Are you a fan of Eddie Munson from Stranger Things? Would you like to learn more about 1986? Do ’80s movies make you feel nostalgic? Then The “Eddie’s Year” Blogathon is the event for you! Because the blogathon is taking place between June 6th-9th, you still have time to join! There’s also many topics to choose from, as I tried to make the event’s theme as broad as possible. If you’re interested in participating in The “Eddie’s Year” Blogathon, click on the link below to learn more about the blogathon.
The “Eddie’s Year” Blogathon banner created by me, Sally Silverscreen. Original image created by 21 Laps Entertainment, Monkey Massacre, Netflix, and Upside Down Pictures.
When I chose the theme for this year’s double feature, I wanted to do something different from previous double features I’ve hosted by reviewing four films. With The Golden Girls featuring four main stars (Betty White, Estelle Getty, Bea Arthur, and Rue McClanahan) and with those stars possessing their own filmographies, I found a reason to seek out more of their projects. The movies I selected, Hallmark Hall of Fame’s The Lost Valentine, Mask, Mame, and The Little Match Girl, are just as unique as the “golden girls” themselves! I was reminded why I like Hallmark Hall of Fame’s The Lost Valentine when I decided to revisit it. Not only did I rediscover forgotten elements like the story’s humor, I, once again, came to appreciate what makes the film good. Mask was such a pleasant surprise because of how solid the movie is! It’s a biopic that brings something different to the genre’s table as well as genuineness. While I found both Mame and The Little Match Girl fine, I enjoyed the films for different reasons. Mame’s choreography and colorful palette helped make the film as entertaining as it was. Meanwhile, the cleverly written dialogue in The Little Match Girl allowed interactions between characters to be memorable. Now, as the sun sets on Miami and all the cheesecake has been eaten, I’d like to say thank you for being a friend of the Golden Double Double Feature!
The Golden Double Double Feature banner created by me, Sally Silverscreen. Original image created by Touchstone Television, Witt/Thomas/Harris Productions, 20th Television, and National Broadcasting Company (NBC)
Thanks for joining me for the fourth part of my Golden Double Double Feature! The majority of my review of The Little Match Girl is spoiler-free. If you’d like to learn more about why I chose this year’s double feature theme, you can check out the introduction in the link below.
The Little Match Girl(1987) poster created by NBC Productions and National Broadcasting Company (NBC).
1. Out of the movies from Rue McClanahan’s filmography, why did you select The Little Match Girl?
Unlike my decision to review Mask and Mame, I knew Rue starred in The Little Match Girl before selecting the movie for the Golden Double Double Feature. However, similar to when I wrote about Mame and Mask, I had heard of The Little Match Girl, but hadn’t seen it prior to this double feature review. I also knew the 1987 film was an adaptation of one of Hans Christian Andersen’s stories. When it comes to The Little Match Girl, though, I was surprised to learn how many times that story was adapted, including in the 1980s. Throughout my eight-year blogging journey, I have covered my fair share of Christmas movies, especially those of the made-for-TV variety. With all that said, I decided to give The Little Match Girl a chance!
2. In The Little Match Girl, Rue portrays Frances Dutton. How is Frances Dutton similar or different from Blanche?
From what I remember, Blanche Devereaux came from a wealthy, Southern background. This fact was brought up from time to time on The Golden Girls. Rue’s character in The Little Match Girl, Frances Dutton, comes from a wealthier background as well. However, Frances and Blanche possess a major difference. While Blanche is sassy, bold, and even flirty, Frances is the complete opposite. In The Little Match Girl, Frances is not only soft-spoken and tender-hearted, she also has a gentler persona. So, it was interesting to see Rue portray a very different character in the 1987 Christmas film.
3. According to The Little Match Girl’s poster, the movie is based on Hans Christian Andersen’s story of the same name. Is there any story from Hans’ bibliography you wish had received a film adaptation?
As I mentioned in answer number one, I was surprised to learn how many times The Little Match Girl was adapted, including in the 1980s. But there have been other stories from Hans’ bibliography that received adaptations, with The Little Mermaid being a notable one. Therefore, I’d like to see an adaptation of one of Hans’ more overlooked titles. For example, The Bell revolves around the mystery of a bell that only rings at sunset. With nature playing a major role in The Bell, an adaptation of this story could be presented as live-action, with the cinematography of natural landscapes stealing the show. However, I think The Bell could also work as an animated project.
4. Was there anything about The Little Match Girl you liked or didn’t like?
Screenwriting, including the dialogue, in made-for-TV movies can be hit or miss. In 1987’s The Little Match Girl, however, I found some of the dialogue cleverly written. One example is when Neville meets the titular little match girl, Molly. When he orders a coffee, Neville adds alcohol from his flask. After Molly asks Neville about the flask, he tells her its “courage”. Molly then responds by telling him, “It doesn’t come in a bottle”. Later in the film, Police Chief Murphy threatens to shut down a local newspaper if there are any reports of Fennel Street’s residents being forced to leave their homes before Christmas. Joseph, the newspaper’s editor, tells Murphy, “Why don’t you crawl back in my father’s pocket where you belong”? Murphy spats out his response to Joseph when he says, “Cause I’m too big”. Because of how clever these responses were, it made these interactions (and the scenes themselves) memorable.
Like I just mentioned in this review, Police Chief Murphy threatens to shut down a local newspaper if there are any reports of Fennel Street’s residents being forced to leave their homes before Christmas. Joseph wants to report this injustice in order to save the homes of Fennel Street’s residents. One tactic is placing Molly’s picture on the newspaper’s front page to draw empathy for the intended cause. But the movie’s viewers don’t know if this tactic worked. That’s because the viewers never see the newspaper with Molly’s picture on the front page in circulation. This is an example of telling instead of showing. It’s also an example of how the movie prioritizes the stories of the grown-up characters despite The Little Match Girl being the movie’s title.
5. As I mentioned in my review of 1974’s Mame, there were two Christmas episodes of The Golden Girls; ‘ ‘Twas the Nightmare Before Christmas’ and ‘Have Yourself a Very Little Christmas’. If the show had created more Christmas episodes, what type of story would you have proposed?
In The Golden Girls’ sixteenth episode from the fourth season, ‘Two Rode Together’, Dorothy and Sophia take a trip to Walt Disney World. This creative decision was part of a trend where various sitcoms would set aside a special episode showing their characters taking a Walt Disney World trip. Based on what I recall, I don’t think any of these episodes take place around Christmastime. So, I would propose an episode of The Golden Girls where the “golden girls” spend Christmas in Orlando. Walt Disney World at Christmastime has been known for its beautiful decorations. Plus, I can think of hilarious antics that could be written into a story like this. Since three of Walt Disney World’s parks were open during the lifespan of The Golden Girls, there are a variety of attractions that could be featured in the episode.
6. Did you develop any thoughts and/or questions while watching this film?
For this part of my review, I will spoil The Little Match Girl. If you have not seen this movie and are planning on watching it, skip ahead to question number seven.
Whenever Molly uses one of her matches, the flame sparkles. A snow angel she makes toward the beginning of the movie sparkles as well. In one scene, Molly explains to Joseph’s son, Jamie, that angels ride on shooting stars directly from Heaven if anyone in the world is in trouble. When Molly is discovered missing by Jamie’s grandpa, Haywood, it’s implied Molly was an angel the entire time. While this was an interesting plot twist, it’s a creative decision that left me with more questions than the movie was willing to provide answers for. Did Molly pass away prior to the events of The Little Match Girl or was she an angel that always existed in Heaven, similar to the angels from Touched by An Angel? How long has Molly been an angel? Has anyone known about Molly’s angel identity? The more I think about this plot twist, I more I believe there’s important lore missing from the script.
