The Naked Gun: From the Files of Police Squad!


1h 29m 1988
The Naked Gun: From the Files of Police Squad!

Brief Synopsis

A dumb cop tries to thwart a plot to assassinate Queen Elizabeth.

Film Details

Also Known As
Den nakna pistolen, Naked Gun, Naked Gun - From the Files of Police Squad!, The, Y a t'il un flic pour sauver la reine, Y a-t-il un flic pour sauver la reine?
MPAA Rating
Genre
Comedy
Release Date
1988
Production Company
Richard Kite
Distribution Company
Paramount Pictures
Location
Washington, DC, USA; Los Angeles, California, USA

Technical Specs

Duration
1h 29m

Synopsis

Hard-boiled incompetent cop Frank Drebin must stop the evil Vincent Ludwig from compleating his diabolical plan of killing Queen Elizabeth II of England.

Crew

Jim Abrahams

Executive Producer

Jim Abrahams

Screenplay

Jack E Ackerman

Property Master

Barbara Adamski

Property Master

Steve Adler

Props

Stephen K Alsberg

Office Assistant

Arthur Anderson

Assistant Director

Matty Azzarone

Props

Ken Ballantine

Rigging Gaffer

Joey Banks

Technical Advisor

Pamela Basker

Casting

Richard Baum

Props

Jim Behnke

Assistant Director

Cliff Bernay

Props

Richard Berry

Song

Margo Blair

Other

Mitchell Block

Assistant Camera Operator

Joseph Brennan

Boom Operator

Bill Brocious

Grip

Steve Brodsky

Driver

Jeff Carson

Music Editor

Thomas Causey

Sound

Lindsay D. Chag

Casting Associate

Robert Chalfont

Grip

Fern Champion

Casting

Donna Cipriani

Production Auditor

Marty Clark

Driver

Alf Clausen

Original Music

Christopher C Cooper

Assistant Camera Operator

Tony Criscione

Accounting Assistant

Gregroy J Curda

Foley Mixer

Vince Del Castillo

Transportation Coordinator

Ken Dufva

Foley

Marsha Durko

Other

Huey P Duvall

Props

Allen Easton

Camera Operator

Ronald J Eisenman

Medic

Juno J. Ellis

Adr Editor

Michael Ewing

Assistant

David Fein

Foley

George Fortmuller

Assistant Director

Lewis Friedman

Other

Deeann Frink

Driver

Leslie Gaulin

Foley Editor

Joseph Geisinger

Boom Operator

Rick T Gentz

Set Decorator

Gary Gero

Animal Trainer

Jack P Glenn

Dolly Grip

Gerry Goffin

Song

Rita Grant-miller

Production Coordinator

Gene Griffith

Grip

William G Hall

Production

Nina Halvorsen

Assistant Director

Crystal Hawkins

Accounting Assistant

Alan Hoffman

Production Consultant

Doug Holgate

Assistant Camera Operator

Frank Holgate

Director Of Photography

Frank Holgate

Dp/Cinematographer

Frank Holgate

Other

Nancy Hopton

Script Supervisor

John Houseman

Other

Frank Howard

Sound Editor

Michael Jablow

Editor

Ronald Judkins

Sound

Geraldine F Keener

Assistant

Carole Keligian

Assistant Director

Carole King

Song

Richard Kite

Cable Operator

Martin A Kline

Production

Rick Kline

Sound

Leslie J Kovacs

Lighting Technician

John Kretchmer

Assistant Director

Gary Ladinsky

Music

Vincent Laino

Apprentice

Gregg Landaker

Sound

John J. Lloyd

Production Designer

Barbara Lorenz

Hair

Leslie Maier

Assistant

Larry Mann

Sound Editor

Kevin Marcy

Associate Producer

Elliot Marks

Photography

Ken Marschall

Matte Painter

Cass Martin

Location Manager

Victoria Martin

Foley Editor

Steve Maslow

Sound

Brian Mccarty

Video Playback

Willie Mcclean

Grip

Ray Mclaughlin

Transportation Captain

Robert E Mclaughlin

Transportation Co-Captain

Donald Mcmanus

Driver

Bernard Mcnulty

Lighting Technician

Timothy R Mcwilliams

Production Assistant

F Hudson Miller

Sound Editor

Hector Morales-lozano

Costumes

Pat Moudakis

Props

Gillian Murphy

Script Supervisor

Leo Napolitano

Camera Operator

