KOJAK: KISS IT ALL GOODBYE

CL Kojak2I like to think that can be reasonably objective when it comes to my favorite actress Carol Lynley. There was a period beginning about 1975 where Carol began a down-slide. She always needed a good director to keep her in check and focused, but during the Seventies as her movies were becoming cheaper independent productions and her TV shows routine, her directors were less than inspiring. That is until she worked with Telly Savalas on Kojak and gave arguably one of her finest TV performances ever.

In “Kiss It All Goodbye,” which aired Feb. 22, 1977, Carol played a high fashion model who is accidentally shot by Det. Crocker (Kevin Dobson) and is paralyzed during a botched fur heist. Telly Savalas was not supposed to direct this episode and before filming began he told Carol Lynley he would like to direct her some time. That time became now when the director scheduled for the episode was rushed to the hospital and Savalas stepped in. You can tell right from Carol’s first scene that Savalas spent time cultivating a performance from her. Polly, lying in her hospital bed, tells Kojak that she is a model and that to keep healthy and her legs shapely she goes for long walks, which led her in front of the building where the robbery occurred. As he goes to leave, she throws off the sheets and asks him if he thinks her legs are pretty. She then cries she can’t feel them. The next day Crocker learns the doctors are reluctant to remove the bullet lodged in Polly’s back leaving her a paralegic for now. When he shows up to her room, the look on his face reveals all and Polly asks him to leave as she contemplates her future in a wheelchair. Carol, prodded by her director no doubt, projects a nice range of emotions in these scenes from confusion to despair to anger arousing audience sympathy.

CL KojakCrocker is devastated about what he did to Polly and begins seeing the wheel-chair bound young woman determined to help her walk again. They grow closer and Polly develops feelings for him. Then Polly gets a visitor. It is Ben the thief from the burglary (played by a young sexy, yes I said sexy, Christopher Walken) who kisses her hello. Turns out that Polly was the lookout and not an innocent bystander afterall. He admits he tipped off the cops to get their third partner Jaime, who was killed in a shootout, out of the way because he couldn’t trust him. Not wanting to jeopardize her relationship with Crocker, Polly gives Ben written permission to enter her safety deposit box to retrieve his share of the money.

Meanwhile Kojak and crew are closing in on the thieves as they place Jaime and Polly in Cleveland at the same time of similar fur heists. When they discover Polly visited her bank 3 days after each burglary in NYC after a fence paid for the furs, they realize she was part of the robberies.

Ben gets spooked at the bank rightly thinking the cops are watching and Polly set him up. In tears, Polly tells him to take all the money and she won’t give him up to the cops. She’ll do it just so Crocker doesn’t find out what she really is. Ben won’t back off and insists they go together to the bank and then run off. Carol is very good here as Polly comes to terms that her idyllic time with Crocker has to come to an end. He calls just then with good news from another doctor  who thinks she can operate, but Polly is harsh with him not wanting anymore false hope about walking and never wanting to see him again. Crocker is shaken and then learns from Kojak that Polly was the lookout. He refuses to believe it and rushes over to her apartment just as Ben and Polly are exiting. Ben tries to make a break fo rit, but it collared by Kojak.

At the station house, Crocker and Polly have one last moment together. As he wishes her well, Polly sadly tells him that she wished they met before she got involved with the robberies. When Crocker says she would have looked right passed him to the good looking guys, Polly says no she wouldn’t have. He then gives her a kiss goodbye. Kojak tells Polly that Crocker still has faith in her and Polly poignantly replies that she just wanted her time with him to last  a bit longer knowing it would not be forever.

Telly Savalas deserves a lot of credit for her really convincing performance. She doesn’t rush her lines as she does in some other TV shows and really conveys a range of emotions. It also helps that she is working with 3 great actors, Savalas, Christopher Walken just before winning his Oscar for The Deer Hunter, and Kevin Dobson keeping her on her A-game. Though the audience learns she is not an innocent, Carol’s touching performance and sweet chemistry with Dobson’s guilt-ridden Crocker have us hoping they can stay together even though the odds are slim. Too bad Carol never got to work with director Telly Savalas ever again.

As a side note, I remember the exactly the night this episode aired. My dad coached the softball team for his company, Helena Rubinstein Cosmetics. The league had their first captain’s meeting before the new season began. He took my brother and me along for company. I remember leaving there about 9:30ish and feeling very antsy as I knew Kojak was starting in a half hour. We got home a bit after 10pm. I raced into the house and turned the TV on only missing the first 10 minutes or so. Lordie I was such a freak! Still am! LOL

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NO BANGING THOSE DRUMS SLOWLY

Being interviewed on camera next week for a documentary about 60s starlet Susan Oliver so catching up on some of her movies. Just watched The Gene Krupa Story (1959) for the first time. Sal Mineo gives his usual intense performance as the legendary drummer who hits the big time only to be taken down by a drug charge (yikes who put those reefers in my coat!?!). Most impressive for me was Mineo’s skills with the drums. He apes Krupa’s style almost flawlessly and when he wails on those drums it is mesmerizing.

