Tag Archives: Made for Television

RUDOLPH THE RED-NOSED REINDEER (1964)

This fifty-four year old made-for-television holiday film has recently generated controversy on Twitter, proving that self-professed liberals can be just as obtuse as conservatives. The controversy was over the “bullying” in the Arthur Rankin/Jules Bass stop-animation. Its message is blatantly anti-bullying. Yes, Santa is a jerk at first and guilty of being bigoted and short-sighted, but hey, the narrator clearly states “Even Santa realized he was wrong,” and he makes amends. Gee, I thought the gospels and Charles Dickens all rather made the point that Christmas was also about admitting mistakes, learning from them, forgiveness, etc. However, happy-happy, joy-joy pseudo New-Agers seem to prefer everything whitewashed. Forget those dullards and the inherent silliness of Twitter users because this is possibly, along with Batman Returnsthe most delightfully weird holiday film of all time; and given that it’s from Rankin and Bass, that’s saying a bit. It’s doubtful that Rankin and Bass truly grasped their own weirdness, which makes it all the better.

None other than “Big Daddy” (of Cat on a Hot Tin Roof), Burl Ives, is our gospel narrating (pre-“Frosty”) snowman. He lets us know there’s a castle on the left here in the North Pole. Santa’s kind of like King Herod; a bit bitchy,worrying himself skinny about something, but even he’s not sure what.

Meanwhile, Rudolph is born in a cave, kind of like a reindeer Jesus, and there’s Mary and Joseph in the guise of Mr. and Mrs. Donner (I guess she doesn’t get a name). Rudolph is so smart he begins talking right after his birth, but he’s also “gifted” in having a shiny red nose, which agitates Donner to no end. How could he have fathered a misfit? Santa pays a visit to the new family and, upon seeing that blinking beak, lectures the newborn Rudolph about fitting in. 

Back at the castle, Hermey1)Ed: Originally article incorrectly read “Herbie” the elf. See comments on this post. is an elf who hates making toys and singing. But that’s what elves are supposed to do. Not Hermey; he wants to be a dentist. He’ll never fit in. “Why I am such a misfit?” is the the anthem of both Rudolph and Hermey.

At the reindeer training, the yearlings, including Rudolph, his new friend Fireball, and potential GF Clarice are all introduced to jerk redneck reindeer in a baseball cap, Comet. Naturally, things screw up when Rudolph’s shiny noise is discovered. No more reindeer games for him.

Like a savior cast out, Rudolph goes it alone… until he bumps into runaway Herbie. Cue song change from “Why am I such a misfit?” to “We’re a couple of misfits.” Together, they go out into the wilderness with the threat of Satan (in the guise of a bumble abominable) not far behind.

TStill from "Rudolph the Red-nosed Reindeer" (1964)hings get wackier still when our heroes meet prospector Yukon Cornelius. His anthem is “even among misfits, I’m a misfit.” He’s a boisterous mess, unable to decide between silver or gold, pea soup or peanut butter, and his presence makes no sense, rendering him the coolest character in the whole film. Yukon is perfectly voiced by familiar character actor Larry D. Mann, who was part of the Canadian Air Force team that liberated the holocaust death camps (his testimony is on YouTube).

With the predator Bumble closing in, our trio of misfits make a pit stop at the island of misfit toys, lorded over by a flying lion (!) named King Moonracer. A Charlie in the Box, a train with square wheels, a spotted elephant, a water gun that squirts jelly, an ostrich-riding cowboy, a boat that can’t stay afloat, and a doll named Sue, whose deformity is a tad ambiguous, are among the inhabitants. 

Herbie gives the Bumble a root canal, Yukon  sort of dies and resurrects, Santa gets fat again, Rudolph is the savior he was born to be, everyone learns the lesson of bullying, and the misfit toys get rescued. The end. 

This is a long way from the simplistic song made popular by singing cowpoke Gene Autry, and one would be tempted to ask WTF were Rankin and Bass thinking if it weren’t such a hoot. If we included made for TV Christmas movies here, I’d have likely obsessively pushed for its inclusion on The List. Rudolph was an enormous success. Unlike twitterers, 1964 audiences didn’t give a hoot or a holler about its weirdness, taking it all in stride, and the path was paved for many more Rankin and Bass oddities/blessings to come. At least one of those will be covered this month, but next week: a
Dr. Seuss/Chuck Jones/Boris Karloff combo. 