7. Throughout The Golden Girls, cheesecake became an iconic staple of the show. What would you say is the iconic staple of The Little Match Girl?
You would think I’d choose Molly’s matches, as the 1987 film is titled The Little Match Girl. But I’m selecting a candle instead. The residents of Fennel Street organize a protest at the Dutton family house, in an effort to save their homes. During the protest, they carry candles, with one of the protesters’ candles being lit by Molly herself. Toward the end of The Little Match Girl, Molly lights the candles of an angel themed Christmas decoration. But beyond the movie itself, candles are sometimes associated with Christmas décor; from candles in windows to candles placed on Christmas trees. Light is also a major theme of the Christmas holiday, such as the season of Advent and the Nativity Star. I’d even say light is a major theme of The Little Match Girl.
8. The Little Match Girl is a made-for-TV film. How does this movie compare to other Christmas television movies you’ve seen and even reviewed?
Looking back on the Christmas television films I’ve seen and reviewed, some of those titles featured at least one younger protagonist. But if I had to compare The Little Match Girl to another made-for-TV movie I’ve covered, it would have to be the 1999 film, If You Believe. Both stories possess a younger protagonist whose actions significantly impact the life of at least one of the story’s key characters. If You Believe and The Little Match Girl contain a sense of magical realism. These movies share the flaw of telling instead of showing as well.
9. The Little Match Girl was released on December 21st, 1987 (within the third season of The Golden Girls). Do you think the show had any impact on the movie?
In my review of Hallmark Hall of Fame’s The Lost Valentine, I speculated why the Hallmark Hall of Fame collection may not have cast any of the “golden girls” (Rue, Bea, Estelle, and Betty) in their movies during The Golden Girls’ lifespan. One of those speculated reasons was how Hallmark Hall of Fame and The Golden Girls were broadcast on separate networks. According to IMDB, 1987’s The Little Match Girl was not only produced by NBC Productions, it was also distributed by National Broadcasting Company (NBC). As I mentioned in my Hallmark Hall of Fame’s The Lost Valentine review, The Golden Girls aired on NBC. With that said, I don’t believe it was a coincidence for The Little Match Girl’s creative team to consider casting Rue in their movie.
10. After watching The Little Match Girl, is there anything you can take away from your movie-viewing experience?
Like I said in answer number one, I have covered my fair share of Christmas movies throughout my eight-year blogging journey, especially those of the made-for-TV variety. When it comes to 1987’s The Little Match Girl, I found the movie fine and serviceable. While there were strengths within the film, such as the acting performances and the cleverly written dialogue, the movie’s flaws held it back from being a stronger presentation. Despite the movie’s title being The Little Match Girl, the script prioritizes the stories of the grown-up characters. This creative decision kind of makes the title seem misleading, as I expected the story to focus more on the titular little match girl, Molly. Even though the plot twist was interesting, it left behind more questions than the movie was willing to provide answers for. In my opinion, it feels like important lore may have been omitted from the script. Reflecting on The Little Match Girl, as well as other Christmas films I’ve seen and reviewed, I can think of titles that are stronger than the 1987 picture. However, I can also think of movies that are weaker than The Little Match Girl.
The Golden Double Double Feature banner created by me, Sally Silverscreen. Original image created by Touchstone Television, Witt/Thomas/Harris Productions, 20th Television, and National Broadcasting Company (NBC)
My first review for my Comparing with the Critics series was the 1976 picture, Network. Not only is this one of William Holden’s films, I reviewed Network for the 6th Golden Boy Blogathon: A William Holden Celebration. Two years later, I’m doing it again; participating in the 7th Golden Boy Blogathon: A William Holden Celebration and selecting one of William’s movies for my Comparing with the Critics series. As the title states, that film is 1980’s When Time Ran Out…. I had heard of this movie because it was featured in Sneak Previews’ ‘The Worst Movies of 1980’ episode. In this episode, the overarching theme, according to Gene Siskel, was examining “some of the year’s lousiest films in terms of what they reveal about what’s wrong with the American film industry”. When it came to When Time Ran Out…, the problem was “some producers, Irwin Allen being one of them, who have a very low opinion of the audience. They think they can fool the audience and rope them into the same story over and over again”. I will admit I don’t watch as many “disaster” movies as Gene and Roger Ebert did when they were hosting their show. But based on the “disaster” films I’ve seen (and even reviewed), I don’t believe When Time Ran Out… should be considered one of the worst movies of 1980.
When Time Ran Out… poster created by International Cinema and Warner Bros.
A Lifetime movie I remember liking is 2009’s The Christmas Hope. Though it’s been years since I’ve seen the film, I do recall the interconnectivity between the characters, with each connection becoming more intriguing as the story went on. Interconnectivity between characters is an aspect from When Time Ran Out… I liked. When the story starts, the cast of characters are introduced living their own lives and dealing with their own situations. William Holden portrays Shelby Gilmore, a man who owns multiple hotels, including the Kalaleu Gilmore. Paul Newman also stars in When Time Ran Out… as Hank Anderson, whose work on oil rigs leads him to suspect a local volcano may erupt. Hank’s story connects with Shelby’s story because Hank warns Shelby, as well as Shelby’s business partner, Bob Spangler, about the volcano’s potential eruption. Each character’s connection, along with the cast’s on-screen chemistry, kept me invested in the movie while waiting for the eruption of the volcano. I was not only interested in how each character’s path crossed, but also how the volcano and its aftermath would affect the characters.
Gene claims the problem with When Time Ran Out… is how “some producers” “think they can fool the audience and rope them into the same story over and over again”. As I admitted in this review’s introduction, I don’t watch as many “disaster” movies as Gene and Roger Ebert did when they were hosting their show. However, based on my experience watching When Time Ran Out…, I noticed how the story prioritized the characters’ reactions to the disaster instead of the spectacle of the disaster itself. While the erupting volcano is shown on screen, it isn’t sensationalized like one might expect from a “disaster” movie. The decision to prioritize characters’ reactions shows viewers how natural disasters can indeed have consequences. Some characters get hurt and even die, stressing how no one is invincible while nature has a mind of its own. The threat of a volcanic eruption alone can impact multiple industries, ranging from hospitability, natural resources, and scientific. When the story of When Time Ran Out… progressed, various responses to the eruption were on display. One example is how some of Kalaleu Gilmore’s guests are so desperate to leave the island, they board a helicopter and try to fly it themselves. Everything I just said made this “disaster” picture feel realistic.
During the segment about When Time Ran Out… in Sneak Previews’ ‘The Worst Movies of 1980’ episode, Roger says “the whole movie is made out of basic scenes we’ve seen dozens of times before”. Meanwhile, Gene criticizes the repetitive nature of When Time Ran Out…’s script as “cruel manipulation”, elaborating by saying “when the audience walks into a film like this and they see that there’s nothing there but that same old formula, I think they feel burned, I think they feel bad about movies in general.” While I agree with Gene and Roger that When Time Ran Out… possesses flaws, I disagree about the types of flaws the movie contains. I understand witnessing the connectivity between characters gave the script build-up to the inevitable volcanic eruption. However, the eruption itself took place at about the film’s halfway point, forcing the audience to wait half the movie for the eruption to happen. This creative decision also caused some of the characters’ resolutions to be wrapped up a little too conveniently for the sake of the run-time. I wish some more of the characters’ reactions to the eruption’s aftermath had been included in the script.
