealing his true visage underneath.

Henry G. Saperstein, who had been a co-producer on a handful of Toho monster films such as MONSTER ZERO (1965) and WAR OF THE GARGANTUAS (1966), distributed TERROR OF MECHAGODZILLA in America, but had no involvement in its production as he had in previous movies. He was responsible for the aforementioned truncated version released to theaters as THE TERROR OF GODZILLA. Oddly enough, he sold the film to television under its original title in a far more complete version and with an added prologue that detailed Godzilla's origins via stock footage from past films.

The movie did pretty well in America, but the box office wasn't strong enough in Japan to sustain the weary series for much longer. It was decided that the Godzilla series would be put to rest for an indefinite period until the time was right to resurrect the giant monster once again. In the interim there were other Kaiju movies and tv shows mostly of the ULTRAMAN variety. Toei got in on the act with their "serious" attempt at creating a sort of Kaiju version of JAWS with the sincerely stupid and infinitely vapid mess that is LEGEND OF DINOSAURS & MONSTER BIRDS (1977). Godzilla would return in a big way in 1984 with the simply titled, GODZILLA.

TERROR OF MECHAGODZILLA (1975) is a huge favorite of mine and one of the most memorable times in my childhood of catching monster movies on television during the early 80's. It has a lot of things going for it that separates it from other Japanese monster movies. Sadly, even with its serious tone it will unlikely appeal to anyone but those fans of the genre and no one else. Bolstered by an awe inspiring score from Akira Ifukube, it's easily the best of the 1970's Godzilla movies and one of the best films from the revered Ishiro Honda. I highly recommended it to Godzilla fans.

This review is representative of the Classic Media DVD

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