Tag: Mark Metcalf

Midnight Madness (1980)

MIDNIGHT MADNESS (1980) 1/2*
Midnight Madness is a teenybopper It’s a Mad, Mad, Mad, Mad World and I wrote of the latter picture ‘I laughed more during Inherit the Wind,’ ‘Because of its length, It’s a Mad, Mad, Mad, Mad World (dumb, dumb, dumb, dumb title) earns my vote for worst comedy ever made,’ and ‘I did not laugh once for more than three hours. That’s a record.’

Had I seen it at the time of the original review, I would have stated ‘I laughed more during Judgement at Nuremberg.’

I, however, did not laugh more during Midnight Madness, which I thought I would rate higher than It’s a Mad, Mad, Mad, Mad World (much prefer James Brown’s It’s a Man’s Man’s Man’s World) because it’s shorter by a hour but Midnight Madness got so incredibly dumb in the final act that I could not in clear conscience give it any more than half a star.

Letterboxd plot summary for It’s a Mad, Mad, Mad, Mad World: ‘A group of strangers come across a man dying after a car crash who proceeds to tell them about the $350,000 he buried in California. What follows is the madcap adventures of those strangers as each attempts to claim the prize for himself.’

Letterboxd plot summary for Midnight Madness: ‘A genius grad student organizes an all-night treasure hunt in which five rival teams composed of colorful oddballs furiously match wits with one another while trying to locate and decipher various cryptic clues planted ingeniously around Los Angeles.’

Laugh summary for a disgruntled viewer in the middle of nowhere, er, middle America: None.

Basically, I just do not like this comedic style, where a bunch of rumbling bumbling stumbling fumbling idiots fall all over themselves for two (or three) hours in the broadest possible acting imaginable (mugging) and this is supposed to be funny, entertaining, satirical.

Midnight Madness also belongs in this bizarre cinematic nether region between a G-rated Disney live-action movie and an R-rated National Lampoon’s Animal House.

Walt Disney Productions released Midnight Madness and it’s quite obvious, despite the studio not appearing in the credits and despite no Dean Jones, no Tim Conway, no Don Knotts, no Sandy Duncan, no Bette Davis, no Ray Milland, and no Keenan Wynn in the cast.

It has enough, more than enough, zany slapstick action for 10 Disney live-action pictures.

We get five different teams of colorful oddballs or rather, 21 young professional actors mugging through stereotypes like the fat twins, the beer-loving jocks, the debate nerds, the feminists, the Latino who never speaks, the older and younger brother, etc. There’s even a character named ‘Barf,’ preceding Spaceballs and Pizza the Hutt’s infamous line Barf … Puke … Whatever! Stephen Furst plays Harold – Blue Team Leader in a way that amplifies his Flounder from Animal House and crosses him with Mark Metcalf’s detestable Douglas C. Neidermeyer.

Midnight Madness certainly delivers the fat jokes at rapid intervals.

Anyway, well before the end of this dreary mess of a motion picture, all the characters are reduced to becoming overacting jerks like they’re all descended from Dick Shawn’s Sylvester.

The plot summary mentioned something or other about matching wits.

That’s more like half-wits, if you ask the spirit of Moe, Larry, and Curly.

Speaking of them, I’ll stick with Men in Black, Punch Drunks, and Hoi Polloi.

National Lampoon’s Animal House (1978)

NATIONAL LAMPOON’S ANIMAL HOUSE (1978) Four stars

There are few comedies I have enjoyed as much as NATIONAL LAMPOON’S ANIMAL HOUSE.

I have watched it many times over the years and that’s not even counting all those times on TBS, because, let’s face it, one misses so many “good parts” of a movie like ANIMAL HOUSE when it’s been edited for TV. It warped my fragile little mind seeing it on video the first time and I lost count of how many times I watched that VHS tape I bought circa 1997.

I loaned it to Brad Rich so he could watch Bluto’s infamous “Germans bombed Pearl Harbor” speech and remember it verbatim for his high school speech class. Mr. Rich earned an ‘A’ for his performance. Unfortunately, I did not have the opportunity to watch him act it out, though, fortunately, Mr. Rich returned the VHS tape. Bonus points for him.

College friend Don Stephens came over to my house about once a week to watch ANIMAL HOUSE it seemed like after Mr. Stephens joined a fraternity at Pittsburg State. Mr. Stephens and I started living ANIMAL HOUSE just a little bit so the viewings of the movie decreased significantly, especially after I continued my educational career in 2000 at Pitt State. Mr. Stephens eventually returned to the ranks of the independents and I remained one throughout both tours of college.

There was that one night when Mr. Stephens played Otter and I was Boon: “Hi, Don Stephens, damn glad to meet you,” then I hit ‘em with “Hi, that was Don Stephens, he was damn glad to meet you.” We only used it that one night, especially since it seemed like nobody got the reference. That’s when I started losing faith in the youth of America and have ever since.