Comparing with the Critics banner created by me, Sally Silverscreen. TV show title cards created by WTTW National Productions, WTTW, Public Broadcasting Service (PBS), Lifetime Television, Tribune Entertainment, Buena Vista Television, and Disney-ABC Domestic Television
In When Time Ran Out…, Shelby talks to Bob about “son of a famous father syndrome”, sharing how he always felt like he was under his father’s thumb. When his father passed away, Shelby says he felt a huge weight lifted off his shoulders. But when he found success, he believed it was hollow because his father wasn’t there to witness his success. Bob disagrees with Shelby’s view of success, saying how sweet success is. I find this discussion between Shelby and Bob ironic, as it takes place in a film Roger claimed was “a major box office flop”. When it comes to When Time Ran Out… itself, I found the film fine, intriguing, and interesting-enough. Due to the connections between the characters, I was invested in how they responded to the eruption and its aftermath. I also appreciate the creative team’s decision to adopt a more realistic approach to the eruption. That creative choice provides a strong reminder how unpredictable nature can sometimes be. Yes, When Time Ran Out… has its flaws. But because I don’t consistently watch “disaster” films, I didn’t pick up on the repetitiveness Roger and Gene did. Similar to when I reviewed Network, the 1980 picture is one I disagree with Gene and Roger on.
For this year’s Favourite TV Show Episode Blogathon, I decided to talk about a show I haven’t discussed in a while. Reflecting on the programs covered on 18 Cinema Lane, I made a surprising discovery. The last time I reviewed any episodes of Murder, She Wrote was all the way back in 2020, when I wrote about Van Johnson’s episodes of the show. To make up for lost time, I selected three episodes of Murder, She Wrote for the 12th Annual Favourite TV Show Episode Blogathon! But, for this year’s event, the episodes I chose correlate with the dates of the blogathon. In fact, each Murder, She Wrote episode is reviewed in order of the blogathon’s dates. Also, each episode review will cover what I liked about the episode, what I didn’t like about the episode, the mystery itself, the other factors from the episode, and my overall thoughts. So, now let’s begin this review of these episodes of Murder, She Wrote!
Name: The Dream Team
Season 11, Episode 18
Premiere Date: March 19th, 1995
Screenshot of ‘The Dream Team’ title card taken by me, Sally Silverscreen.
What I liked about this episode:
Any time I’ve reviewed television show episodes, I have rarely addressed the dialogue as a strength of the episode. But in the case of this Murder, She Wrote episode, ‘The Dream Team’, the dialogue was cleverly written! Before attending a presentation about a development project from a company called Marina Americana, Jessica gives Seth some books about lighthouses. These books are intended to help Seth craft a strong argument for saving Cabot Cove’s lighthouse, which is an important landmark in the town. When Jessica brings up how the books could provide information for the hook of Seth’s argument, Seth says, “The hook I showed you last night will do just fine, thank you”. Sheriff Mort Metzger replies to Seth, “Maybe for the worm hanging from it”. At the presentation, Jessica’s nephew, Grady, reveals his colleague, J. Peter Carmody, plans to restore the lighthouse. Caught off-guard by this revelation, Metzger says, “Yeah, I think he [J. Peter Carmody] was rendered speechless by the Doc’s party trick; putting both feet in his mouth at the same time”. Along with being cleverly written, these quotes I brought up were hilarious!
What I didn’t like about this episode:
The beginning of a typical Murder, She Wrote episode will take the time to establish the characters and their potential motives. This creative decision gives the audience options in figuring out whodunit, as well as provide the story with red herrings. The establishment of characters and their motives in ‘The Dream Team’ took about half the episode. With the titular murder taking place at the episode’s halfway point, the audience is only given half the episode to help Jessica solve the case. Personally, I prefer stories that give viewers more time to figure the mystery out.
The mystery itself:
There are two interconnected stories in ‘The Dream Team’; the murder of a developer’s wife and the Marina Americana development project. But in this almost hour-long episode, more emphasis was placed on whether the development project would come to fruition. It also doesn’t help how, as I mentioned earlier, the audience was only given half the episode to figure the mystery out. In some Murder, She Wrote episodes, the guilty party will be revealed based on at least one small detail most viewers may miss. Though this was the case for ‘The Dream Team’, several smaller clues led up to the culprit’s reveal. Overall, I wish there was a balance between both stories and the audience was given more time to help Jessica solve the case.
The other factors from this episode:
As Seth explains his thoughts on the Marina Americana development project, Jessica expresses her impatience over how long Seth takes to get to his point. Seth then tells Jessica, “Now that you’re living in New York, you’re becoming as impatient as the rest of those people down there”. In several episodes of Murder, She Wrote, Jessica lived in New York, though this new living arrangement was only meant to be temporary. By having Seth address this part of Murder, She Wrote’s story, it was a good way to incorporate the show’s continuity.
While we’re on the subject of Seth, I want to address his desire to save Cabot Cove’s lighthouse. At the beginning of ‘The Dream Team’, Seth is against the Marina Americana development project because he fears the lighthouse will be destroyed. He goes so far as to create flyers in an attempt to make the developers feel guilty about risking the lighthouse’s future. However, the amount of time, money, and resources Seth puts toward those flyers could have gone toward actually restoring the lighthouse he claims to care about. If anything, Seth prioritizes talking about the problem instead of trying to solve it.
Grady is one of the developers of the Marina Americana development project. But when the fruition of the project is in jeopardy, so is Grady’s job. When he shares this information with Jessica, he says, “It’s so damn frustrating. I really believed in this project and, well obviously, so did a lot of other people”. What Grady said brings up an excellent point about how a neighborhood’s residents are not the only people impacted by any change within a neighborhood. In fact, I hadn’t come to this realization until I heard Grady’s quote.
My overall thoughts:
The way I feel about ‘The Dream Team’ is similar to how I feel about ‘The Legacy of Borbey House’; disappointment that Cabot Cove’s maintenance received precedence over the mystery itself. Also, like ‘The Legacy of Borbey House’, the entire first half of ‘The Dream Team’ was devoted to establishing characters and their potential motives. This left only half the episode for the audience to help Jessica solve the mystery. However, I did find the dialogue cleverly written. The examples I provided in this review were hilarious as well. I not only liked the inclusion of Murder, She Wrote’s continuity, I also found Grady’s quote thought-provoking. What I also found thought-provoking was the idea of Cabot Cove changing. As I watched ‘The Dream Team’, I thought about what would happen if Cabot Cove were a real town. Would it adapt with the times or would it stay frozen in time?
Screenshot of ‘Dead to Rights’ title card taken by me, Sally Silverscreen.
What I liked about this episode:
In this episode of Murder, She Wrote, ‘Dead to Rights’, Jessica’s former researcher, Dana Ballard, is accused of murdering her new boss. A major reason for this accusation is how she constantly lies. Dana goes so far as to impersonate Jessica, as well as change Jessica’s answering machine message, in order to be selected for a new job. But one person who sees past Dana’s lying is Missy, the wife of Dana’s new boss, Ethan. During a conversation between the two women, Dana shows off a sweet, even a bit naïve, personality, acting as if she’s oblivious of Missy’s suspicions. When Missy confronts Dana about her suspicions, Dana effortlessly transforms into an irritated, manipulative woman. Because of the screenwriting and Molly Hagan’s (the actress who portrayed Dana) performance, the creative team behind ‘Dead to Rights’ did a good job at establishing Dana as a potential suspect. However, I would like to point out the script provides a reason for Dana’s lying; “borderline psychosis” (as Jessica put it).
What I didn’t like about this episode:
As I just mentioned in this review, Dana is accused of murdering her new boss, Ethan. While this gave Jessica a personal reason for solving the case, the majority of the story focused on proving Dana’s innocence. ‘Dead to Rights’ did a good job at establishing characters and their potential motives. However, this build-up became an afterthought as the episode progressed due to the aforementioned focus on the truth about Dana. Similar to ‘The Dream Team’, the guilty party in ‘Dead to Rights’ was revealed based on a small detail. Had the script provided a balance between proving Dana’s innocence and figuring out who was guilty, the story might have been stronger.