References   [ + ]

1. Ed: Originally article incorrectly read “Herbie” the elf. See comments on this post.

325. THE HYPOTHESIS OF THE STOLEN PAINTING (1978)

L’hypothèse du tableau volé

“People love mystery, and that is why they love my paintings.”–

“Lord, what would they say
Did their Catullus walk that way?”–William Butler Yeats

Must See

DIRECTED BY:

FEATURING: Jean Rougeul

PLOT: An unseen narrator explains that an exhibition of seven related paintings from the fictional artist Fredéric Tonnerre caused a scandal in the 19th century and were removed from public view. We are then introduced to the Collector, who owns six of the seven paintings—one of them has been stolen, he explains, leaving the story told through the artwork incomplete. Using live actors to recreate the canvases, the Collector walks through the paintings and constructs a bizarre interpretation of their esoteric meaning.

Still from The Hypothesis of the Stolen Painting (1978)

BACKGROUND:

  • Raoul Ruiz is credited with more than 100 films in a career that lasted from 1964 until his death in 2011.
  • Cinematographer Sacha Vierny had an equally distinguished career that spanned five decades. Especially known for his collaborations with and , he lensed the Certified Weird films Last Year at Marienbad (1961), Belle de Jour (1967), The Cook the Thief His Wife & Her Lover (1989), Prospero’s Books (1991), and The Pillow Book (1996).
  • Ruiz was originally hired by a French television channel to produce a documentary on writer/painter Pierre Klossowski. The project morphed into this fictional story that adapts themes and plots from several of Klossowski’s works, especially “La Judith de Frédéric Tonnerre” and “Baphomet.”
  • Many of the figurants in the tableaux vivants were writers and staff from the influential journal “Cahiers du Cinema.” Future film star Jean Reno, in his first screen appearance, is also among those posing.

INDELIBLE IMAGE: Obviously, one of the tableaux vivants—the three dimensional recreations of Tonnerre’s paintings featuring motionless, silent actors. From Diana and the hunt to Knights Templar playing chess, these are (perhaps) inexplicable scenes which, the narrator explains, “play[s] carefully on our curiosity as spectators who arrived too late.” The strangest of all is the tableau of a young man stripped to the waist with a noose around his neck, surrounded by men, one holding a cross, others in turbans and brandishing daggers, and three of whom are conspicuously pointing at objects within the scene. Hanging above them is a suspended mask.

THREE WEIRD THINGS: The hanged youth; whispering narrator; Knights Templar of Baphomet

WHAT MAKES IT WEIRD: Performed with art house restraint in an impishly surreal spirit, this labyrinthine, postmodern meditation on art criticism plays like a movie done in the style of Last Year at Marienbad, adapted from a lost Jorge Luis Borges story.


Opening of The Hypothesis of the Stolen Painting

COMMENTS: The ultimate question Hypothesis of the Stolen Painting Continue reading 325. THE HYPOTHESIS OF THE STOLEN PAINTING (1978)

STOCKING COAL: THE STAR WARS HOLIDAY SPECIAL (1978)

With the release of Star Wars: The Last Jedi (directed by ), it appears that Saint Nicholas has appeased a considerable sector of movie goers in 2017, except for the formula-craving fanatics who were preferring something akin to the pedestrian Rogue One. Johnson’s The Last Jedi, in declining to subscribe to expectations of franchise assembly line lovers, has refreshingly provoked butthurt nostalgists, and revealed what a lot of people already knew: the wrongheadedness of fandom, seen at its silliest and most cult-like in petitions to remove the film from “the canon” and Twitter threats cast at the director.

Still from the Star Wars Holiday Special (1978)Of course, the jolly old elf has delivered us a few genuine clunkers over the last seventeen hundred years, among the most notorious being the 1978 “Star Wars Holiday Special” (directed by Steve Binder, best known for the 1968 ‘Elvis Comeback Special”). It’s a made-for-television abomination that George Lucas and company have desperately tried to keep buried, but like bed bugs at night—the damn thing just wouldn’t go away. It’s a good thing too; ’tis the perfect present for infantile palettes. Since its release, “The Star Wars Holiday Special” keeps cropping up in bootleg copies. The late even attempted to deny its existence and dismissed it as an urban legend, which only fanned the flames of demand. Despite her protestations, there she is, along with many of the original cast.

