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KAPOW! ZLOPP! TOUCHE! THE BEST OF BATMAN (1966-1968), PART THREE

Begin your Bat-journey with Part 1.

Before resuming Season Two of “Batman”, we’ll cave into the crave of batmania with one of the biggest chunks of studio-backed cinematic cheese ever conceived: 1966’s Batman, the Movie. For years, this was the only Batman vehicle available on home video. Batmaniacs have reason to rejoice, because this gloriously dated, souped-up big screen treatment of the series is an “it has to be seen to believed” extravaganza. The hopelessly dippy plot and dialogue may throw off angsty fanboys, but it’s all about our merry villains: Lee Meriwether in her sole performance as Catwoman, as the Riddler, as the Penguin, Cesar Romero as the Joker,  and the most color-saturated array of (inflatable) henchmen in cinema. After the sexiest psychedelic credits you’ll probably ever see comes Batman infamously fending off a rubber shark with his “Bat-repellent Shark Spray.” That gag’s almost topped later with the “some days you just can’t get rid of a bomb” routine. It only gets loopier from there.

Among the toys on display is the Batcopter, Batboat, and Penguin submarine (with flippers!). Even cooler are the fight scenes. Here’s where the multi-hued henchman get to show their mettle, withstanding the dynamic duo while an arsenal of “Kapow, Zlopp, and Touche!”s fills the screen. Each of the four primary villains is at their maniacal best, and all take turns stealing their scenes. Watching Romero’s Joker today, his influence on is blatantly obvious. Of course, Gorshin (a tad underused) twitches with caffeine; there’s a reason he was the sole actor from the series nominated for an Emmy. Meredith’s Penguin is delightfully obnoxious, and Meriwether’s Catwoman is a walking pheromone . Meriwether is criminally underrated, but they’re all so damned animated that you don’t care one bit that their goal is to turn the United Nations into colored sand.

Still from Batman: The Movie (1966)If we weren’t so close to completing the List, I’d plead with the admin here to at least include Batman as a List Candidate. It’s a rarity in being both weird and absurdly entertaining. Like the series, it’s bound to be considered as blasphemy to modern-day Bat toddlers, who erroneously believe the darker version of the Caped Crusader is truer to the comics. Yes, it is: to the later comics from the likes of Neal Adams, Frank Miller, and Alan Moore. But Batman didn’t start that way. The comics of the 40s and 50s were pure camp. Originally, “Batman” series producer William Dozier planned to create something more serious, akin to “The Adventures of Superman,” but after reading the comics he went high camp instead. That is what the series, and movie bring to life in a way that has never been replicated with such energy and dated Continue reading KAPOW! ZLOPP! TOUCHE! THE BEST OF BATMAN (1966-1968), PART THREE

KAPOW! ZLOPP! TOUCHE! THE BEST OF “BATMAN” (1966-1968), PART TWO

Part 1 of the Bat-series.

On 30 , March 1966, ‘s Riddler returned for “Ring of Wax” (directed by James Clark, written by Jack Paritz and Bob Rodger). The local wax museum is supposed to be unveiling a wax figure of Batman. To the crowd’s horror, that loathsome lithe Riddler is on display instead, and up to his usual atrocious anarchy with a stupendous squirter, spewing crimson crud all over the Gotham gang. Of course, he leaves a pair of baffling riddles behind. In his cauldron of corruption, Riddler concocts a wax that burn its way through any vault in the world, sending him to the local library (!), where he is accompanied by a striped dayglo duo and a purple leather-clad villainess named Moth (Linda Gaye Scott). She’s one in a series of Gorshin’s increasingly bizarre disciples (in “A Riddle A Day,”  Riddler was followed by a girl who talks like a mouse and a trio of henchmen wearing a rainbow of primary colored hoodies, one of whom is the yellowed bug-eyed cheese munching stooge). The Riddler’s inexplicable entourage makes him all the more absurdly frightening. We get such a kick watching Gorshin’s bouncing, blithesome histrionics that the only disappointment is NOT getting to see him lay waste to the Dynamic Duo. However, he does get to stop them in place with “Dr. Riddler’s Instant Forever-Stick Invisible Wax Emulsion,” AKA spray-on superglue.  Escaping with a book on a lost treasure of the Incas, Riddler and his gang head back to their candle factory, where Batman and the Boy Wonder are tied up and lowered into an enormous cauldron. “Will Batman wax serious? For the sake of our heroes, let’s think positively!!! But it looks bad! Very bad! How can we wait until tomorrow night.. same bat-time… same bat-channel !!?”

