Category: T.K. Carter

SEEMS LIKE OLD TIMES

By Marc S. Sanders

Neil Simon has always been a huge influence on me.  I grew up watching Randall & Klugman spar as his Odd Couple.  I recognized the northeastern Jewish vernacular of his B-trilogy semi-autobiographies that run through Brighton, Biloxi and Broadway, and I’ve performed and directed a number of his winning stage plays (Rumors, Lost In Yonkers, Chapter Two).  The comedic mind and personal pains of live theater could not continue without hearkening back to the great Neil Simon.

One of his lesser celebrated works told only in the form of a screenplay (a rare achievement of Simon’s) is Seems Like Old Times.  Released in 1980, it’s the writer’s sendup of classic screwball comedies like Bringing Up Baby and equipped with fast talking dialogue from one character to the next like you would find in His Girl Friday or It Happened One Night.  I’m not much of a Chevy Chase fan, but when he’s in the right properties, he’s a master at tossing one quip away after another while earning the chuckle. Neil Simon tweaked his script to cater to Chase’s timing along with his co-star, Goldie Hawn.

Seems Like Old Times is remembered as the second team up for Chevy Chase with Goldie Hawn, who was everyone’s favorite adored actress of the time.  Audiences followed her from giddy flower child in Laugh-In and an Oscar in Cactus Flower with Walter Matthau, over to Foul Play with Chase and then on to her fish out of the army swamp in Private Benjamin.  She was an absolute hit, and while these pictures appear dated by today’s standards, they still hold up. Seems Like Old Times even feels like it could garner a Jennifer Aniston remake today.

Chevy Chase is Nick Gardenia, a writer working on a book in a mountain rental home overlooking the Pacific near Carmel, California.  When he’s taken hostage at gunpoint, he’s forced to rob a bank.  This may or may not affect Ira Parks’ (Charles Grodin) campaign for State’s Attorney.  Ira is married to Public Defender Glenda (Goldie Hawn) who used to be married to Nick.  When Nick shows up in the middle of the night in the Parks’ garage, it’s up to Glenda to hide Nick from Ira and figure out a way to get him exonerated.  It’s not easy when the couple will be hosting the Governor and his wife for dinner, along with a litter of six lovable dogs who happily express themselves and intrude at the most inconvenient times.  They range in size from St. Bernard to tiny terrier with the jingling bells on the collar.

Seems Like Old Times is a perfect marriage of Neil Simon’s unending wit with easy to swallow, but complicated scenarios that beautifully complement Goldie Hawn and Chevy Chase comedic specialties. Charles Grodin was actually nominated for a Razzie for his performance.  An absolute insult to a well suited antagonist for clean, escapist lunacy.  It’s Grodin being Grodin, but it works so well.

Jokes thankfully run on repeat with cars getting stolen over and over while Glenda upholds her career of winning in the courtroom by employing her small time crooks to help them stay out of trouble.  T.K. Carter is great as Chester, her limo – rather station wagon driver, who just can’t put down an inviting bottle of wine.

Robert Guillaume delivers his Benson sitcom timing and partners well with Grodin. Harold Gould is the exasperated judge who knows Glenda all too well.

I recommend you dig up Aurora’s (the Parks’ illegal immigrant maid) recipe for chicken pepperoni and saddle up for an old-time romantic comedy at home. Seems Like Old Times is a fun romp for the whole family to watch, but especially with the one you love, or maybe the one you used to love.

THE THING (1982)

By Marc S. Sanders

Often, a great beginning to a film offers an intriguing question. So as I finally watched John Carpenter’s 1982 interpretation of The Thing, I was especially curious as to why a sniper aboard a fast moving helicopter was targeting a dog running across the open plains of Antarctica with a pulse pounding beat from legendary film composer Ennio Morricone. The film has me hooked and none of the gory horror to come, compliments of creature effects wizard Rob Bottin, has even presented itself yet.

Gore never did anything for me in horror, and horror has never been my most favorite genre of film. Rather, suspense always held my attention and kept me thinking long after the movie was over. Carpenter’s film is full of Bottin’s imaginative gore but the paranoia and mistrust among a crew of science operatives is the real centerpiece here. Whether it’s the innocence of a dog or the star power of Kurt Russell, I never trusted the narrative of The Thing and that’s the point.

An exceptional scene on the same level as the dinner scene in Ridley Scott’s Alien occurs following a crew man suffering a heart attack. The defibrillator is brought out, “CLEAR” is shouted and the man is zapped. Then something else happens. I won’t spoil the moment. Yet, this is where imagination was put to work; where effects and storytelling work cohesively. Thankfully, moments like these become a running theme throughout The Thing. You never know what to expect from an unmeasurable and incomprehensible enemy. The fact that resources are scarce and escape is impossible traps our characters and the viewer as well.

Convenient, fast learning knowledge only tells you that this entity can duplicate anything it comes in contact with. So, you might just be sidling up to the thing itself and you won’t even know it until it’s too late.

Isolation, lack of trust, fear, paranoia – all of these elements work towards the advantage of superb imagination and storytelling in Carpenter’s piece.

The Thing was always a movie that eluded me. I’m now so grateful to have witnessed it. It makes me yearn for better storytelling in today’s films beyond remakes and superhero exhaustion.

John Carpenter’s The Thing is an absolute must see motion picture. Watch it with friends and watch it with the lights turned off.