Not even the endurance tests of The Ewok AdventureHoward the Duck, Willow (1988), or The Phantom Menace (1999) can prepare one for the cringe-inducing ineptitude of the “Holiday Special.” After the 1977 film took the world by surprise, Lucas, knowing that the Empire wouldn’t be striking back for another two years and fearful that audiences had short term memories, unwisely agreed to CBS’ request for a holiday variety show, utilizing original cast members and footage spliced in from A New Hope (although it wasn’t called that at the time). As hard as it may be for some to fathom, this is Star Wars on the level of the most unwatchable Z-movie productions. Wretched in unparalleled proportions, its too embarrassing to be worthy of a genuine laugh.

Fleeing an imperial starship, Han Solo and Chewbacca jump into hyperspace so they can arrive in time for a Wookie holiday called “Life Day,” because Malla (Mrs. Chewie) is pining for her hubby back on the home planet (represented by a shitty drawing of a house straight out of “Swiss Family Robinson” meets “The Jetsons”). Being a stay-at-home mom, Malla wears an apron as she watches a TV program with Harvey Korman in drag as a kind of intergalactic Julia Childs octopus teaching us how to cook a cake: “Beat, stir, whip, beat, stir, whip.” It might have been amusing at a quarter of its length.

What is “Life Day?” Although the entire special is about this Wookie holiday, who the hell knows what it’s about? Apparently, it’s close enough to Christmas and/or Thanksgiving to warrant this special. Malla, anxious for Chewie to get his ass home for the holidays, calls a Luke Skywalker adorned in eyeliner. Of course, Malla just oinks. Fortunately, Luke speaks oink and assures her that her Wookie man meat will be home soon.

Han, Luke, and Leia are minor characters, with the special focused on Chewbacca’s family. Itchy (Chewie’s dad) is an argument for euthanasia. Lumpy, the Wookie rugrat, watches circus holograms while stoned out of his gourd on opium, then runs around the hut playing with a toy storm trooper spaceship. Itchy plays with it too. Gramps doesn’t seem to like Lumpy; but Luke never shows up to translate, so it’s anybody’s guess.

Art Carney stops by as Trader Saundan. He comes from Planet C. We can only assume there’s a planet A & B. Art brings presents; so, perhaps he’s a bit like Santa. He gives Malla a hologram of Jefferson Starship (this is in-between the band’s cool Jefferson Airplane phase and their fingernails-down-a-chalkboard Starship phase, although the band is already devolving here). Itchy receives a hologram sex doll of Diahann Carroll as the  Swan Woman (she has a silver thingamajig on her head, but at least she sings better than Starship). Disconcertingly, with one had on his crutch and the other on a remote control, Itchy clearly gets aroused (he oinks a lot). With all the maudlin “Leave it to Beaver”-style Wookie mugging, it’s an uncomfortable mix.

Bea Arthur, as Ackema, the bitchy cantina owner, is essentially a dancing Maude in space. The rest is a mix of cheap animation (which marks the first appearance of Boba Fett), a couple of storm troopers, some footage of Darth Vader, and a WTF finale of red robed Wookies in the sky, as Fisher sings execrable lyrics to John Williams’ Star Wars theme while Han coos over her. This is easily the weirdest entry from the Star Wars universe, but this is a case of weird being something best avoided. Think of it as Star Wars doused in sentimental maple syrup mixed with buttermilk. Lucas’ name is nowhere to be found in the credits, and he has consistently maintained that he had nothing to do with the special. He doth protest too much, methinks.

HOTTER THAN HELL ITSELF: KISS MEETS THE PHANTOM OF THE PARK (1978)

Throughout the 1970s, the rock band KISS served as a kind of symbol for my own paradoxical, f’ed-up world. On Sundays, we frequently heard diatribes against the band spewed from the pulpit. “Knights in Satan’s Service,” the preacher warned, again and again and again. Believe me: Gene “The Demon” Simmons, with his long wiggling tongue and blood-drinking candids (from various albums) inspired countless, tongue-speaking “the Holy Ghost has taken over the service” and paranoid “Jesus is coming again soon” frenzied Sunday night services that usually dragged on past midnight, which left us dragging through Monday morning classes.

