Showing posts with label made-for-TV. Show all posts
Showing posts with label made-for-TV. Show all posts

Friday, September 7, 2018

The Battle of Billy’s Pond (1976, Children’s Film Foundation)


Dead fish are popping up at the local fishing hole and grade schoolers Billy and Gobby are determined to find out why in “The Battle of Billy’s Pond” (1976), a Children’s Film Foundation (CFF) production I happened upon during “TV time” at my pre-school daycare in 1977.

The non-profit CFF produced hour-long children’s films for British television that would turn up on American PBS to fill time slots between regularly scheduled programs like Big Blue Marble, Powerhouse, Villa Alegre or Gettin' To Know Me (how’s that for name-dropping?)


Some of the more fantastic CFF films, such as “The Boy Who Turned Yellow” (1972), “The Glitterball” (1977) and “Sammy’s Super T-Shirt” (1978) have gone on to become cult favorites.

But “The Battle of Billy’s Pond”, based on an original story by Michael Abrams (hey, Battletruck!) and later adapted for novelization by Howard Thompson, is grounded in reality, presenting a still topical ecological message wrapped in an entertaining children’s mystery-adventure.


One element that really impressed me upon first viewing was that protagonists Billy and Gobby (a few years older than me at the time) enjoyed a freedom of movement I could only envy, roaming suburbia and its wooded rural surroundings (the film was shot entirely on location in Hertfordshire, England) on their bikes, completely unsupervised.


They were smart kids too, devising intelligent methods informed by science to solve their mystery, which begins when Billy (Ben Buckton), peering through the periscope of his gadget-loving friend Gobby (Andrew Ashby) discovers one dead fish floating below the surface of the pond he’s named after himself.


They bring the specimen home for dissection (because science!) but Billy’s cat has other ideas, snatching the fish away in its jaws. The cat is later found sick. Veterinarian’s diagnosis: chemical poisoning (don’t worry, it’s not that kind of movie… kitty makes a full recovery).


Suspecting someone is dumping chemicals at Billy’s Pond, they set up a network of cameras on trip-wires to capture the polluters at the scene.

Meanwhile, a mysterious tanker truck has been seen rolling through town, threatening to run the kids off the road on several occasions. The truck is filmed at angles obscuring the driver, emphasizing the size and noise of the mechanical monster in a way that reminds me of Spielberg’s “Duel”.


When the boys’ tripwire cameras fail to capture anything useful even though the number of dead fish are increasing, they wonder if the chemicals are being dumped somewhere upstream. But where? I’ve mentioned before, most mysteries are solved through diligent research, not traipsing around haunted houses, and this one is no different. To the library!


A geologic map of the area leads them to an underground stream passing through a nearby abandoned quarry, where they find the menacing tanker parked and being drained by men in protective biohazard suits. Case closed? Not quite. They still need to connect the quarry to the pond.


Gobby’s clever solution is to pour colored dye into the underground stream. Searching for the connecting pipeline, the kids explore a spooky maze of decrepit tunnels that evokes a haunted house (okay, so there is a little traipsing!) The scene becomes an action sequence when the chamber they are in suddenly floods with black polluted water and they must scramble to safety.


Days later, a cloud of Gobby’s green dye appears in the pond, proving connection to the quarry. But until the tanker can be positively identified, the police are reluctant to launch an investigation, especially one that might implicate prominent local chemical factory Con-Chem, manufacturer of “organic” Brezee laundry soap, whose utopian ads of children in white pajamas skipping through green pastures have been playing endlessly on television.


Armed with the latest in portable video technology (it only takes two people to carry!) and posing as student journalists, they blend in with a Con-Chem tour group. The sight of these kids bluffing entry right into Con-Chem headquarters inspired me to hatch a similar plan to con my way into the nearby movie theater, posing as a newspaper reporter or the like, to sneak a free showing of Pete’s Dragon (that plan, unfortunately, fizzled when I couldn’t find a convincing disguise, and also because I was too chicken to ever actually go through with it.)


On the tour, they spot the tanker-men and capture video of them arguing about money, but nothing incriminating enough to take to the police.