Their escape in Part Two (“Give ’em the Axe”) is among the series’ most preposterous, and the battle with henchmen hits a garish high, all of which translates into camp delight. When Moth tries to flirt her way out of jail, Batman waxes chaste: “A moth that plays with fire is bound to be burned.” Needless to say, Gorshin owns both episodes.

“The Curse of Tut/Pharaoh’s in a Rut” (directed by Charles Rondeau, written by Robert Dennis and Earl Barret) aired on the 13th  and 14th of April, 1966. “A giant Sphinx is uttering demented threats in Gotham Central Park in a woman’s voice!” “Holy hieroglyphics, this might mean a battle royal” with King Tut (Victor Buono), of course. “Maybe this sphinx will give us a clue!” Tut surrounds himself with 1960s Egyptian babes (including Zoda Rodann as a coney dog eating Nefertiti) and henchmen (including busy character actor and B-Western regular Don Berry), whom Tut dismisses Continue reading KAPOW! ZLOPP! TOUCHE! THE BEST OF “BATMAN” (1966-1968), PART TWO

KAPOW! ZLOPP! TOUCHE! THE BEST OF “BATMAN” (1966-1968), PART ONE

It’s very simple: if you love “Batman” (1966-1968), starring Adam West, you’re in the cool kids club. If you don’t, you’re clueless and need to go away. Only freaks are allowed here.

“Batman” is still the yardstick by which all other live-action superheroes are to be judged. There has never been another series like it. I’ll go even further: it’s not only a genre and cult yardstick, but it’s a yardstick for television, period.

Before we catapult into the Batcave, I’ll share a few childhood memories, of which I’m damned proud. Adam West’s Batman and ‘ Superman  were the epitome of cool (I’ll never forgive for turning them into caped white trash and making them go commando). I caught Superman in syndication and already knew that Superman had blown his brains out. For me, that was part of his appeal. (I was a tad off-kilter. In my defense, Superman was a more appealing martyr than the Pentecostal Jesus). Admittedly, however, Superman had bland villains, and his second Lois Lane was too June Cleaver-Protestant boring.

Then came Adam West’ Batman. I caught the last season in its first-run, then caught up in syndication. Of course, the show was mass-marketed. Among the most cherished mementos was Batman trading cards, which I would often lose. They meant so much to me that my poor Dad would have to drive all the way downtown to buy me replacement cards from the only store that carried them. I found my true rainbow pot of batgold, however, through a wedding. My cousin was getting married and wanted me for a ring bearer. The last thing I wanted to do was climb into a tuxedo in front of a church crowd, but when she promised to buy me a Batman suit AND a Batmobile to pedal around the back porch on, I begged Dad to call the tuxedo shop immediately so I could be fitted. For Christmas, my brother asked for a children’s Bible (he was such a suck-up). In sharp contrast, I asked for, and received, a Batman View-Master set. With all those bat-toys, I was indisputably the coolest kid who ever lived.

“Atomic batteries to power! Turbines to speed!” “Roger. Ready to move out!”

Since I’m hard pressed to come up with a single non-enjoyable episode, a “Best of Batman” list is bit of an oxymoron, although of course there are standout episodes. This is really more an exercise in cherry picking highlights, because by the time I could finish covering the entire series, we might be heading into 366 Weird Movies, the Sequel. So, without further ado, I have to start with the pilot, which features Batman dancing in a disco.