The mystery itself:
Like I’ve already stated in my review, most of the story focused on proving Dana’s innocence. I also stated how the mystery’s guilty party was revealed based on a small detail. Another aspect of the mystery I’d like to bring up is how Jessica works with a lawyer named Vincent to solve the case. Typically, Murder, She Wrote shows Jessica collaborating with police officers, detectives, or investigators when it comes to catching whodunit. So, seeing Jessica engage with the more legal side of the mystery genre was a good change of pace for her!
The other factors from this episode:
Some scenes in ‘Dead to Rights’ show a large train display the length of the entire wall in Ethan’s office. This train display not only surrounds a miniature town, a large painted backdrop of a desert landscape covered the wall behind the train display. Even though the train display and everything surrounding it was impressive, its inclusion in ‘Dead to Rights’ was random. None of the characters acknowledged the display itself. Plus, Ethan’s reason for the display being in his office was never provided.
Toward the beginning of the episode, on-screen text reveals how most of the story takes place in Portland, Maine. But in an establishing shot of a hotel’s exterior (implying that’s the hotel Jessica is staying at), Maine’s state flag is not displayed on the hotel. Instead, the state flags for Maryland, Virginia, and Washington D.C. are prominently featured on the hotel’s exterior. In past reviews of Murder, She Wrote, I have complimented the show’s creative team for its location scouting because of how visually appealing the locations themselves have been. So, I’m surprised this film-making mistake went overlooked.
During Jessica’s and Vincent’s investigation, Vincent turns to a woman named Wanda for assistance. A few scenes show Vincent and Jessica visiting Wanda at her home. Her office/living room is filled with a collection of décor; from a cylindrical fish tank to a colorful pinball game. Because Wanda had such a quirky personality, the creative team behind ‘Dead to Rights’ did a good job utilizing these pieces of décor to paint a picture of who Wanda is. The décor itself also made Wanda’s home look like a cool space!
My overall thoughts:
At best, ‘Dead to Rights’ is an ok episode. But, at worst, the story was weaker than I had hoped. So much emphasis was placed on proving Dana’s innocence, the build-up of the characters and their potential motives became an afterthought as the episode went on. What I also found frustrating was how the guilty party was revealed based on a small detail I think most viewers might overlook. However, there are aspects of ‘Dead to Rights’ I liked. The combination of Molly Hagan’s performance and the screenwriting effectively established Dana Ballard as a potential suspect. The episode’s creative team did a good job showcasing Wanda’s personality through the set design. However, there were some questionable creative choices, like Ethan’s train display and the lack of Maine state flags on the hotel. Now I wonder what other production errors from Murder, She Wrote actually appeared on the show?
Rating: A 3 out of 5
As I point out in this screenshot, the on-screen text clearly states most of the story takes place in Portland, Maine. Screenshot taken by me, Sally Silverscreen.
In this establishing shot, these flags would indicate the hotel is not located near Maine. Screenshot taken by me, Sally Silverscreen.
Name: No Accounting for Murder
Season 3, Episode 19
Premiere Date: March 22nd, 1987
Screenshot of ‘No Accounting for Murder’ title card taken by me, Sally Silverscreen.
What I liked about this episode:
One of the strengths of Murder, She Wrote has been the set design. This episode, ‘No Accounting for Murder’ is a perfect example of this statement! The accounting firm Grady works for is one of the most opulent looking businesses I’ve ever seen in entertainment media. The office of a colleague named Paul Carlisle boasts stunning design choices, including gold wallpaper that sparkled in the light, a white upholstered office chair, and gold décor. Even the accounting firm’s lobby fit the opulent style found in Paul’s office! Deep wood pillars and window frames provide a nice contrast to the light-colored carpet and wallpaper. Similar to Paul’s office, the sofa in the lobby was also upholstered. A gold table lamp adds a touch of elegance to the space. Once again, the creative team behind Murder, She Wrote knew what they were doing when it came to designing this particular set!
What I didn’t like about this episode:
When I reviewed ‘The Dream Team’ and ‘Dead to Rights’, I talked about how the characters and their potential motives were established within the story. But in ‘No Accounting for Murder’, some of the characters aren’t given a potential motive. The characters that do have a potential motive receive it as the story went along instead of toward the beginning of the episode. What also didn’t help was how the culprit was revealed because of a small detail mentioned by one of the characters. The fact only some characters were given a potential motive caused the script to lack red herrings.
The mystery itself:
There are two mysteries within ‘No Accounting for Murder’; the murder of one of Grady’s colleagues, Ralph Whitman, and the “ghost” inhabiting the accounting firm. Unlike the stories in ‘The Dream Team’, the stories in ‘No Accounting for Murder’ didn’t feel connected. In fact, each story felt like it belonged in their own separate episode. Personally, I thought the “ghost” story was more intriguing, as there were more mysterious elements to it. By the episode’s conclusion, however, I was disappointed by the unsatisfactory resolution of that story.
The other factors from this episode:
In ‘No Accounting for Murder’, Jessica works alongside Lieutenant Timothy Hanratty while trying to solve the case. In a car ride through New York City, Timothy brings up some of Jessica’s past cases and even wonders why she hasn’t received a gold badge from her own police department yet. Jessica replies by saying, “It’s just a quirk of mine, really. The way I see things, you know?” When Jessica said this, I thought about other detectives, both amateur and professional, from entertainment media. They seem to possess a gift for observation, picking up on little details buried among facts, clues, and speculation. What these characters bring to their respective tables is just extraordinary. Any time I’ve watched Murder, She Wrote, I believed Jessica just happened to be that good at being a detective. But after watching ‘No Accounting for Murder’, I now see Jessica possessing a brilliance, similar to other detectives from television and film.
Last year, when I reviewed the Touched by An Angel episode, ‘Sympathy for the Devil’, I brought up one of the most unintentionally funny moments of the show; when Ty Duncan called his son “Chicken Boy” as an insult. In the Murder, She Wrote, episode, ‘No Accounting for Murder’, an unintentionally funny moment took place during a confrontation between Paul and the murder victim’s wife, Lana Whitman. As an insult, Lana calls Paul an “arrogant horse’s batootie”. Because of how goofy this insult sounded, I ended up bursting out laughing.
While watching ‘No Accounting for Murder’, I spotted a familiar face among the cast of characters. Ron Masak portrayed a salesman named Marty Giles, who happened to be a potential suspect. Fans of Murder, She Wrote would recognize Ron as Sheriff Mort Metzger, one of the most beloved residents of Cabot Cove. This discovery was such a surprise for me, as I didn’t know Ron had portrayed other characters on Murder, She Wrote besides Metzger. This makes me wonder how often actors and actresses portrayed more than one character on Murder, She Wrote?
My overall thoughts:
Like ‘The Dream Team’ and ‘Dead to Rights’, ‘No Accounting for Murder’ was just ok. Even though I liked the accounting firm’s set design, I didn’t like how some of the characters didn’t receive a potential motive. I also didn’t like how the mystery stories felt disconnected. However, the “ghost” story was intriguing enough to keep me invested in the episode, despite its resolution being unsatisfactory. ‘No Accounting for Murder’ has made me see Jessica in a slightly different way, leaving me appreciative of what she has to offer to the mystery genre’s table. It was nice to see Ron Masak appear in this episode as well. But as I look back on the episodes of Murder, She Wrote I’ve written about, ‘No Accounting for Murder’ will not be reflected on as fondly as other episodes.
Rating: A 3 out of 5
Design details like the sparkling gold wallpaper and the velvety green curtains add opulence to the set. Screenshot taken by me, Sally Silverscreen.
The opulence I mentioned while discussing Paul’s office is also reflected in the lobby of the accounting firm. Screenshot taken by me, Sally Silverscreen.