Determined to get hard evidence once and for all, they follow the tanker back to the quarry, only to be recognized by the men. One attempted kidnapping-turned-nail-biting foot-chase later, the police finally arrive just in time (the 49-minute mark!) to wrap everything up.


It’s never made clear just how deep the Con-Chem dumping scheme goes (were the tanker-men acting alone or just following orders?) but we won’t let that spoil our happy ending. A montage over the end credits shows local heroes Billy and Gobby posing for media photographers while the pond is dredged and restocked with healthy fishes.


I just love “The Battle of Billy’s Pond”.

Some CFF films from that era have been released to DVD (in PAL formatted discs that won’t work in American players), with “...Billy’s Pond” appearing on a 9-film, 3-disc set.

These screen caps came from YouTube.

Friday, March 6, 2015

Spielberg's Duel (1971) and The Incredible Hulk (1978)

I first caught Steven Spielberg's made-for-TV film debut Duel on television in early grade school. At that time I had only recently become aware of this thing called a "film director", and could name exactly three: Alfred Hitchcock, George Lucas, and Steven Spielberg. So I was curious to see this earliest work from the guy who gave me nightmares with Jaws and left me watching the skies after Close Encounter of the Third Kind.


Based on the short story by Richard Matheson, Duel is a tense thriller built around a simple premise: a milquetoast salesman (Dennis Weaver as David Mann, in a mostly one-man-show) on a cross-country road trip, finds himself the seemingly random target of a psychopathic truck driver.

Their first encounters are of the nuisance variety.... the slow, over-sized vehicle hogs the road, only to tailgait once passed, etc., but slowly escalate into deliberate harassment, reckless endangerment, and finally a full on murderous chase with Weaver driving for his life.

You can detect elements in Duel that would appear in Spielberg's later work... the  monstrous, expressionless truck is reminiscent of the relentless, pursuing great white from Jaws

We're gonna need a bigger car.

Comical, colorful elderly supporting characters flavor some scenes, as they later would in Sugarland Express and Close Encounters.


A run-in with a road-side exhibit of snakes and spiders seems like a first draft of the creepy crawly encounters of Indiana Jones.
Simple but effective camera work distinguishes Duel from lesser made-for-TV fare of the period. The opening titles, artfully arranged around the geometry of the tunnels as the camera passes through.


Interesting shots like this, with Weaver framed in a laundromat dryer window...


...or this perspective shot which places Weaver's tiny car in the consuming cloud of the truck's smokestack. 


But what really made Duel stand out was the out-of-nowhere, big twist ending that nobody saw coming. Weaver's car has overheated at the top of a hill and is cornered against a high cliff ledge when suddenly his eye's start to glaze over...

...his shirt rips open...


...and he transforms into a mean, green smashing machine. What the---? David Mann is actually The Incredible Hulk??


Hulk smash telephone pole!


Hulk hit truck with pole!


Hulk push car into truck!
Truck driver jump to safety!


Truck and car spill over cliff!

Hulk celebrate!


What's that you say? This isn't the ending you remember? 

Okay... so, this happened: Universal, the studio that produced both Duel and the 1970s television series The Incredible Hulk, got the bright idea of building a first-season episode entirely around repurposed footage from Spielberg's mini-masterpiece.

The plot finds David Banner (Bill Bixby) picked up hitchhiking by a lady truck driver (Jennifer Darling... a former fembot from The Bionic Woman) who steals back her father's scary, flammable and strangely familiar truck from a group of smugglers.

The whole episode is a series of back-and-forth carjackings and chases in which everyone gets their turn to drive both Weaver's red 1971 Plymouth Valiant and the 1955 Peterbilt truck.
There's also new footage using the original truck, and it's cool seeing the iconic monster continue its path of destruction in an entirely new context and setting...

...not so cool? Discovering its being driven by the darling Ms. Darling.

Spielberg wisely resisted studio pressure to shoot Duel's car interiors on a stage with rear-projected backgrounds and instead filmed on location in a moving car, but we can get a sense of how things may have turned out in this Hulk episode, which went with the rear-projection technique.