Still from Batman "Hey Diddle Riddle" (1966)On 12, January, 1966  “Batman” premiered with “Hi Diddle Riddle” (directed by Robert Butler, written by Lorenzo Semple, Jr,) and, yes, that means… the Riddler () is our first dastardly criminal. He pranks the World’s Fair with an exploding cake and inspires Commissioner Gordon (Neil Hamilton) to dial the batphone. Alfred, the butler (Alan Napier) answers, and rescues Bruce Wayne Continue reading KAPOW! ZLOPP! TOUCHE! THE BEST OF “BATMAN” (1966-1968), PART ONE

SUPERGIRL: THE HIPPEST DAMNED SUPERHERO SHOW ON TELEVISION

Melissa Benoist is indisputably the most perfect actor embodying the role of a comic-based character since Christopher Reeve donned the red and blue for Superman in 1978. Given all the competition since then, such a statement might prove controversial… to constipated Trump Toon comic geeks. But their opinion is as worthless as their Craven Cantaloupe Christ who currently resides at 1600 Penn Avenue (or rather, the golf course). Too, I need to alter the title a tad; it’s not only the hippest damned superhero show on TV, it’s hipper than any of the comic-inspired productions being offered in cinema, and the hippest genre series since the 1960s Adam West “Batman.”

Yet, Supergirl is also among the favorites of alt-right fanboys—favorite targets that is, joining the esteemed company of 2017’s Star Wars, The Last Jedi (how dare Rey—a girl–earn the role of a Jedi through work as opposed to being fathered in? Kinda the antithesis of President Oompa Loompa) and 2018’s Black Panther (for obvious reasons, despite the fact that the comic book on which it’s based is over 50 years old).

Let’s first address fanboy complaints from the yawn-inducing Goebbels Operational Playbook. Why? because it’s so damned fun to out them as the 19th century bigots and Neanderthals that they are. Naturally, they’re as predictable as a paint-by-number set; amusing in their ethical timidity and in the ease by which they are offended.

Complaint One: “GASP! Jimmy Olsen is black! That’s PC BS! “

Mehcad Brooks as Jimmy Olsen SupergirlNever mind that to complain about political correctness is politically correct in itself. In some of the complaints seen on various social media outlets, the mentally and ethically challenged alt-right don’t often come right out and say it’s because he’s “black.”  Rather, they say “Olsen is supposed to be a geeky redhead with freckles and Mehcad Brooks plays Olsen like a GQ model!”

Let’s call this lame BS spin-doctoring for what it is. No one complained when a freckle-less Olsen had black hair in “Lois and Clark.” They didn’t complain when Hack Snyder killed Olsen off in a war zone. No, this is just a smokescreen to mask the inherent bigotry of the Trump Toons.

Why? Because these are comic book fundamentalists. They have the same mindset as religious fundamentalists. Comic book characters are essentially gods to Trump Toons, and even though the fanboys know the characters to be fictional (we hope), they still attack literal portrayals of deities who wear underwear outside of their pants-WHEN it’s convenient for them to do so (like bible fundies, they pick and choose).

In the comics, Superman doesn’t kill. Trump Toons didn’t protest one bit about that deviation from this long-held tradition in the execrable Man of Steel (2013). Superman had a curl in his hairdo. Henry Continue reading SUPERGIRL: THE HIPPEST DAMNED SUPERHERO SHOW ON TELEVISION

CAPSULE: TWIN PEAKS: THE RETURN (2017)

DIRECTED BY:

FEATURING: , , , Miguel Ferrer, Chrysta Bell, James Belushi, Robert Knepper, , , , , , Al Strobel, Carel Struycken, , David Lynch

PLOT: Picking up twenty-five years after the events of “Twin Peaks” and Fire Walk with Me, life has continued for most of the small town’s residents; but things are afoot which once again will involve the FBI and Agent Cooper and a mystery involving “the strange forces of existence.”

WHY IT WON’T MAKE THE LIST: As noted in the earlier capsule on Twin Peaks, “it’s a TV series“. However, I’d like to put forth the case that the entire Twin Peaks universe—the original 90’s series, the feature Fire Walk With Me, and “The Return”—should be treated as one whole project instead of as separate entities and as such, should be considered as a contender for the List.

COMMENTS: In uncertain times, audiences and institutions like to choose the familiar, which may account for the numerous remakes and “reboots” of successful material from the past (witness the return of “X-Files” and “Will & Grace,” to name just a couple). Most of these are obvious cash grabs, empty and unrepentant. When it was announced in late 2014 that David Lynch and Mark Frost would be bringing “Twin Peaks” back to television, however, speculation was wild and expectation high on what that result would be, especially as it went from a proposed nine episodes to an eighteen-hour “feature film” and Showtime gave Lynch and Frost complete creative control.