At school, it was the exact opposite. My parents, for reasons I still cannot fathom, moved us from Indianapolis to a small, gun-toting Klan county populated by trailer parks, farms (which smelled of cow fertilizer for six months out of the year), and mini-suburbs. To many of the kids from this hayseed community, Peter, Paul, Gene, and Ace were akin to Matthew, Mark, Luke, and John, and if you were foolish enough to criticize the sacred prophets of rock and roll, be prepared for an ass whuppin’. You weren’t even safe breathing negatives about KISS in front of the white trash girls, because they had become zealous converts, one and all, with Peter’s “Beth, I hear you calling,” and would promptly order their boyfriends to beat the holy shit out of you from here to Sunday. As stupid as I was in my teens, I was still smart enough to keep my mouth shut on the subject of KISS. Actually, I was never sure what all the fuss was about either way. Their songs were harmless trifles and their stage act wasn’t much different than the average movie. My younger brother, on the other hand, got caught up in the KISS phenomenon and actually risked buying two of their LPs. Unfortunately for him, he was eventually caught in possession of “Hotter than Hell” and “KISS Alive.” Needless to say, those records were offered up  to an angry Jehovah in the sacred church parking lot bonfire shortly before Sunday night service (I can still hear those echoes of the Burgermeister Meisterburger laughing “the children of Somberville will never play with toys again” as he lit the torch).

Still from Kiss Meets the Phantom of the Park (1978)Imagine my surprise then when, a few years later, I caught Kiss Meets the Phantom of the Park (1978) at a friend’s house (the church folk never found out). My confusion over the KISS brouhaha magnified, only (perhaps) surpassed by Gene becoming a kind of constipated Pat Boone-type late in life.

Kiss Meets the Phantom of the Park could very well be to 1970s TV movies what Manos: The Hands of Fate was for the 60s: a movie so Continue reading HOTTER THAN HELL ITSELF: KISS MEETS THE PHANTOM OF THE PARK (1978)

279. THE SECRET ADVENTURES OF TOM THUMB (1993)

“We have tried to create a kind of ‘nether world’ that would seem timeless. A strange place that would be uncomfortably familiar.”–Dave Borthwick

RecommendedWeirdest!

DIRECTED BY: Dave Borthwick

FEATURING: Nick Upton, Deborah Collard

PLOT: When wasp-guts accidentally fall into a jar of artificial sperm, the resultant baby is a fetus-like boy about the size of a thumb. While Tom is still a pre-verbal toddler, men in black suits kidnap him from his poor but loving home and take him to their “Laboratorium” for study. Escaping with the help of a tiny dragon-like creature, Tom stumbles upon to other miniature people who live in a state of eternal war against the “giants,” before reuniting with his father.

Still from The Secret Adventures of Tom Thumb (1993)

BACKGROUND:

  • The movie’s plot is suggested by the fairy tale “Tom Thumb,” the oldest surviving English folktale, but beyond the presence of a tiny child there are few similarities to the ancient legend.
  • The movie was originally commissioned by the BBC as a ten-minute short to be shown at Christmastime, but they rejected the end product for being too dark. The station changed its mind after the short became an award-winning hit on the festival circuit, and co-funded this one-hour feature version of the story.
  • Tom Thumb was also partly funded by Led Zeppelin bassist John Paul Jones, who also wrote the theme song.
  • Besides stop-motion animation, Tom Thumb uses a technique called “pixilation,” which is basically the same idea but with live actors instead of models. Director Borthwick found that professional actors lacked the patience to sit still for the hours sometimes required for shots where humans interacted with puppets, so he used animators and technical personnel in the main roles instead (star Nick Upton is a primarily an animator specializing in pixilation).
  • After debuting on television, Tom Thumb toured the film festival circuit and even booked theatrical dates in the U.S., paired with the excellent and bizarre short “Franz Kafka’s It’s a Wonderful Life.”

INDELIBLE IMAGE: There’s so much to choose from—particularly the surrealistic menagerie of disembodied body parts and mix-and-match homunculi from the Laboratorium—that the wilder images cancel each other out. In fact, it’s the faces of our two leads—the innocent, half-formed clay features of Tom and the greasy, beaming mug of his proud working-class dad—that stick in the mind. Indeed, for the poster and DVD cover images, the producers used such of scene of the two principal characters posing together (it’s a promotional still of a domestic scene that does not actually occur in the movie).

THREE WEIRD THINGS: Flying syringe insect; crucified Santa; halo of vermin

WHAT MAKES IT WEIRD: The tone of this fairy tale is hard to explain: equal parts silent slapstick, dystopian futurism, and ian surrealism, delivered through twitchy visuals that makes it play like a particularly restless dream. There is an unexpected sweetness to the concoction that helps it go down more smoothly than you might expect, but it still leaves a residue of nightmare behind.