Bixby and the lead smuggler (Frank Christi) each wear blue collar shirts to help match the original Weaver footage...

I can't tell where Duel ends and The Incredible Hulk begins!

...and, as The Incredible Hulk plot demands that occasionally the red car carry two occupants, the script helpfully provides excuses for the passenger to duck his head down to explain away why there is only a lone-driver visible in the inserted Duel footage.

"Duck your head all the way down under the seat and look for that gun, dammit!"

This isn't the only time a Universal television character found themselves crossing paths with a Spielberg villain. Did somebody say... Nancy Drew vs. Jaws

Duel is available on DVD and Blu-Ray.
The Incredible Hulk episode "Never Give a Trucker an Even Break" is available on DVD and is streaming on Netflix as of this writing.
The Hardy Boys Nancy Drew Mysteries episode "The Mystery of the Hollywood Phantom", featuring Jaws, is available on DVD.
Die-cast toys of Weaver's red '71 Plymouth Valiant and the 1955 Peterbilt 281 Tanker are available... NOWHERE. Come on, Hot Wheels, make this happen!

Thursday, October 4, 2012

The Housing Market Is a Real Nightmare!

The Haunted Closet does not typically cover the real-estate market, but a couple items in today's news caught my eye.

First, did you know that someone had a house built whose exterior is a dead-ringer for Disneyland's Haunted Mansion? Well they did, and it's up for sale.

The house, originally built in 1996, is located in Duluth, Georgia, and was designed by a Disney contractor. Here's a pic:


Am I the only Haunted Mansion fan that was completely unaware this place existed? Now where's that $800,000 I had lying around...

Anyhoo, next on the market is a cozy little Colonial with a great lakeside view. With its black-goop toilets, bleeding walls and rickety staircase, it's a.... handyman's dream!


That's right, the original Amityville Horror house is back on the market! Considering the house's troubled history, the realtor may have to hustle a bit to close this sale (they've already had to drop the asking price by $100K).

Which reminds me (sequeway...) of a skit from a 1980 Steve Martin television special in which Martin buys a haunted house. The program was called Comedy Is Not Pretty, a collection of sketch comedy bits by then hot-as-lava Martin (his album of the same name was a hit the previous year).


One memorable sketch (so memorable, in fact, that I actually memorized it as a kid, although repeated plays of the audio from my open-air tape recording of the broadcast probably helped) has Martin playing new homeowner Arthur Fleschman, bragging about what a great deal he landed.


But it quickly becomes clear why the house was such a bargain. While Martin is talking up the property, a demonic voice booms from within the house, "Get out! Get out!" (a direct reference to The Amityville Horror, which was still very much an element of  the popular culture at the time.) Seems this house is haunted!

Martin concedes there are just a few things wrong with the house: "That step on the back porch needs to be fixed. We're getting estimates on stopping the walls from bleeding."

Other drawbacks? The house causes their pet cats to talk, grandma melts at the dinner table, and the kids sometimes turn into bats. Nothing a few trips to Home Depot wouldn't fix, no doubt.

Meanwhile, as Martin talks, his wife screams out an upper window before being tossed off the roof by a gorilla (although I must admit, even as a kid, I never did understand how gorillas became a stock haunted-house element. Is The Murders In the Rue Morgue to blame?)


I've heard of being upside-down on your mortgage but--- (okay, maybe I should leave the comedy to Martin).


The whole skit is played strictly for laughs, and yet witnessing this as a gradeschooler I couldn't help but feel the slight twinge of fear as Martin casually strolls into the house, completely oblivious to the hellfire lapping at the windows (and to the corpse of his wife, laid out in the yard!)


The sound effects playing over the background, a mix of wind, creaking trees and thunder, is a track ripped directly from the Disney sound effect record Chilling, Thrilling Sounds of the Haunted House (the same effects are used on The Story and Song from The Haunted Mansion.) The track is called The Haunted House, and the long out-of-print album is available for download on I-Tunes.


The special Comedy Is Not Pretty was finally released to DVD recently as part of a 3-disc collection of Martin's television work, appropriately titled Steve Martin: The Television Stuff.