It’s evident now that “Twin Peaks: The Return” (Showtime’s marketing title; Lynch and Frost have made it clear that they consider this “Season 3”) was in every way the Major Event that fans and critics had hoped it would be—but it was in no way what anyone expected. As the head of Showtime, David Nevins, told the press in early 2017, it was the “pure heroin version of David Lynch.” We had no idea.

Unfettered by the constraints of network television, instead of bringing fuzzy warm nostalgic memories of the original 90’s show to the forefront, Lynch and Frost opted for a true continuation, and also made it very contemporary to the current times (there is a small amount of nostalgia indulged in as things converge at the end, but it’s very brief). Going even further than he did with Fire Walk With Me, “The Return” is a culmination of tropes Lynch has employed throughout his career, but with an emphasis on his aesthetic post-Lost Highway/Mulholland Drive. Those who were expecting a straight return to the world of “damn good coffee” and doughnuts were thrown immediately, and it drove almost everyone watching from May to September crazy in attempts to “figure out” where the show was heading.

It’s twenty-five years later and characters have aged, and changed. Continue reading CAPSULE: TWIN PEAKS: THE RETURN (2017)

CAPSULE: “DIRK GENTLY’S HOLISTIC DETECTIVE AGENCY,” SEASON 1 (2016)

Recommended

DIRECTED BY: Dean Parisot, Michael Patrick Jann, Tamra Davis, Paco Cabezas

FEATURING: , Samuel Barnett, Jade Eshete, Hannah Marks, Michael Eklund, Fiona Dourif, Mpho Kaoho, Dustin Milligan

PLOT: A financially-distressed bellboy finds himself caught up in a mystery of metaphysical proportions when over-eager “holistic detective” Dirk Gently climbs though his apartment window and proclaims him his assistant.

Still from Dirk Gently's Holisitc Detective Agency, Season 1 (2017)

WHY IT WON’T MAKE THE LIST: Wrong category: episodic television. It’s still something you want to be aware of if you have an interest in strange dramatics, though.

COMMENTS: “You didn’t see anything weird this morning, did you, Mr. Brotzman?”

“Have you noticed an acceleration of strangeness in your life as of late?”

The 45-minute opening episode of “Dirk Gently” includes the following plot elements: a missing girl. A double murder in a hotel room, with bite marks on the ceiling. A kidnapped hacker.  A woman tied to a bed in the apartment directly above the protagonist.  An accidental suicide. A doppelganger. A wandering dog who shows up everywhere. A lottery ticket. Two policeman surveilling the protagonist. Two unspecified military types surveilling the protagonist. Two FBI agents surveilling the protagonist. A character who hallucinates that she’s being sliced by knives. A van of punks who roam around smashing things (and people) with baseball bats, and sucking energy from their victims. Bald alien-types with crossbow tasers. A holistic detective, hunted by a holistic assassin.

That last item—sorry, the second to last item—is Dirk Gently, first seen climbing in hapless Todd Brotzman’s window, proclaiming him his assistant. By the end of the episode the police will be designating poor Todd a “person of interest” in two separate killings. True to Dirk Gently’s mantra, the holistic faith in “the fundamental interconnectedness of all things,” all of the above elements will eventually merge into a coherent (if fantastical) plot—although it takes more than a couple of episodes before the first puzzle piece actually clicks into place. (We haven’t even encountered the woman who seems to believe she’s a dog yet, or the man who may be a cult leader who’s keeping her as a pet). What keeps us watching through the extremely disorienting early episodes is the absurd humor, which contrasts with a sense of mystery and genuine menace (the violence gets fairly extreme). The increasingly incredulous Todd (Wood, perfect for the role of the beleaguered everyman) and the outrageously blasé but bumbling Dirk (Brit newcomer Samuel Barnett, earnestly insistent in a tie and mustard-colored dime store leather jacket) make for a classic comedy dynamic. (Dirk: “While searching your apartment, I found a very compelling piece of evidence.” A curious Todd: “What did you find?” Dirk [portentously]: “Nothing.”) Their relationship, naturally, deepens and complicates as Todd is unwittingly, despite his best efforts, drawn deeper into the investigation. By the end, it’s a perfectly synchronized mystery, with action sequences, astounding science fantasy conceits, and a comic tone that often gets dark (but not too dark). Highly entertaining, even after the apparent surrealism of the first few episodes gets (pseudo)-rationally resolved.