What are your thoughts on these episodes of Murder, She Wrote? Are there any episodes you’d like to see me review? Tell me in the comment section!
The Gold Sally Awards, a beloved tradition on 18 Cinema Lane, have returned! For those new to my blog, this is an annual post I publish to commemorate my blog’s anniversary. Winners of the Gold Sally Awards are chosen based on movies I saw the previous year. The award categories are created by me, based on topics I’ve brought up on 18 Cinema Lane. Every year, I try to introduce at least one new award category. But in 2026, I’ve brought back two existing categories instead. I will discuss why I chose each recipient, like I’ve done in past award posts. So now, let the 8th Annual Gold Sally Awards begin!
8th Annual Gold Sally Awards Winners created by me, Sally Silverscreen.
The Standing Ovation Award
(Character Most Deserving of Receiving Their Full Potential)
Alfred White from Saving the Titanic
Overcoming a fear takes bravery, determination, and perseverance. When one conquers a fear that was holding them back, it is an accomplishment worth celebrating, especially considering what that person may have gone through to reach that accomplishment. In Saving the Titanic, Alfred White had a fear of heights. He eventually overcame his fear when tasked with reporting everything happening above Titanic’s deck. The fact Alfred faced and conquered his fear during the highly stressful time of Titanic’s sinking is quite amazing. But as Alfred was addressing his fear of heights, he also taught me about the Titanic’s fourth fake funnel, a fact I was unaware of before watching Saving the Titanic. For these reasons, I have chosen Alfred White to receive this year’s Standing Ovation Award!
The Hallmark Hall of Fame Award
(Movie That Feels Like It Belongs in the Hallmark Hall of Fame Collection)
An Old Fashioned Thanksgiving
When I gave Hallmark’s Frankenstein the Hallmark Hall of Fame Award last year, I described the 2004 television movie as an immersive experience. The combination of screenwriting, acting performances, set design, and costume design presented the illusion of transporting me to another time and place. This is exactly how I felt when revisiting An Old Fashioned Thanksgiving! In the case of the 2008 tv film, this illusion was achieved through attention to detail and historical accuracy. Similar to Hallmark’s Frankenstein, I’m surprised An Old Fashioned Thanksgiving wasn’t a Hallmark Hall of Fame presentation. It’s even more surprising none of Louisa May Alcott’s literary work was adapted into Hallmark Hall of Fame titles. So, those are the reasons why I chose An Old Fashioned Thanksgiving for this year’s Hallmark Hall of Fame Award!
The “She Won’t Give Me My Chocolate” Award
(Best Quote from a Movie)
“For those who make history needn’t read about it” – Eva, The Bride (1985)
I will admit this was the most difficult category to choose a winner for. That’s because there were several strong quotes that were deserving of this year’s “She Won’t Give Me My Chocolate” Award. But the quote I ended up selecting was the one Eva told Josef in 1985’s The Bride. Outside the movie’s context, the quote itself is powerful and epic. Within the movie, however, it’s a simplistic yet meaningful acknowledgment of how far Eva came from when she was first introduced in the story. By Eva telling Josef, “For those who make history needn’t read about it”, she’s no longer the blank slate Frankenstein originally created her to be. Instead, Eva can think and speak for herself, even if she did need some help along the way. This quote provides character development in an interesting and memorable way!
The Edwin P. Christy Award
(Most Annoying Character in Film)
Cameron Shannon from An Old Fashioned Christmas
Looking back on 2025, Cameron Shannon, from An Old Fashioned Christmas, sticks out in my memory. But his memorability is for the wrong reasons. As I said in my review of the 2010 tv picture, Cameron was the worst character in An Old Fashioned Christmas. This was due to how annoying he became over the course of the movie. Cameron always acted like he had something to prove, as well as attempting to get the last word in every argument or conversation. So, it was satisfying to see Gad confront Cameron toward the end of the story. Like I also said in my An Old Fashioned Christmas review, the majority of the film emphasized the love triangle between Tilly, Gad, and Cameron. Honestly, I don’t know what Tilly saw in Cameron because his unlikability was static.
The Edward Boult Award
(Missed Opportunity in Cinema)
Not giving Perry Mason: The Case of the Heartbroken Bride a unique and memorable story
Last July, when I reviewed Perry Mason: The Case of the Heartbroken Bride, I criticized the movie for its missed creative opportunities. This major flaw made the twenty-third chapter in the Perry Mason movie series lackluster. In my review, I gave two subplot ideas that could have helped Perry Mason: The Case of the Heartbroken Bride obtain a more memorable story. The first is how Hannah, the sister of Kaitlynn’s fiancé, converted her failed music career into a promising legal career. Kaitlynn’s real personality being quite different from her celebrity persona serves as the second subplot idea. Sadly, these ideas weren’t utilized nor did they contribute to the mystery of Perry Mason: The Case of the Heartbroken Bride. The 1992 television film was Perry Mason’s “bad day at the office”.
The “Based on a Book I Haven’t Read Yet” Award
(Movie Based on Source Material I Have Not Yet Read)
An Old-Fashioned Thanksgiving
Louisa May Alcott is best known for her iconic novel, Little Women. But she has written some short stories throughout her career. One of those short stories was An Old-Fashioned Thanksgiving, which was the source material for the 2008 Hallmark Channel movie of the same name. You’d think with how much I adore An Old-Fashioned Thanksgiving’s film adaptation, I would have read the source material by now. But as of late February to early March, 2026, I still have not read Louisa May Alcott’s short story. Hopefully, I can finally check out An Old-Fashioned Thanksgiving this year!
The Nosferatu vs. Dracula Award
(Two Movies That Feel Like You’re Watching the Same One)
From the Mixed-Up Files of Mrs. Basil E. Frankweiler from 1973 and 1995
If you read my review of 1973’s From the Mixed-Up Files of Mrs. Basil E. Frankweiler, you would know this adaptation, as well as the 1995 version, would likely receive the Nosferatu vs. Dracula Award. This is due to both movies sharing a lot of the same strengths and flaws. Even though each version of From the Mixed-Up Files of Mrs. Basil E. Frankweiler does have its differences, it’s not enough to give the films strong differentiations between them. Even though I slightly prefer the 1995 adaptation over the 1973 version, these movies made me feel like I was watching the same film twice.
The Kay’s Costume Party Dress Award
(Best Outfit from a Movie)
Marion’s Angel Costume from Wings of Desire
In my Comparing with the Critics review of Wings of Desire, I complimented the movie’s costume design. I even described one of Marion’s trapeze artist costumes in detail. That costume is the angel costume Marion wore when she was first introduced in Wings of Desire. The craftsmanship and detail that went into creating the costume allowed the costume itself to stand out long after the movie was over. As I said in my review, the exquisiteness of Marion’s costumes, including her angel costume, makes me wish they were shown in color more consistently.
Sally’s MVP Award
(Character Who Left a Memorable, Showstopping Impression)
Rinaldo from The Bride (1985)
Back in June, 2025, when I reviewed The Bride, I proclaimed Rinaldo was the movie’s MVP. So, when it came time to decide who should receive the Sally’s MVP Award, I already knew the perfect winner! From the moment he meets Viktor, Rinaldo genuinely has Viktor’s best interests at heart. He strives to give Viktor a better life than Frankenstein did, even going so far as to educating Viktor on the importance of his name, which means “He will win”. Rinaldo always refers to Viktor as “his friend”. If it wasn’t for Rinaldo, I don’t believe Viktor would have received the “hero’s journey” he did in The Bride. Similar to when I gave Madmartigan the Sally’s MVP Award last year, Rinaldo became The Bride’s MVP because of David Rappaport’s performance and the screenwriting.