Don Nemitz

Original Music

John Nesterowicz

Craft Service

Ira Newborn

Original Music

Ira Newborn

Music

David P Newell

Props

Randy Newman

Song

Randy Newman

Song Performer

Peter Noone

Song Performer

Michael O'shea

Camera Operator

Lettie Odney

Adr Editor

Jeff Okabayashi

Dga Trainee

Stephen Oliver

Song

Michael Orefice

Lighting Technician

Donald Ortiz

Sound Editor

R J Palmer

Sound Editor

Conrad Palmisano

Second Unit Director

Conrad Palmisano

Stunt Coordinator

Pat Proft

Screenplay

Hector Quintana

Driver

Jeff Rafner

Assistant Director

Terry Ragan

Driver

Gary Ramirez

Property Master

Philip Read

Construction Coordinator

E Christopher Reed

Lighting Technician

Gary Ritchie

Sound

Gail Rowell

Hair

Bob Ruddy

Other

Cheri Ruff

Hair

Arturo Ruvalcaba

Caterer

Robert Ryan

Makeup

Timothy P Ryan

Driver

Gary R Sampson

Costumes

Robert J San Martin

Assistant Camera Operator

Nick Scarano

Costume Supervisor

John D Schofield

Associate Producer

John D Schofield

Unit Production Manager

Jud Schwartz

Location Assistant

Judson N Schwartz

Location Manager

Christy Schweibert

Camera Operator

James R Scribner

Makeup

Leslie A Soultanian

Other

Lynne Southerland

Assistant Editor

Richard M Stevens

Camera

Robert M Stevens

Dp/Cinematographer

Robert M Stevens

Other

Robert M Stevens

Director Of Photography

Cecil Sutton

Grip

Paul E. Sutton

Grip

Sue Swan

Casting Associate

Douy Swofford

Main Title Design

Gerald Szilinsky

Grip

Andrea Thau

Wardrobe

Robert C. Thomas

Director Of Photography

Robert C. Thomas

Dp/Cinematographer

Robert C. Thomas

Other

Michael T Travers

Grip

Deahdra Tyler

Costume Supervisor

Mary Vogt

Costume Designer

George Watters

Sound Editor

Ian Wayne

Video

Bob Weiss

Producer

Bob Weiss

Second Unit Director

Robert K Weiss

Producer

Cliff Wenger

Special Effects Supervisor

Don Woodruff

Art Director

Chris Woodworth

Other

Weird Al Yankovic

Other

David Zucker

Executive Producer

David Zucker

Screenplay

Jerry Zucker

Executive Producer

Jerry Zucker

Screenplay

Film Details

Also Known As
Den nakna pistolen, Naked Gun, Naked Gun - From the Files of Police Squad!, The, Y a t'il un flic pour sauver la reine, Y a-t-il un flic pour sauver la reine?
MPAA Rating
Genre
Comedy
Release Date
1988
Production Company
Richard Kite
Distribution Company
Paramount Pictures
Location
Washington, DC, USA; Los Angeles, California, USA

Technical Specs

Duration
1h 29m

Articles

The Naked Gun: From the Files of the Police Squad!


In the wake of the dark horse success enjoyed by their frenetic disaster flick spoof Airplane! (1980), the Milwaukee-bred writing/directing troika of Jerry Zucker, Jim Abrahams and David Zucker received the opportunity to adapt their throw-it-all-against-the-wall-and-see-what-sticks brand of farce to series television. ABC gave the green light to Police Squad!, a cop show satire that the "ZAZ" boys built around Leslie Nielsen, who'd been amongst the second-tier leading men that displayed a gift for deadpan comedy in Airplane!

However, ABC scheduled Police Squad! against ratings powerhouses on the opposing networks, and wound up pulling the plug after four episodes had been broadcast in the spring of 1982. Still, ZAZ fans wouldn't let the series be forgotten, and its cult following continued to grow exponentially once the six completed episodes made their way onto home video. By 1988, ZAZ were ready to bring the misadventures of Lt. Frank Drebin to the big screen, and The Naked Gun (1988) was prepped for a Christmas season release.