“Dirk Gently’s Holistic Detective Agency” is based on Douglas (“Hitchhiker’s Guide to the Galaxy”) Adams’ novels of the same name, although the plot involves an original case not found in the novels, the character of Todd does not appear in the books, and the setting has been Americanized. The seeds of a second season (which premiered in October 2017 and is still running at the time of this writing) were sown at the end of the first. It plays on the BBC America network (as a cord-cutter, it beats me where you can find the network, though Season 1 is available on Hulu). Other than the source material, this “Gently” is unrelated to the British BBC adaptation of the same property that ran for a single season in 2012.

WHAT THE CRITICS SAY:

“…to appreciate it, you better like weird shows that seem uninterested in providing answers. ‘Dirk Gently’ doesn’t just set up weirdness and then explain it; it just keeps getting stranger and stranger as it goes.”–Rob Owen, Pittsburgh Post-Gazette (pilot episode)

THE ADVENTURES OF SUPERMAN STARRING GEORGE REEVES: SEASON 5-6 EPISODE GUIDE AND REVIEWS, AND THE MYSTERIOUS DEATH OF SUPERMAN

Previous installments of “The Adventures of Superman” episode guide : Season, 1, Part ISeason 1, Part II – Season 2 Seasons 3 & 4

This article originally appeared in a slightly different form at Alfred Eaker’s The Blue Mahler.

Peril in Paris (dir. George Blair) is an ignominious opener for the fifth season. Diamond thieves have plundered the City of Love in an episode which could have used Grace Kelly.

Tin Hero (dir. Blair) is a slow news day, but Daily Planet subscribers aren’t the only ones suffering from boredom.

The Town That Wasn’t (dir. Blair): Gangsters use a mobile town to catch unsuspecting motorists in speed traps. Crimes are perpetrated and the law is evaded until Superman sets things right.

Tomb of Zaharan (dir. Blair) is awfully dull going for an episode dealing with reincarnation and Egyptian queens. At least Perry White gets some enjoyment in seeing his ace reporters stripped down and humiliated.

The Man Who Made Dreams Come True (dir. Blair): Who would ever guess that superstition could be a channel to the monarchy? Lois gets gagged tied yet again, and manages to render that fetish dull.

Disappearing Lois (dir. Harry W. Gerstad): Lois goes undercover to oust Lefty the gangster in a fun episode. Spanish Fly meets French Maid.

Money to Burn (dir. Gerstad): Arsonists burn the Daily Planet. Perry White waxes suspicious before being abducted. A Super fireman comes to the rescue.  Superman with a fire hose… Ding! Turn the page! Can’t wait for the action figure set. Cool stuff.

Close Shave (dir. Gerstad): Crooked barbers. Lois gagged and tied. What more can you ask for?

The Phony Alibi (dir. Blair): Professor Pepperwinkle has invented another useless device straight out of Dr. Seuss. This one teleports people through telephone lines. Lois shows off her “come hither” pearl necklace.

The Prince Albert Coat (dir. Gerstad): Life savings accidentally given away in a coat pocket… stop the presses, this is a story! Actually, all turns out well, and we’re relieved.

The Stolen Elephant (dir. Gerstad): Poor Jimmy thinks he didn’t get anything for his birthday, but lo and behold, Mom placed an elephant in his shed. Sad to say, but bad kidnappers want the elephant too. Nail-biting suspense.

Still from "Mr. Zero" from "the Adventures of Superman"Mr. Zero (dir. Gerstad) is the nadir of the entire series, and quite possibly the most execrable thirty minutes to ever disgrace the idiot box. It’s a cardboard takeoff of a comic villain and a pain-inducing endurance test. If it borders on masochism for its viewers, one can only Continue reading THE ADVENTURES OF SUPERMAN STARRING GEORGE REEVES: SEASON 5-6 EPISODE GUIDE AND REVIEWS, AND THE MYSTERIOUS DEATH OF SUPERMAN

THE ADVENTURES OF SUPERMAN STARRING GEORGE REEVES: SEASON 3-4 EPISODE GUIDE AND REVIEWS

Previous installments of “The Adventures of Superman” episode guide : Season, 1, Part ISeason 1, Part II – Season 2.

