Tuesday, June 25, 2013
Life Is Full Of Surprises
THE LAST OF SHEILA recently. She’s not actually in that film although she’s a friend of James and Paula Coburn Foundation Executive Director Lynda Erkiletian who put together the event and it was thanks to the two of them that I got to be there. I’m still grateful and it was a thrill to meet Blakely that night so it seemed appropriate that I should write up on a film she was actually in. The first one that comes to mind is THE TOWERING INFERNO which I’ve covered before so I decided to move onto the other DVD I had close at hand featuring her--THE CONCORDE…AIRPORT ’79. Of course, for all I know she wouldn’t want me doing that because this is THE CONCORDE…AIRPORT ’79 we’re talking about after all, a film which came near the very end of the whole 70s disaster cycle. And like how Irwin Allen’s final theatrical film WHEN TIME RAN OUT… marked the end of his run, the Filmed-In-Universal-City 70s house style pretty much came to an halt with THE CONCORDE—hey, both of these films even share an ellipsis in their titles. If AIRPORT ’79 is a terrible film, and it pretty much is, at least it’s terrible for fascinatingly baffling reasons that make me wonder what sort of film was intentionally being made and if anyone ever spoke up on set about how blatantly absurd all this is even for the genre. Twitter and say that I sent you. And part of the whole conundrum I’m trying to get at that is I’d gladly watch the whole thing again right now. Clearly there’s something wrong with me. here for more than you’ll ever want to know about the network cut). The scenes that can be found on Youtube are pretty lousy but at least they offer an excuse why Patroni is thinking about his late wife twenty minutes before the movie’s end for no reason. However long it is, I still barely know what to make of this film. You don’t get titles that contain years very much anymore, at least not referencing the year the movie actually opened. You also don’t get movies like THE CONCORDE…AIRPORT ’79 anymore which comes off as so tone-deaf and cluelessly bad—at least, I think that’s what it is—that it really does become endearing. Maybe it’s one of the worst films ever released by a major studio, but I don’t like to assign labels to these things. It makes my head hurt and yet I’m still kind of glad it’s there.