The audacious opening of The Naked Gun follows Nielsen's vacantly stalwart plainclothes cop as he invades Beirut and delivers a single-handed, Schwarzenegger-meets-Stooges smack-down to Khomeini, Qadafi, Castro, Gorbachev, Arafat and other foreign policy boogeymen of the era. Thereafter, the plot (such as it is) turns to Drebin's partner Nordberg (O.J. Simpson), who has tracked a rumored drug drop to a harbored trawler. His attempted bust results in a hail of bullets and a string of other indignities before he drops over the side.

Drebin, determined to clear his now-comatose partner's name, eventually links Nordberg's investigation to the ship's owner, the powerful businessman and philanthropist Vincent Ludwig (Ricardo Montalban). While in fact responsible for Nordberg's shooting, Ludwig has further motives for avoiding Drebin's ham-handed sleuthing. While bankrolling a prestigious Los Angeles visit by Queen Elizabeth II, Ludwig has clandestinely accepted a lucrative contract on Her Majesty's life from a terrorist syndicate. Realizing that Ludwig will play his final hand at the Angels game to which the Queen's been invited, Drebin determines to break onto the field in any way possible, and the film proceeds to a riotous showdown.

All this, of course, is just a framework for ZAZ to festoon with their trademarked barrage of visual and verbal gags. The running jokes from the series, such as Drebin's crash-then-park crime scene arrivals, and the impossibly tall cop whose head is consistently out of frame, make welcome appearances. ZAZ's humor is seldom delicate, but the results can be achingly funny, as best demonstrated by the sequence where Drebin excuses himself from a press conference, and enters the men's room with a still-live lapel mike. The stadium sequence delivers an inspired collection of baseball gags, right down to a gallery of players' wives expectorating tobacco juice.

Priscilla Presley, whose on-camera career had previously been limited to her five-year stint on TV's Dallas, proved very adept at delivering ZAZ's brand of straight-faced farce. Her first appearance as Jane Spencer, Ludwig's personal assistant, is designed to evoke Charlotte Rampling's balcony entrance in Farewell, My Lovely (1975), and ends with an off-camera trip and stumble down the stairs. Veteran character actors Ricardo Montalban and George Kennedy (as Drebin's immediate superior) are also more than willing to spoof themselves in the lunatic proceedings.

Due to his efforts for ZAZ, the stolid veteran Nielsen wound up having a very full second career as a farceur. "Audiences love Leslie," David Zucker told the New York Times in the wake of The Naked Gun's release. "Part of it is that he looks so dignified and serious, and yet he betrays such insecurity, such a fumbling quality." The profitability of The Naked Gun wound up ensuring two sequels, The Naked Gun 2 1/2: The Smell of Fear (1991) and The Naked Gun 33 1/3: The Final Insult (1994). Nielsen has since gone on to headline a string of genre parodies like Dracula: Dead and Loving It (1995), Spy Hard (1996) and Wrongfully Accused (1998).

Producer: Jim Abrahams, Robert K. Weiss, David Zucker, Jerry Zucker
Director: David Zucker
Screenplay: Jerry Zucker, David Zucker, Jim Abrahams, Pat Proft
Cinematography: Robert M. Stevens
Film Editing: Michael Jablow
Art Direction: Donald B. Woodruff
Music: Ira Newborn
Cast: Leslie Nielsen (Lt. Frank Drebin), Priscilla Presley (Jane Spencer), Ricardo Montalban (Vincent Ludwig), George Kennedy (Capt. Ed Hocken), Susan Beaubian (Wilma Nordberg), Nancy Marchand (Mayor).
C-85m. Letterboxed.

by Jay Steinberg
The Naked Gun: From The Files Of The Police Squad!

The Naked Gun: From the Files of the Police Squad!