This article originally appeared in a slightly different form at Alfred Eaker’s The Blue Mahler.

Under Kellogg’s sponsorship, the second season of “The Adventures of Superman” had already began steering away from an adult audience. By the third season, the show was aimed almost solely at the pubescent. It was also shot in color, which made it an expensive production, with less money allocated for actors or professional writers. Oddly, it was only aired in black and white, not having its color premier for another decade. In this, Kellogg’s was ahead of its time, realizing that color, being inevitable, would assure the series a long run in syndication.

The third season is an entirely different series than the first two and, with few exceptions, it’s a dreadful affair. The series’ decline continued until its final, sixth season. Although officially cancelled, “The Adventures of Superman” had been picked up for a seventh season with star coming in as director (he helmed three episodes late in season six) and, reportedly, more money was going to be spent on better scripts. However, Reeves’ premature death put an end to a series which began high and should have bowed out on a better note. Alas, like its star, it was not afforded a happy ending.

The cast still has charisma, but even they can’t save the worst episodes, many of which are excruciating and virtually unwatchable. Still, “The Adventures of Superman (along with I Love Lucy) was the longest running series of the fifties, and maintained its popularity for another three decades in syndication. This is remarkable given that its lead, who presented a Super Boy Scout image, had in fact been outed as quite the colorful character, engaged in a sordid affair when he was found dead, allegedly by his own hand.

Still from "Through the Time Barrier" from "Adventures of Superman"The third season opens with the godawful “Through the Time Barrier” (dir. Harry Gerstad). The “Daily Planet” staff (all four of them) are teleported to the Stone Age by Professor Twiddle (, in his last series appearance). The look on Reeves’ face speaks volumes.

“The Talking Clue” (dir. Gerstad) is marginally better. It’s about a bank robber named Muscles McGurk, and focuses primarily on Inspector Henderson. Robert Shayne enjoys the spotlight, and our enjoyment comes primarily from his.

“The Lucky Cat” (dir. Gerstad) is an engaging, silly story about an Anti-Superstition Society, with Jimmy (naturally) falling for all the Continue reading THE ADVENTURES OF SUPERMAN STARRING GEORGE REEVES: SEASON 3-4 EPISODE GUIDE AND REVIEWS

THE ADVENTURES OF SUPERMAN STARRING GEORGE REEVES: SEASON 2 EPISODE GUIDE AND REVIEWS

Part I of “The Adventures of Superman” episode guide is here. Part II is here.

This article originally appeared in a slightly different form at Alfred Eaker’s The Blue Mahler.

Five Minutes to Doom” (dir. Tommy Carr) is the introductory episode of season two of “The Adventures of Superman.” Already, it is a slicker product than the previous season and, as expected, there are gains and losses. It has lost none of its grit, even with a new, bourgeoisie Lois Lane.

“Five Minutes to Doom” is a noir cliffhanger with Clark Kent using his abilities as a human lie detector test (gauging the heartbeat of a convicted killer) to determine the man’s sincerity. Someone doesn’t want Kent and gal pal Lois Lane uncovering the truth behind a corrupt contract deal, and attempts to assassinate the cub reporters. Lane condescendingly praises Kent for his out-of-character bravery.

Reportedly, director Carr was hard on Noel Neill, the new Lois Lane, whom he found lacking compared to the much missed . defended Neill, and while that’s an admirable example of cast camaraderie, it’s difficult not to sympathize with Carr’s point of view. Neill claimed that she was merely playing herself, but that may be part of the problem with her portrayal of Lane, who often comes across as a Sarah Palin-styled Avon lady huffing and puffing her way through the newsroom, chastising Kent for not being man enough even though we never see his alleged cowardice. Occasionally offsetting this unattractive trait is a winning perky quality, which renders Neill’s Lane consistently uneven.

Surviving the elements, Superman saves the day at the last moment by breaking through a prison wall to halt an electric chair execution. Stylish and moving like quicksilver, this is a helluva opening to a legendary season, despite a fidgety debut from Neill.