The They Deserve an Award Award
(Someone Associated with a Movie Who Deserves Recognition)
Monika Jacobs (for her costume designs in Wings of Desire)
In the past, I would give this award to actors or actresses who gave a performance that was memorably showstopping. But this year, I decided to expand the They Deserve an Award Award to other departments of film-making. That’s because there are other important components of creating a movie besides acting. When I reviewed Wings of Desire, I praised the film’s costume design, specifically pointing out one of Marion’s trapeze artist costumes. I said I wish Wings of Desire’s costume designer, Monika Jacobs, was nominated for, at least, one award. Costume design isn’t just about crafting attire that’s appealing to the eye. It’s also about creating attire that compliments the actor or actress wearing it. Through Marion’s wardrobe in Wings of Desire, Monika achieved these objectives. Even though Marion’s trapeze artist costumes were stunning, her casual and formal attire made Solveig Dommartin look like the best dressed star of Wings of Desire!
I will admit I wasn’t familiar with Kenneth Williams as an actor before joining the Carry On Kenny! 100 Years of Kenneth Williams Blogathon. But like other blogathons I’ve participated in, I saw the event as an opportunity to expand my cinematic horizons. As I looked through Kenneth’s filmography, I discovered he starred in the 1984 made-for-tv movie, Aladdin and the Forty Thieves. Since I cover my fair share of television films, including those from the 1980s, I chose this production as my blogathon entry! When I recently wrote about Brigadoon, I said the fantasy genre was underrepresented on 18 Cinema Lane. I also said Brigadoon itself was a fine, pleasant presentation. With Aladdin and the Forty Thieves being the second movie from the fantasy genre to be reviewed this year, it almost seems like I’m making up for lost time. And now that I’ve seen the 1984 television film, I can say whether its stronger or weaker than Brigadoon.
Since Aladdin and the Forty Thieves doesn’t have an offical movie poster, I have to use this title card for my review. Title card created by British Broadcasting Corporation (BBC)
Things I liked about the film:
Kenneth Williams’ performance: Since Kenneth Williams is the reason why I chose to review Aladdin and the Forty Thieves, I’ll talk about his portrayal of Mustapha Drink. In the 1984 movie, Mustapha is a storyteller who shares a tale about two Mandarins named Wing and Wong. Throughout this tale, Kenneth utilizes facial expressions and vocal inflictions to bring the story to life. He even gives the characters distinct voices to add memorability to the tale. Even though Mustapha appeared in only one scene, Kenneth did a good job, acting wise, with the material he was given. I, honestly, wish Kenneth had been the narrator of Aladdin’s story, presenting the illusion he was reading a storybook to the audience.
The costume design: While we’re on the subject of Kenneth’s portrayal of Mustapha Drink, I want to talk about the movie’s costume design. As he told the tale of Wing and Wong, Mustapha wore a long blue jacket with gold trim and detailing. Whether he walked or sat, the jacket sparkled in the light. Mustapha also wore a long red gown boasting an intricate gold design. The elegance of his outfit allowed Mustapha to stand out, even though he appeared in only one scene. This is just one example of the attention to detail and effort that went into the costume design of Aladdin and the Forty Thieves!
Certain ways Aladdin’s story was adapted: I must confess the adaptation of Aladdin’s story I’m most familiar with is the Disney animated picture from 1992. With that said, it was interesting to see how Aladdin and the Forty Thieves adapted Aladdin’s story compared to Disney’s production. The 1984 film features two genies, Genie of the Lamp and Genie of the Ring. Though I think it was a missed opportunity not to have the genies interact with one another, it was still an interesting creative decision to have more than one genie solve the characters’ problems. Toward the end of Aladdin and the Forty Thieves, Aladdin and The Princess Balroubador receive a magic carpet as a wedding gift. From what I remember of the 1992 movie, the magic carpet was more of a sidekick for Aladdin. The iconic “A Whole New World” scene just wouldn’t be the same without the magic carpet. Though Aladdin and the Forty Thieves and the Disney film each approached the same story, they brought it to life in their own unique way!
The musical numbers: Before I selected Aladdin and the Forty Thieves for the Carry On Kenny! 100 Years of Kenneth Williams Blogathon, I had no idea it was a musical. So, you can imagine my surprise when Genie of the Ring started randomly singing and dancing. Though the musical numbers themselves weren’t bad, some of them seemed like they were added to the movie just for the sake of including a musical number. When Aladdin’s Chinese village was first introduced in Aladdin and the Forty Thieves, some of the residents sang “Zip-a-Dee-Doo-Dah”. As I was watching this musical number unfold, I kept wondering what this song had to do with Aladdin and his story, especially considering the song itself was released in 1946. Creative decisions like this musical number left me confused of the creative team’s intent.
Unclear time period: Remember when I questioned the inclusion of “Zip-a-Dee-Doo-Dah” in Aladdin and the Forty Thieves, pointing out how the song was released in 1946? I brought this up to address one of the flaws of the 1984 television film; an unclear time-period. Based on the set and costume design, it appears the story takes place in Ancient China. Yet, in one scene, a vending machine not only served drinks, but also “hot & cold food”. Because of creative choices like the two I described, it makes Aladdin and the Forty Thieves look like it’s having an identity crisis.
The special effects: I know a television movie is, more often than not, going to receive a smaller budget. I’m also aware how cinematic technology from the 1980s is going to be different from today’s cinematic technology. But with all that said, I couldn’t look past the poor special effects throughout Aladdin and the Forty Thieves. One painfully obvious example is when, toward the beginning of the film, Abanazar transforms into a bird. This very fake-looking bird is superimposed over still photographs of landscapes, trying to present the illusion of traveling from one place to another. Making a movie isn’t easy and does require working within your means. However, I think using special effects hurt Aladdin and the Forty Thieves instead of helped it.
Have you ever watched a movie and wondered “what the heck did I just watch”? That’s what I was thinking when I saw Aladdin and the Forty Thieves. Was the 1984 movie supposed to be taken seriously or was it supposed to be silly, goofy fun? Why was it difficult to determine the story’s time period? It’s a shame this wasn’t a stronger picture because there are aspects of it I liked. Kenneth Williams did a good job, acting wise, in his role as Mustapha Drink. In fact, I think Kenneth should have been the one narrating Aladdin’s story. It looked like there was a good amount of effort and detail put toward the set and costume design. I even liked some of the ways Aladdin’s story was adapted in the 1984 film. But I have no idea what I was supposed to get out of Aladdin and the Forty Thieves. Therefore, I hesitate recommending it.
Overall score: 5.3 out of 10
Have you seen Aladdin and the Forty Thieves? Which adaptation of Aladdin’s story is your favorite? Let me know in the comment section!
Fans of Eddie Munson from Stranger Things would know 1986 is considered “Eddie’s year”. This is because 1986 is when Eddie had planned on graduating from Hawkins High School. As 2026 marks the 40th anniversary of “Eddie’s year”, I decided to commemorate the occasion by hosting The “Eddie’s Year” Blogathon! When I published my editorial last Halloween about Eddie Munson and Harris Trinsky (from Freaks and Geeks) being two sides of the same coin, I called both of them “two sparkling, shooting stars”. This is the reason why I’m announcing my new blogathon today, with February 8th, 2026 being the 40th anniversary of the last sighting of Halley’s Comet. While we’re on the subject of Halley’s Comet, you can write about this astronomical event if you’re interested in participating in The “Eddie’s Year” Blogathon. Or you can select any ideas from the following list:
The “Eddie’s Year” Blogathon banner created by me, Sally Silverscreen. Original image created by 21 Laps Entertainment, Monkey Massacre, Netflix, and Upside Down Pictures.
Eddie Munson and/or subjects related to him (music, Dungeons & Dragons, characters who didn’t get the opportunity to reach their full potential, etc.)