In the wake of the dark horse success enjoyed by their frenetic disaster flick spoof Airplane! (1980), the Milwaukee-bred writing/directing troika of Jerry Zucker, Jim Abrahams and David Zucker received the opportunity to adapt their throw-it-all-against-the-wall-and-see-what-sticks brand of farce to series television. ABC gave the green light to Police Squad!, a cop show satire that the "ZAZ" boys built around Leslie Nielsen, who'd been amongst the second-tier leading men that displayed a gift for deadpan comedy in Airplane! However, ABC scheduled Police Squad! against ratings powerhouses on the opposing networks, and wound up pulling the plug after four episodes had been broadcast in the spring of 1982. Still, ZAZ fans wouldn't let the series be forgotten, and its cult following continued to grow exponentially once the six completed episodes made their way onto home video. By 1988, ZAZ were ready to bring the misadventures of Lt. Frank Drebin to the big screen, and The Naked Gun (1988) was prepped for a Christmas season release. The audacious opening of The Naked Gun follows Nielsen's vacantly stalwart plainclothes cop as he invades Beirut and delivers a single-handed, Schwarzenegger-meets-Stooges smack-down to Khomeini, Qadafi, Castro, Gorbachev, Arafat and other foreign policy boogeymen of the era. Thereafter, the plot (such as it is) turns to Drebin's partner Nordberg (O.J. Simpson), who has tracked a rumored drug drop to a harbored trawler. His attempted bust results in a hail of bullets and a string of other indignities before he drops over the side. Drebin, determined to clear his now-comatose partner's name, eventually links Nordberg's investigation to the ship's owner, the powerful businessman and philanthropist Vincent Ludwig (Ricardo Montalban). While in fact responsible for Nordberg's shooting, Ludwig has further motives for avoiding Drebin's ham-handed sleuthing. While bankrolling a prestigious Los Angeles visit by Queen Elizabeth II, Ludwig has clandestinely accepted a lucrative contract on Her Majesty's life from a terrorist syndicate. Realizing that Ludwig will play his final hand at the Angels game to which the Queen's been invited, Drebin determines to break onto the field in any way possible, and the film proceeds to a riotous showdown. All this, of course, is just a framework for ZAZ to festoon with their trademarked barrage of visual and verbal gags. The running jokes from the series, such as Drebin's crash-then-park crime scene arrivals, and the impossibly tall cop whose head is consistently out of frame, make welcome appearances. ZAZ's humor is seldom delicate, but the results can be achingly funny, as best demonstrated by the sequence where Drebin excuses himself from a press conference, and enters the men's room with a still-live lapel mike. The stadium sequence delivers an inspired collection of baseball gags, right down to a gallery of players' wives expectorating tobacco juice. Priscilla Presley, whose on-camera career had previously been limited to her five-year stint on TV's Dallas, proved very adept at delivering ZAZ's brand of straight-faced farce. Her first appearance as Jane Spencer, Ludwig's personal assistant, is designed to evoke Charlotte Rampling's balcony entrance in Farewell, My Lovely (1975), and ends with an off-camera trip and stumble down the stairs. Veteran character actors Ricardo Montalban and George Kennedy (as Drebin's immediate superior) are also more than willing to spoof themselves in the lunatic proceedings. Due to his efforts for ZAZ, the stolid veteran Nielsen wound up having a very full second career as a farceur. "Audiences love Leslie," David Zucker told the New York Times in the wake of The Naked Gun's release. "Part of it is that he looks so dignified and serious, and yet he betrays such insecurity, such a fumbling quality." The profitability of The Naked Gun wound up ensuring two sequels, The Naked Gun 2 1/2: The Smell of Fear (1991) and The Naked Gun 33 1/3: The Final Insult (1994). Nielsen has since gone on to headline a string of genre parodies like Dracula: Dead and Loving It (1995), Spy Hard (1996) and Wrongfully Accused (1998). Producer: Jim Abrahams, Robert K. Weiss, David Zucker, Jerry Zucker Director: David Zucker Screenplay: Jerry Zucker, David Zucker, Jim Abrahams, Pat Proft Cinematography: Robert M. Stevens Film Editing: Michael Jablow Art Direction: Donald B. Woodruff Music: Ira Newborn Cast: Leslie Nielsen (Lt. Frank Drebin), Priscilla Presley (Jane Spencer), Ricardo Montalban (Vincent Ludwig), George Kennedy (Capt. Ed Hocken), Susan Beaubian (Wilma Nordberg), Nancy Marchand (Mayor). C-85m. Letterboxed. by Jay Steinberg

TCM Remembers - Lawrence Tierney


A SCREEN TOUGH GUY WHO WAS MEANER THAN A JUNKYARD DOG

Lawrence Tierney, one of the screen's toughest tough guys, died February 26th at the age of 82. He first startled audiences with his impassioned work in the 1940s but Tierney's rowdy off-screen life eventually pushed him out of the limelight. Though he kept working in small parts, Tierney found a new generation of fans with a few memorable roles in the 80s and 90s.