“The Big Squeeze” (dir. Carr) is noir for the 1950s family. Dan Grayson has received a Citizen of the Year award from the Daily Planet. Alas, Dan has a past that comes to put the “big squeeze” on him. Kent is obsessively driven to right wrongs and find/allow redemption. (Obsession and redemption are key dual themes in season two).

Still from "The Man Who Could Read Minds" from "The Adventures of Superman"“The Man Who Could Read Minds” (dir. Carr): Kent, Jimmy Olsen, and Lane attend a nightclub act that features a phony mind-reading swami. It leads them to a phantom burglar. The writing is straight out of the 1940s radio drama program tradition. It’s a well-paced, well-acted, and a stylishly suspenseful entry. Reeves steps Continue reading THE ADVENTURES OF SUPERMAN STARRING GEORGE REEVES: SEASON 2 EPISODE GUIDE AND REVIEWS

THE ADVENTURES OF SUPERMAN STARRING GEORGE REEVES: SEASON 1 EPISODE GUIDE AND REVIEWS (PART TWO)

Part two in a series. Part one of “The Adventures of Superman” episode guide is here.

This article originally appeared in a slightly different form at Alfred Eaker’s The Blue Mahler.

“Rescue” is a season one episode in which narrative purpose overrides attachment to character history or bullet points. Prospector Pop has been working his coal mine for a decade, despite warnings that it’s a death trap. Refusing to heed the warnings, Pop gets trapped after a cave-in. Enter Lois Lane, who discovers Pop’s predicament and attempts a rescue. Naturally, being Lois Lane, she too refuses to heed the warnings and attempts a lone wolf rescue, getting stuck herself. A series of near-misses follows in which Kent barely misses hearing news of the mine avalanche. Naturally, Kent being Superman, he would have super hearing. But not if it gets in the way of the plot. Thus, Kent, revving his faulty engine, fails to hear the radio broadcast of Lane’s current troubles.

Kent finally gets wind of the explosion which now seems to have sealed the fate of Pop and Lane. Naturally, our favorite boy scout saves the day, which inspires Lane to quip, “Clark, Superman finally took me out.” “Rescue” is a welcome change of pace, well-directed by Timothy Carr, and crams a lot of plot into twenty minutes.

Carr returns to helmThe Secret of Superman.” Jimmy Olsen’s mom calls Kent in the early A.M., worrying that little Jimmy has not come home. This looks like a job for… Clark Kent, who finds Olsen in a trance-like state at the Daily Planet office after hours. A file is missing, but not just any file! It is the file on Superman! As Kent suspects, dastardly gangster types are trying to find out the secret identity of the Man of Steel.

Next up is Perry White, who gets slipped a mickey in his coffee. White doesn’t know Superman’s identity either, and proves to be of little use to the bad fellas. Inspector Henderson, being the Sherlock he is, finds that both Olson and White were under the influence of sodium amathol and orders round-the-clock police protection for the Daily Planet staff.  A little gunplay follows, but we’re still no closer to wrapping up this episode.

Kent, pretending to be fired in an attempt to smoke out the gangsters, drinks from the same cup as White. Of course, Kent fakes a stupor but Lane is more susceptible and is asked the question:  “Could Superman have the ultimate disguise? Could he be … a woman?” “Superman—a woman? Nah, but Clark…. well, maybe,” the drugged Lane suggests. Performed with commendable straight faces, the cast deserves credit for convincingly guiding us through 50s naiveté. The world’s greatest mystery gets solved: Kent is Superman behind those horn rims. The henchman who figures it out gets wasted, however, and Lane conveniently forgets her drugged-induced sleuth work. Kent sighs in relief. No wonder he’s so charmingly smug.

Still from "No Holds Barred" from "The Adventures of Superman" The Lee Sholem-directed “No Holds Barred” has been a stapled fan favorite. Wrestler “Bad Luck Brannigan” has sent several opponents to the hospital after using the “paralyzer” move on them. With super-hearing now intact, Kent becomes privy to ringside conspiracies and locker room Continue reading THE ADVENTURES OF SUPERMAN STARRING GEORGE REEVES: SEASON 1 EPISODE GUIDE AND REVIEWS (PART TWO)