Original trailer for The Secret Adventures of Tom Thumb

COMMENTS:The had been producing surreal, Continue reading 279. THE SECRET ADVENTURES OF TOM THUMB (1993)

LIST CANDIDATE: LI’L QUINQUIN (2014)

P’tit Quinquin

Recommended

DIRECTED BY: Bruno Dumont

FEATURING: Alane Delhaye, Bernard Pruvost, Philippe Jore, Lucy Caron

PLOT: A big city detective with facial tic disorder comes to a remote French beach village to investigate a bizarre double murder: parts of the victims were found inside the bodies of cows.

Still from Li'l Quinquin (2014)

WHY IT MIGHT MAKE THE LIST: Bruno Dumont’s sprawling (206 minute) longform Gallic mystery is quirky and ominous in about equal measure, with an ambiguous non-conclusion that adds to the weirdness while also making the entire enterprise feel strangely incomplete.

COMMENTS: Because of its quirky dark humor and strange-outsider-in-a-stranger-town mystery plot, L’il Quinquin almost always dubbed “the French ‘Twin Peaks.'” Indeed, it shares many of that series’ strengths and weaknesses: absurd, dark humor; meandering subplots that can become more interesting than the main thread; fascinating rural eccentrics; a hint of the supernatural; and an unsatisfactory resolution.

That last part bears keeping in mind. Although L’il Quinquin is presented as a mystery, beginning with the macabre discovery of human body parts inside of cows, the murders are, most frustratingly, not solved at the end. This fact is in accord with the director’s wishes—he presents a world where evil is allowed to triumph, even to the extent of remaining anonymous—but, after such an amazing buildup, the anticlimax inevitably leaves a bit of an unpleasant aftertaste.

That disappointment won’t arrive until the very end, however, and there is much to savor up until then. We’ll start with the performance of Bernard Pruvost as Commandant Van der Weyden, a detective who looks like Albert Einstein with uncontrollable facial tics—his expression changes an average of two times per second. Pruvost projects a weird sort of competence, and serves as the film’s disapproving moral center, but shares the limelight with Alane Delhaye as the titular Quinquin, a mischievous “bad kid” who absorbs the town’s unreflective racism, but is redeemed by his innocence and his genuine love for a neighbor girl (Lucy Caron, whose penetrating stare recalls the blank intensity of Kara Hayward in Moonrise Kingdom). There’s also an African Muslim boy who snaps when a popular white girl rejects him; a beautiful and talented young chanteuse who seems bound for the big city; Carpentier, Van der Weyden’s dim and nearly toothless second-in-command; Quinquin’s uncle, a speechless, nearly catatonic wreck just back from the institution, given to wandering around in circles; and dozens of other weirdos in brief bits (like the developmentally-disabled English man who throws dishes in a restaurant while the detective is giving a status report to his superior officer). Offbeat comic touches, often quite absurd, break up the serious dramatic sections: a pair of priests preside over an awkward funeral and giggle inappropriately; Quinquin is bedeviled by a costumed younger boy calling himself “Speedyman!” who shows up on his doorstep without explanation; a car careens down the street on two wheels. But in the midst of all this everyday madness, things grow ever darker, as secrets are uncovered and more and more bodies are found, leading the detective to his eventual, apparently final, conclusion: “l’enfer, ici” (“this is Hell, here”).

But for all L’il Quinquin‘s assets, it ends on little more than that involuntary eyebrow shrug by our detached detective. I appreciate an ambiguous ending, when well done, but the idea of a mystery that is never resolved, yet is wrapped up in a way that the audience will find emotionally satisfying, remains cinema’s elusive white whale.

WHAT THE CRITICS SAY:

“…a wonderfully weird and unexpectedly hilarious murder mystery.”–Scott Foundas, Variety (festival screening)

PEE WEE’S BIG HOLIDAY (2016)

Forget Batman, Pee-wee is back.

Exclusively for Netflix, Pee-wee Herman () returns with his first feature in 28 years. Pee-wee’s Big Holiday (2016) could be (and has been in some quarters) dismissed as “Pee-wee’s Next Big Adventure.” Is it as original as that -helmed Pee-wee’s Big Adventure (1985)? No, but it’s a welcome return. Actually, Pee-wee has weathered pop culture better than Burton, who lost his mojo in the 90s.

There are a few pleasant surprises here, such as not-so-subtle homage to ‘s Faster, Pussycat! Kill! Kill! (1965). Still, mostly Reubens plays it safe, giving us exactly what we expect of him.