Tierney was born March 15, 1919 in Brooklyn, New York. He grew up in New York and was a track star in school before becoming interested in acting. (His two brothers also became actors though they changed their names to Scott Brady and Ed Tracy.) He went through the usual period of stage appearances before getting bit parts in little-remembered films. His first credited role was in Sing Your Worries Away (1942) but Tierney quickly made his mark playing the title role in Dillinger (1945). A string of memorable roles followed in films like San Quentin (1946), The Devil Thumbs a Ride (1947), Born to Kill (1947) and the Oscar-winning circus drama from director Cecil B. DeMille, The Greatest Show on Earth (1952) in which Tierney played the villain responsible for the epic train wreck toward the film's conclusion. However, Tierney had a knack for real-life trouble and was arrested several times for disorderly conduct and drunken driving. By the end of the 50s he only found sporadic acting work, sometimes not working for several years between films. During this period his best-known work was in Custer of the West (1967) and Andy Warhol's Bad (1977).

Slowly in the 1980s, Tierney landed small but frequently noticable parts in Hollywood films such as Prizzi's Honor (1985) and The Naked Gun (1988). He appeared on TV shows like Hill Street Blues, Star Trek: The Next Generation and Seinfeld (as Elaine's father). In 1992 that changed when Quentin Tarrantino cast Tierney as the crime boss in Reservoir Dogs, an unforgettable part that gave him new fans. While the subsequent roles or films didn't get any bigger, Tierney was finally a recognized name. One of his oddest roles was the half-hour Red (1993) based on the infamous mid-70s Tube Bar tapes where a real-life bar owner responds with startlingly over-the-top remarks to prank phone calls. (If that sounds familiar it's because The Simpsons based Moe's responses to prank calls on these tapes. Tierney provided a voice in the 1995 Simpsons episode "Marge Be Not Proud.") Tierney's last film appearance was in Armageddon (1998)!

By Lang Thompson

CHUCK JONES, 1912 - 2002

Animator Chuck Jones died February 22nd at the age of 89. Jones may not have boasted quite the name recognition of Howard Hawks or John Ford but he was unquestionably one of the greatest American directors. His goals might have been primarily to entertain, which he did so wonderfully that his 50 and 60 year old cartoons seem fresher than most anything produced in the 21st century. But Jones displayed a sense of movement, timing and character barely equalled elsewhere. Literary critics have a saying that while there are no perfect novels there are certainly flawless short stories. Several of Jones' cartoons reach a perfection that Hawks and Ford could only have dreamed about.

Jones was born September 21, 1912 in Spokane, Washington but grew up in Hollywood. As a child he would watch films by Charlie Chaplin and others being made in the streets, absorbing the process and supposedly even appearing as an extra in Mack Sennett shorts. After graduating from L.A.'s Chouinard Art Institute (now California Institute of the Arts), Jones started selling pencil drawings on street corners. He soon landed a job in 1932 with ground-breaking animator Ub Iwerks as a cel washer (somebody who removes ink from the expensive celluloid frames so they could be reused). The following year Jones began to work for Leon Schlesinger Productions which was sold to Warner Brothers. There he directed his first film, The Night Watchman in 1938.

Jones would stay at Warners for almost 25 years until it closed the animation division. Here is where Jones did some of his most-beloved work, putting Bugs Bunny, Daffy Duck, the Road Runner, Marvin Martian and numerous others through many of their most memorable exploits. Who can forget Bugs and Daffy's hilariously convoluted arguments about hunting season in Rabbit Seasoning (1952) and Duck Rabbit Duck (1953)? Or the Coyote's tantalized, endless pursuit of the Road Runner? What's Opera Doc? (1957) sending Elmer and Bugs to Bayreuth? A cheerfully singing and dancing frog that, alas, only performs for one frustrated man? Daffy tormented by the very elements of the cartoon medium in Duck Amuck (1953)? That's only a fraction of what Jones created while at the Warners animation studio, affectionately known as Termite Terrace. This building on the Warners lot boasted an array of individualist talents that Jones, like Duke Ellington, could pull into a whole. There was voice artist Mel Blanc's impeccable timing, writer Michael Maltese's absurdist love affair with language, music director Carl Stalling's collaged scores and perhaps best of all a studio that knew enough to just leave the gang alone so long as the cartoons kept coming.