Another time, Mr. Stephens and I went on a Thanksgiving break pilgrimage to Wichita to meet two young women (sisters) and, ahem, spend the night at their house. At some point, I believe it was early on at the bar, my date said that I was just like that Bluto guy from ANIMAL HOUSE, since I told her I’d been in college seven years. You win some, you lose some, and another time I’ll tell you about the six years off-and-on I knew my date from Wichita, although, to be honest, I really don’t want to do that.

Enough about that: ANIMAL HOUSE made a tremendous impact on the movie industry.

Every year, we get at least one raunchy, R-rated, gross out comedy.

ANIMAL HOUSE paved the parade route for PORKY’S, FAST TIMES AT RIDGEMONT HIGH, DAZED AND CONFUSED, AMERICAN PIE, OLD SCHOOL, WEDDING CRASHERS, and HANGOVER.

Every time I watch ANIMAL HOUSE, it holds up and it remains better than its followers.

First and foremost, it is superbly acted up and down the cast.

Tom Hulce and Stephen Furst (1954-2017) make a successful entry point into this world, as one snooty sorority sister calls them “the wimp and the blimp.” Tim Matheson and Peter Riegert play off each other so well as ladies man Otter and wing man Boon that we believe their characters have been friends for several years. James Daughton and Mark Metcalf, especially Metcalf as Niedermeyer, create thoroughly detestable characters that we love to hate.

Speaking of characters that we love to hate, Canadian actor John Vernon (1932-2005) had a knack for playing them better than just about anybody else. We enjoy every single appearance made by his Dean Wormer in ANIMAL HOUSE, every single time he gets his comeuppance, and especially every single time Vernon sinks his teeth into lines like “Fat, drunk, and stupid is no way to go through life, son” and “Put a sock in it, boy, or else you’ll be outta here like shit through a goose.” Vernon later played a similar character in KILLER KLOWNS FROM OUTER SPACE, retaining that bias against college kids.

John Belushi (1949-82) exploded into stardom with the success of ANIMAL HOUSE, one of the biggest hits of 1978. Outside action heroes Clint Eastwood, Charles Bronson, and Steve McQueen, we don’t find star-making performances built around fewer words. Belushi’s Bluto makes us laugh mostly through classic physical comedy and he irritates the comic villains every bit as effectively as the Marx Brothers and the Three Stooges did in their heyday.

Bluto definitely puts the animal in ANIMAL HOUSE, smashing acoustic guitars, downing full whiskey bottles in one fell swig (actually iced tea), pouring mustard on himself, starting food fights (by popping “zits”) and nationwide dance crazes, and peeping at cute coeds. Bluto’s predominantly silent act pays off with his big speech late in the pic for the Delta troops. It’s not quite George C. Scott as George S. Patton at the start of PATTON, but it’s close, real close in memorability.

Bluto has been described as a cross between Harpo Marx and the Cookie Monster.

Just about everybody has a memorable character in ANIMAL HOUSE, from Kevin Bacon in his motion picture debut (“Thank you sir, may I have another?”; how dare I forget a softball practice where I made every teammate who wanted another grounder hit their way ask that very question) to the lovely Karen Allen also in her debut, as well as Verna Bloom (1938-2019) as the ready and willing dean’s wife, Donald Sutherland as a hip professor, and DeWayne Jessie lip syncing his way through Otis Day on “Shout” and “Shama Lama Ding Dong.”

John Landis began a string of winners here, followed by THE BLUES BROTHERS, AN AMERICAN WEREWOLF IN LONDON, and TRADING PLACES over a few years. Universal wanted Chevy Chase to play the Otter role that went to Matheson, but Landis felt Chase was not right for the part and the director played a little Jedi mind trick by telling Chase that ANIMAL HOUSE would be an ensemble pic. That disinterested Chase, who instead made FOUL PLAY. Landis contributed to the anarchic atmosphere of ANIMAL HOUSE by throwing things at the actors, like an early scene when Bluto leads Flounder and Pinto into the Delta house and they’re greeted by a couple flying bottles.

Harold Ramis (1944-2014), Chris Miller, and Douglas Kenney (1946-80) combined on the screenplay and contributed their own collegiate and fraternal experiences.

George Lucas’ AMERICAN GRAFFITI famously asks “Where were you in ‘62?” ANIMAL HOUSE, released almost five years later to the day by the same studio, also takes place in ‘62 and Lucas, Ramis, Miller, and Kenney obviously had different answers to where they were in ‘62 and these different answers inform their respective movies and characters.

Both smash hit movies inform us what happened to their main characters. For example, in AMERICAN GRAFFITI, we’re told Terry the Toad is reported missing in action in Vietnam in December 1965. Meanwhile, in ANIMAL HOUSE, we read that Neidermeyer’s own troops kill him in Vietnam. Yes, indeed, they fragged Neidermeyer. Maybe even Terry the Toad took part in it.