Events that took place in 1986 (such as the sighting of Halley’s Comet)
Projects from Joseph Quinn’s (the actor who portrayed Eddie Munson) filmography
Movies, tv show episodes, books, etc. that were released between 1966 and 1986 (those years represent Eddie’s lifespan that was featured on his headstone from Stranger Things’ fifth and final season)
Movies, tv show episodes, books, etc. from any year that debuted in March (bonus if the premiere date falls between March 21st to 27th, when the fourth season of Stranger Things takes place)
Books, movies, tv show episodes, etc. that either take place in Indiana or were filmed in Indiana (Eddie Munson is from Hawkins, Indiana)
How stories would be impacted if Eddie were included in the story (for example, would everyone know Eddie’s name if he showed up on an episode of Cheers?)
Eddie related merchandise, such as books
The “Eddie’s Year” Blogathon banner created by me, Sally Silverscreen. Original image created by 21 Laps Entertainment, Monkey Massacre, Netflix, and Upside Down Pictures.
If you’re joining The “Eddie’s Year” Blogathon and found an idea you’re interested in writing about, please read the event’s official rules.
Please be respectful to the other participants and your chosen topic
Only new entries will be accepted
Because Eddie made his official debut in Stranger Things’ fourth season, participants can publish a maximum of four entries
No more than two participants can write about the same topic
Creativity and fun are encouraged
Entries must be submitted between June 6th-9th
If you plan on publishing your entry before or after the blogathon, please let me know as soon as possible
Share your entry idea in the comment section below!
Feature one of the four blogathon banners anywhere in your entry
The “Eddie’s Year” Blogathon banner created by me, Sally Silverscreen. Original image created by 21 Laps Entertainment, Monkey Massacre, Netflix, and Upside Down Pictures.
Participants of The “Eddie’s Year” Blogathon
— Sally from 18 Cinema Lane – 1986 “Best” and “Worst” reviews for my Comparing with the Critics series, book review of Stranger Things: Flight of Icarus by Caitlin Schneiderhan
— Ruth from Silver Screenings – Review of Ferris Bueller’s Day Off (1986)
— Kristen from Hoofers and Honeys – Review of Love Before Breakfast (March 9, 1936)
— Chloe the MovieCritic from Movies Meet Their Match – Review of Labyrinth (1986)
— Virginie from The Wonderful World of Cinema – Review of True Stories (1986)
— Rebecca from Taking Up Room – Review of Pretty In Pink (1986)
— J-Dub from Dubsism – Editorial titled ‘How Some Guy Named Roy Ended The Longest War In The World’ (April 1986)
The “Eddie’s Year” Blogathon banner created by me, Sally Silverscreen. Original image created by 21 Laps Entertainment, Monkey Massacre, Netflix, and Upside Down Pictures.
I was first introduced to Michael Wincott as an actor when I saw The Crow for the first time. Because his portrayal of Top Dollar left such a memorable impression, I wanted to seek out other projects from his filmography. I also wanted to review one of his projects on his birthday. But, until this year, I hadn’t gotten around to doing that. When I discovered Michael had guest-starred on an episode of Miami Vice, I became interested in checking out his performance. Seeking out this episode also gave me an introduction to Miami Vice, as I have never watched the show before. So, in honor of Michael’s birthday, I am publishing this special tv show episode review! Like my other television related reviews, I will discuss what I liked about the episode, what I didn’t like about the episode, the story itself, the other factors from this episode, and my overall thoughts. So, before we can start singing the “Happy Birthday” song, let’s begin this review!
Miami Vicelogo created by Michael Mann Productions, Universal Television, and National Broadcasting Company (NBC)
Episode Name: Blood & Roses
Season 4, Episode 19
Premiere Date: April 1st, 1988
The title card for “Blood & Roses“. Screenshot taken by me, Sally Silverscreen.
What I liked about this episode:
In this episode of Miami Vice, a detective named Gina goes undercover as the love interest of a criminal named Frank Mosca. But the longer she stays undercover, the more the mission takes its toll on her. It gets to the point where Frank makes unwanted romantic advances on Gina. One day at the station, Gina tearfully confesses to another detective named Trudy how what she’s doing makes her feel guilty. She is still shaken up by what Frank did to her. If a character goes undercover or is given a top-secret mission on a police/detective procedural show like Miami Vice, the allure and thrill of the mission itself is given so much emphasis, its effect on the characters is rarely addressed, especially if the character is a woman. Gina’s confession to Trudy honestly highlights how, at the end of the day, the characters on police/detective procedural shows are human, complete with emotional limits and breaking points. It also helps how that scene was well-acted and well-written.
What I didn’t like about this episode:
As I said in the introduction of this review, Michael Wincott is the reason why I sought out this episode of Miami Vice. His performance was one of the best parts of this episode because he displayed chameleon-like control over his character’s emotions, which was reminiscent of his portrayal of Top Dollar. But within this forty-seven-minute episode, Michael only appeared in a total of four scenes. Plus, his portrayal of Wilson Cook became overshadowed by Stanley Tucci’s portrayal of Frank Mosca. It was disappointing to watch another project from Michael’s filmography where his talents were underutilized.
Frank Mosca is laundering money through the various banks he owns. Based on the dialogue in this episode of Miami Vice, Frank has crossed paths with the protagonists of the show before. So, the story in “Blood & Roses” is similar to a storyline from the show, Columbo; waiting for the other shoe to drop by determining how the guilty party will get caught. For the majority of Miami Vice’s forty-seven-minute episode, however, the story contained a lack of urgency. A stronger sense of urgency didn’t arrive until the last six minutes of the episode. But this creative decision caused the conflict’s resolution to feel rushed. Plus, the way Frank’s defeat was achieved by the protagonists was a little too easily reached. That creative choice seemed like it was chosen just to satisfy the episode’s run-time.
The other factors from this episode:
Like I said earlier in this review, Gina goes undercover as Frank’s love interest. One of her reasons for spending so much time with Frank is how she is posing as an interior designer. During one of their conversations, Gina brings up potential design themes like “Santa Fe” and “Nashville” Frank could adopt for his house. With Miami Vice taking place in Miami, Florida in the 1980s, I’m surprised Gina didn’t suggest Frank select an aesthetic the city, let alone the state, is known for. Miami is famous for its bright color schemes and vibrant energy. Based on the rooms from Frank’s house that were shown on screen, I’m pretty sure at least one of the aesthetics of Miami could have been effortlessly woven into Frank’s house.
Speaking of Frank’s house, some of the design choices featured in this episode were, in my opinion, strange. Frank’s office prominently features a wall length mirror behind where Frank is sitting. If he’s not even utilizing the mirror as a reflective tool, like in a dance studio, why does his office need a mirror in the first place? Right next to the house’s main staircase is a koi pond. To me, having a koi pond so close to the staircase seems like a tripping hazard, especially considering there isn’t a buffer between the floor and the edge of the pond. Had Frank’s house contained a connected greenhouse where the koi pond was located, it would have made more sense.
I said in the introduction of this review how I have never watched Miami Vice before. Despite this, I thought Don Johnson and Saundra Santiago’s on-screen chemistry was one of the best parts of this episode! Even though their characters, James and Gina, shared very little screen-time together, I could sense a radiant spark between them. Because Don’s and Saundra’s acting talents were so strong together, I wish Gina and James’ relationship had been featured more in “Blood & Roses”. However, I recognize there’s only so much story you can tell in forty-seven-minutes.
Since I’m reviewing this episode of Miami Vice on Michael Wincott’s birthday, I thought including a picture of his character, Wilson Cook, in this review made sense. Screenshot taken by me, Sally Silverscreen.