After Warners shuttered its animation division in 1962, Jones moved to MGM where he worked on several Tom & Jerry cartoons, his inimitable lines always immediately apparent. In 1966 he directed How the Grinch Stole Christmas from Dr. Seuss' book, one of the finest literary adaptations. A feature version of Norman Juster's classic The Phantom Tollbooth followed in 1969. Along with his daughter Linda, Jones was one of the first to see the value of original animation art and in the late 70s began a thriving business. (For more info see http://www.chuckjones.com.) Jones made cameo appearances in Joe Dante's Gremlins (1984) and Innerspace (1987). In 1989, he wrote a touching and funny memoir, Chuck Amuck, that's pretty much essential reading.

Jones won an Best Short Subject Cartoons Oscar for The Dot and the Line (1965), having earlier been nominated twice in 1962. His Pepe LePew film For Scent-imental Reasons (1949) and public-health cartoon So Much for So Little also won Oscars though not for Jones himself. In 1996 he was awarded an honorary Oscar "for the creation of classic cartoons and cartoon characters whose animated lives have brought joy to our real ones for more than a half century."

By Lang Thompson

GEORGE NADER, 1921 - 2002

Actor George Nader, best known for the B-movie anti-classic Robot Monster, died February 4th at the age of 80. One-time co-star Tony Curtis said, "He was one of the kindest and most generous men I've ever known. I will miss him." Nader was born in Pasadena, California on October 19, 1921 and like many other actors started performing while in school. His first film appearance was the B-Western Rustlers on Horseback (1950) and he made other appearances, often uncredited, before the immortal Robot Monster in 1953. This dust-cheap, charmingly inept film (originally in 3-D!) features Nader as the father of Earth's last surviving family, everybody else having been wiped out by a gorilla in a diving helmet. Shortly after, Nader landed major roles in RKO's Carnival Story (1954) and with Curtis in Universal's Six Bridges to Cross (1955), bringing a beefy charm that earned him numerous fans. As a result, in 1955 Nader shared a Golden Globe for Most Promising Male Newcomer. He then appeared in numerous lower profile studio films before closing out the decade playing Ellery Queen in a short-lived TV series. He relocated to Europe in the sixties where he found steady work. As secret agent Jerry Cotton, he made a series of spy thrillers which earned him a cult reputation in Europe, starting with Schusse aud dem Geigenkasten (aka Operation Hurricane: Friday Noon) (1965). The eighth and final entry in the series was Dynamit in gruner Seide (aka Dynamite in Green Silk) (1968). His film career ended in the mid-70s when a car wreck damaged his eyes so that he could no longer endure a film set's bright lights. Nader began writing novels, most notably the recently reprinted Chrome (1978), an acclaimed science fiction novel with openly gay characters.

By Lang Thompson

TCM REMEMBERS HAROLD RUSSELL, 1914 - 2002

Oscar-winning actor Harold Russell died January 29th of a heart attack at age 88. As a disabled veteran whose hands had been amputated in The Best Years of Our Lives (1946), Russell won Best Supporting Actor but also an honorary award "for bringing hope and courage to his fellow veterans." This made Russell the only person to receive two Oscars for the same role. Russell was born in Nova Scotia on January 14, 1914 but grew up in Cambridge Massachusetts. He joined the US Army after the attack on Pearl Harbor and while training paratroopers lost both hands in an accidental explosion. He then made a training film where director William Wyler saw Russell. Wyler was so impressed that he changed the character in The Best Years of Our Lives from a man with neurological damage to an amputee so that Russell could play the part. After winning the Oscar, Russell followed Wyler's advice and went to college, eventually running a public relations company and writing his autobiography. He made two more film appearances, Inside Moves (1980) and Dogtown (1997), and appeared in a few TV episodes of China Beach and Trapper John MD. Russell made waves in 1992 when he decided to sell his acting Oscar to help cover expenses of his large family. The Motion Picture Academy offered to buy the statue for $20,000 but it sold to an anonymous bidder for $60,000. About the other statute, Russell said, "I'd never sell the special one. The war was over, and this was the industry's way of saying thank you to the veterans."