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I really liked James Darren in this playing Gene’s good friend and on-and-off bandmate. Darren is strikingly handsome and has a nice guy charm perfect for the part. Seeing a very young Yvonne “Batgirl” Craig play a teenage tart is fun, as is Susan Oliver as a glamorous pot pushing torch singer who leads Krupa down into the gutter. She is trouble in a tight evening gown. When Gene needs her to help prove the charges false, this singing canary flies the coop. Oliver could play good and bad very convincingly, but her turning down a studio contract and her desire to act on Broadway seems to have stopped her from getting roles that went to Shirley Knight and Diane McBain, and later to Yvette Mimieux.

Only actor that disappoints was the blah Susan Kohner. But to be fair she had the least interesting role as the good dependable girlfriend who steps aside so her man can enjoy his success and then reappears to help him get big again. Overall a good entertaining bio pic except that the fashions to me looked late 1950s, but think it was supposed to be 1930s/1940s. This is long way from the sleazy Who Killed Teddy Bear? but even in this, Mineo sports a tight crotch you can’t help be drawn to. Think he and Jon Hamm have something in common. LOL

A WARM UP FOR SPRING BREAK

As winter comes to an end, I get antsy for warmer running weather. To put me in the mood, here is my intro from last April on TCM for the ultimate Spring Break movie, Where the Boys Are.

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Despite its uneven mixture of slapstick comedy and melodrama and its heavy handed moralizing about the evils of premarital sex, Where the Boys Are is so handsomely produced and charmingly acted that it can’t help but be entertaining.  When the gals drop their guard and party hearty the film is it top drawer but when they get in that mindset to trap a husband the film falls flat.  As for the boys they are all portrayed as having only one thing on their mind—sex!

Where the Boys Are is probably one of the first movies to suggest that it is okay for young women to have sex before marriage.  This was very outlandishly daring for 1960.  However, to counteract this novel idea, good girl Merritt doesn’t practice what she preaches and the audience is hit over the head by Prentiss’ character who is out to land a husband while holding on to her virginity.  Yvette Mimieux is the easy girl out to reel in an Ivy Leaguer using her feminine wiles but of course she has to pay for her wanton ways.  Not only does she get raped, the poor thing gets hit by a car to boot.  Mimieux is just another popular starlet in a long line of late fifties/early sixties fair-haired good girls gone bad who had to suffer for going all the way.

The movie captures the craziness of Fort   Lauderdale wonderfully from the crowded beaches to the packed sidewalks and traffic-laden streets.  The on location photography elevates the film immensely.  However, the scenes with the principals on the sand were obviously filmed on the MGM back lot and none of the actors wade into the water on screen.  Some of writer George Wells hip dialog was square even back in 1961 but a number of his lines do retain their humor especially when delivered by deft comic actors Jim Hutton and Paula Prentiss.

The cast for the most part is first-rate and very attractive.  The fresh-faced Dolores Hart with her big expressionistic blue eyes makes a charming leading lady and is always one step ahead of George Hamilton who makes a super suave though wooden Ryder Smith who is out to seduce her.  Paula Prentiss proves to be a delightful comedienne in the vein of Rosalind Russell or Eve Arden and delivers some funny wisecracks as Tuggle though her determination to remain chaste wears thin.  She is matched every step of the way by the equally good Jim Hutton as her goofy love interest who is “queer for hats.”  Connie Francis is too pretty to be cast as the “unattractive one” but she is surprising humorous playing the role in a ditzy manner.  The only one who comes off maudlin is the beautiful Yvette Mimieux but to be fair she is saddled with the weakest role of the doomed ingenue.  Of course, as the “bad” girl she is the only one who sports two-piece swimsuits.  Hamilton bares his chest briefly while Hutton remains covered up leaving those cads Rory Harrity and John Brennan to spice up the film in the beefcake department.

The title song, belted out by Connie Francis at the beginning at end of the movie, is one of the most memorable songs of sixties Hollywood as it totally captures the essence of the movie.  Suffice it to say the fact that the snooty music branch of the Academy failed to nominate it for Best Song is not surprising considering some of their other misguided nominations from the past.  Composer George Stoll also incorporates the haunting melody into his musical score.  Pete Rugolo contributes some cool dialectic jazz pieces to heighten the mood.

All in all Where the Boys Are is a good introduction to the Frankie and Annette beach party movies that were yet to come.

 

SPEAKING OF BOND GIRLS…

Check out this entertaining video tribute, which includes current comments from a bevy of former Bond Girls including:

Luciana Paluzzi as Fione Volpe a female executioner who becomes Bond’s chief nemesis while he is on assignment in the Bahamas in Thunderball. Per Louis Paul, my co-writer of Film Fatales, “The combination of her gutsy performance and attitude made viewers remember her performance far better than screen ingenue [and Lead Bond Girl] Claudine Auger, who seems to have been cast for appearance rather than talent.”

Trina Parks the first African-American actress to be featured in a James Bond movie, Diamonds Are Forever. To this day, the scene where Parks as the athletic five foot eight and a half-inch, bikini-clad bodyguard Thumper, who gives 007 a thrashing, is one of the most exciting fight sequences the series has to offer.

Lana Wood as the aptly named Plenty O’Toole (“Named after your father, I presume,” cracked James Bond.) Only on screen for a few scenes, the delightful Wood was able to over shadow the shrill Jill St. John who viewers were stuck with for the entire movie.

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