My overall thoughts:
Even though this is my first time watching Miami Vice, I was familiar with the general concept of the show. Therefore, I had an idea of what to expect. Based on these expectations, I thought “Blood & Roses” was going to contain a strong sense of suspense, intrigue, and action. What I ended up getting was a forty-seven-minute episode that mostly lacked a sense of urgency. Because a stronger sense of urgency didn’t appear until the last six minutes of the episode, the conflict’s resolution felt rushed and the defeat of Frank (the episode’s villain) was too easily achievable for the protagonists. But out of the television episodes I’ve reviewed on 18 Cinema Lane, “Blood & Roses” isn’t one of the worst episodes I’ve covered. There were elements of the episode I liked, such as how the show honestly addressed how undercover missions can affect the characters. I even liked some of the acting performances, especially between Don Johnson and Saundra Santiago. However, I wish I had more to say about Michael Wincott’s involvement in this episode, since I’m reviewing it on his birthday.
Five years ago, I advocated for the release of The Crow: City of Angels’ Tim Pope cut. This version of the movie was not only supposed to be 160-minutes, it was also supposed to tell a different story from its predecessor. The Crow: City of Angels’ intended conflict showed the protagonist, Ashe, choosing between reuniting with his son, Danny, in the afterlife or staying on Earth to form a romantic relationship with Sarah, who appeared in The Crow. When Roger Ebert brought up Wings of Desire in Siskel & Ebert’s Best of 1988 episode, he said the film was “about an angel who wants to be a human because he would rather have real, physical feelings than live forever”. His explanation of Wings of Desire reminded me of The Crow: City of Angels’ intended conflict I described. Since I don’t know if and/or when the Tim Pope cut of The Crow: City of Angels will be released, Wings of Desire will be my unofficial placeholder in terms of storytelling. The other reason why I chose Wings of Desire for my Comparing with the Critics series’ Best of 1988 review is because it was on Roger’s list of the ten best films of 1988, even though both he and Gene Siskel liked it. I approached this film with an open mind because I had never seen or heard of it prior to my series. Now that I have seen Wings of Desire, I think calling it one of the best movies of the year is giving the film a little too much credit.
Wings of Desireposter created by Road Movies Filmproduktion, Argos Films, Westdeutscher Rundfunk (WDR), Wim Wenders Stiftung, Orion Classics, Basis-Film Verleih, and Filmverlag der Autoren
As I said in the introduction of this review, both Roger and Gene liked Wings of Desire. In an episode of Siskel & Ebert, they gave the film a thumbs-up. Roger commented on how the movie “has a mood to it. It takes the time to establish that mood”. Meanwhile, Gene points out that Wings of Desire “gives more than equal time to the angels’ thoughts”. What Roger and Gene said was achieved through mise-en-scène and music. A great example is when Damiel (portrayed by Bruno Ganz) is at a crossroads over whether he truly wants to become human or remain an angel. The majority of the scene is presented through “shaky cam”, giving the illusion Damiel is quickly turning his head and moving in circles. Sharp, quick violin sounds play over the scene, heightening Damiel’s panic and confusion. Shots of humans crying or looking frightened are interspersed throughout the scene. This creative choice reflects Damiel’s thoughts and feelings. Whenever “shaky cam” is incorporated into a movie, it is usually met with criticism due to how the film-making technique distorts a scene to the point of becoming unwatchable. However, the use of “shaky cam” in Wings of Desire is one of the few times where it works. This is because that creative decision was utilized purposefully to enhance the emotional aspect of the story.
Since there are angels in Wings of Desire, I thought adding this angel picture to my review made sense. Screenshot taken by me, Sally Silverscreen.
Wings of Desire is mostly presented in black-and-white imagery. But there are a handful of scenes shown in color. This creative choice differentiates the perspective between the angels and the humans. Damiel and Cassiel, two angels from the film’s main cast of characters, see the human world in black-and-white, as they are outsiders looking in. The humans’ environment is visually represented in color, showcasing life in 1980s West Berlin. Black-and-white and color imagery’s incorporation into Wings of Desire is purposeful as it addresses concepts like a sense of belonging, unique points of view, and what it means to be a part of a community. Wings of Desire’s creative decision reminded me of Schindler’s List, a black-and-white movie that occasionally utilized color to emphasize certain ideas.
Another visual aspect of the movie I liked was Marion’s wardrobe. In Wings of Desire, Marion (portrayed by Solveig Dommartin) is a trapeze artist who is afraid her dream may be coming to an end due to the circus’ struggling finances. Her performances give her an excuse to wear gorgeous costumes! When she is first introduced in the story, Marion wears a long-sleeved leotard with an attached skirt. This costume is made up of a beige velour-like material and covered in diamond-esque gems. The shoulders of the costume feature a shiny applique. To give circus attendants the impression Marion is a flying angel, she wears large, white wings while performing in the air. The exquisiteness of Marion’s costumes makes me wish they were shown in color more consistently. I also wish Wings of Desire’s costume designer, Monika Jacobs, was nominated for, at least, one award.
Group of clowns image created by Freepik at freepik.com. Image by Freepik
After a clip of Wings of Desire was presented on Siskel & Ebert, Gene declares “the juiciest part of this picture is how close we get to everyday people, their joys, their heartbreaks”. He also says, “director, Wim Wenders, does a real remarkable thing here; he praises life as it is lived, yet making sense out of life’s confusions to the point where we enjoy being alive in a fresh way”. While I agree with Gene about the realistic portrayal of the humans’ lives, I wish the dialogue had sounded more realistic. Every time a character speaks, they deliver philosophical speeches instead of conversations. This made the characters sound like they were spending more time expressing ideas than putting ideas into action. Though looking back on Wings of Desire, I wonder if that was intended commentary on how people spend less time solving problems and more time talking about them?
Like I mentioned earlier in my review, Damiel and Cassiel are outsiders looking in on the human world. Despite this, both angels observe, listen, and occasionally intervene in the humans’ lives. That means Wings of Desire’s audience can hear the thoughts of the humans Cassiel and Damiel cross paths with. But because the angels are disconnected from the human world, story ideas are either loosely connected or not connected at all. A man’s parents concerned over his musical ambitions serve as one example, with the concerns themselves brought up but never resolved. There are four main plots within Wings of Desire. However, only three of them were related to each other. Plus, these three plots didn’t connect until toward the end of the movie. Waiting for the bridges of the plots to form felt tedious, in my opinion.
Comparing with the Critics banner created by me, Sally Silverscreen. TV show title cards created by WTTW National Productions, WTTW, Public Broadcasting Service (PBS), Lifetime Television, Tribune Entertainment, Buena Vista Television, and Disney-ABC Domestic Television
In the introduction of this review, I said calling Wings of Desire one of the best movies of the year is giving the film a little too much credit. It’s not a bad movie, I just didn’t like or love it as much as Roger and Gene did. Wings of Desire is a fine, interesting film that kept me invested in what was happening on screen. The movie also has artistic merit due to creative decisions purposefully incorporated into the project. But major flaws lie in the script. I wish dialogue between characters sounded more conversational, as it would have complimented the realistic depiction of life in 1980s West Berlin. Story ideas should have developed stronger connections to one another, especially among the four main plots. Waiting for three of those main plots to connect was, in my opinion, tedious. During their discussion of Wings of Desire on their show, Siskel & Ebert, Gene tells Roger how Wim Wenders “doesn’t sweeten life to the point that it’s false”. Looking back on my experience watching the movie, I can see, and even appreciate, Gene’s point. Wings of Desire captures Germany before the Berlin Wall would eventually fall. The Wall itself is even featured in a few scenes. Through visuals, text, and even musical selection, the edge of change I addressed in my 1988 introduction of Comparing with the Critics was brought to life on the big screen. The creative team behind Wings of Desire played a small role in history, even if they didn’t know it at that time.
18 Cinema Lane 