Pee-wee Herman comes from a very small cinematic tradition of the “creepy man-child,” which introduced in the silent era. Primarily under the direction of and , Langdon initially kept his character’s more disturbingly childlike qualities in check. However, eager to expand that characterization, Langdon eventually let loose—which quickly destroyed his career, even if the results were artistically satisfying.

Stan Laurel, very much influenced by Langdon, learned from his mentor’s populist misstep and kept the baby-face half of Laurel and Hardy forever innocent. , also influenced by Langdon, had more freedom with a European audience. In 1979, Steve Martin introduced his take on the naughty child. However, after a few experiments that unfortunately failed at the American box office, Martin took the safer route of growing up, which eventually rendered his body of work both disappointing and inconsequential. Reuben’s Pee-wee Herman character first emerged around the same time as Martin’s. After Burton and Rubens produced the masterpiece Pee Wee’s Big Adventure, 1988’s Big Top Pee Wee  was a disaster. This flop hardly mattered due to Reuben’s award winning “Pee Wee’s Playhouse” TV show (which earned 15 Emmys in 5 years). Reubens was undoubtedly the most original small screen personality since Ernie Kovacs.

Of course, we all know about Pee-wee’s rapid rise and fall, and television has been all the more bankrupt since its departure in 1991. That is not to say there is not good or even imaginative TV programming, but there is little with the aesthetic quality of Reubens 1)2013-2105’s “Hannibal” was both aesthetically and dramatically superior to any of the Hannibal Lecter character’s films, including the overrated Silence Of The Lambs, but audiences, having understandably overdosed on wretched sequels and prequels, never gave this television exercise in noir surrealism a chance.

At 63 years old, Reubens had his face digitally enhanced for Big Holiday, in order to retain that child-like mask ( did not have 21st century technology and had to give up on her little girl lost act at the age of 34). Still, although treading narrative familiar ground, Reubens retains the character’s edge in this belated return. There is even a latent same-sex attraction undercurrent between Pee-wee and Joe Manganiello (it’s so latent, kids will not be privy to it).

Still from Pee Wee's Big Holiday (2016)Pee-Wee is still very much a fixture in a surreal suburbia—as usual, he is the only one who realizes just how off-kilter the ‘burbs are—when he meets Joe. Sharing a love for root beer barrel candy, Joe and Pee-wee hit it off. Joe, soon to have a birthday party in New York, invites Pee-wee, encouraging the suburban Peter Pan to step outside of his G.O.P. mecca of Fairville and “live a little.” Reubens is savvy enough to poke fun of the retreaded plot: “I don’t want to go anywhere or try anything new.” He could be Fairville’s poster child for Donald Trump’s desire to “Make ‘Murica Grate Again,”  (AKA, let’s return to the oppressive past), except that Pee-wee does have a tad bit of the eternal bad boy Reubens under his skin. Of course Pee-wee heads to the Big Apple, embarking on his next big adventure as if 1985 was just a few days ago.

Between a hexagon of biker outlaw udders (Alia Shawkat, as one of the trio, shines and has genuine chemistry with her co-star) and nine man-meat craving farm girls who have used a tad too much butter on the grits, Pee-wee makes it clear that he is not interested in the fairer sex “that way.” With all those pheromones, Pee-wee runs for New York cover and Joe’s ripped, saving arms. Of course, there are some mildly weird diversions along the way that never get quite phantasmagorical enough. A traveling snake oil salesman who literally takes hitchhiking Pee-Wee to a snake farm, a Chitty Chitty Bang Bang flying car (occupied by Diane Sallinger 2)Sallinger is a veteran Reubens co-conspirator, having starred with him in both Batman Returns and Pee-wee’s Big Adventure), an Amish village of balloon deflators ( an amusingly extended gag), and an odd musical number all add up to subdued eccentricity, but never on the natural scales of or the late Tim Burton.

Still, Pee-wee’s Big Holiday is a charmer that may lead to Reuben’s reviving the character and taking him into more innovative terrain.

References   [ + ]

1. 2013-2105’s “Hannibal” was both aesthetically and dramatically superior to any of the Hannibal Lecter character’s films, including the overrated Silence Of The Lambs, but audiences, having understandably overdosed on wretched sequels and prequels, never gave this television exercise in noir surrealism a chance
2. Sallinger is a veteran Reubens co-conspirator, having starred with him in both Batman Returns and Pee-wee’s Big Adventure