By Lang Thompson

TCM Remembers - Lawrence Tierney

A SCREEN TOUGH GUY WHO WAS MEANER THAN A JUNKYARD DOG Lawrence Tierney, one of the screen's toughest tough guys, died February 26th at the age of 82. He first startled audiences with his impassioned work in the 1940s but Tierney's rowdy off-screen life eventually pushed him out of the limelight. Though he kept working in small parts, Tierney found a new generation of fans with a few memorable roles in the 80s and 90s. Tierney was born March 15, 1919 in Brooklyn, New York. He grew up in New York and was a track star in school before becoming interested in acting. (His two brothers also became actors though they changed their names to Scott Brady and Ed Tracy.) He went through the usual period of stage appearances before getting bit parts in little-remembered films. His first credited role was in Sing Your Worries Away (1942) but Tierney quickly made his mark playing the title role in Dillinger (1945). A string of memorable roles followed in films like San Quentin (1946), The Devil Thumbs a Ride (1947), Born to Kill (1947) and the Oscar-winning circus drama from director Cecil B. DeMille, The Greatest Show on Earth (1952) in which Tierney played the villain responsible for the epic train wreck toward the film's conclusion. However, Tierney had a knack for real-life trouble and was arrested several times for disorderly conduct and drunken driving. By the end of the 50s he only found sporadic acting work, sometimes not working for several years between films. During this period his best-known work was in Custer of the West (1967) and Andy Warhol's Bad (1977). Slowly in the 1980s, Tierney landed small but frequently noticable parts in Hollywood films such as Prizzi's Honor (1985) and The Naked Gun (1988). He appeared on TV shows like Hill Street Blues, Star Trek: The Next Generation and Seinfeld (as Elaine's father). In 1992 that changed when Quentin Tarrantino cast Tierney as the crime boss in Reservoir Dogs, an unforgettable part that gave him new fans. While the subsequent roles or films didn't get any bigger, Tierney was finally a recognized name. One of his oddest roles was the half-hour Red (1993) based on the infamous mid-70s Tube Bar tapes where a real-life bar owner responds with startlingly over-the-top remarks to prank phone calls. (If that sounds familiar it's because The Simpsons based Moe's responses to prank calls on these tapes. Tierney provided a voice in the 1995 Simpsons episode "Marge Be Not Proud.") Tierney's last film appearance was in Armageddon (1998)! By Lang Thompson CHUCK JONES, 1912 - 2002 Animator Chuck Jones died February 22nd at the age of 89. Jones may not have boasted quite the name recognition of Howard Hawks or John Ford but he was unquestionably one of the greatest American directors. His goals might have been primarily to entertain, which he did so wonderfully that his 50 and 60 year old cartoons seem fresher than most anything produced in the 21st century. But Jones displayed a sense of movement, timing and character barely equalled elsewhere. Literary critics have a saying that while there are no perfect novels there are certainly flawless short stories. Several of Jones' cartoons reach a perfection that Hawks and Ford could only have dreamed about. Jones was born September 21, 1912 in Spokane, Washington but grew up in Hollywood. As a child he would watch films by Charlie Chaplin and others being made in the streets, absorbing the process and supposedly even appearing as an extra in Mack Sennett shorts. After graduating from L.A.'s Chouinard Art Institute (now California Institute of the Arts), Jones started selling pencil drawings on street corners. He soon landed a job in 1932 with ground-breaking animator Ub Iwerks as a cel washer (somebody who removes ink from the expensive celluloid frames so they could be reused). The following year Jones began to work for Leon Schlesinger Productions which was sold to Warner Brothers. There he directed his first film, The Night Watchman in 1938. Jones would stay at Warners for almost 25 years until it closed the animation division. Here is where Jones did some of his most-beloved work, putting Bugs Bunny, Daffy Duck, the Road Runner, Marvin Martian and numerous others through many of their most memorable exploits. Who can forget Bugs and Daffy's hilariously convoluted arguments about hunting season in Rabbit Seasoning (1952) and Duck Rabbit Duck (1953)? Or the Coyote's tantalized, endless pursuit of the Road Runner? What's Opera Doc? (1957) sending Elmer and Bugs to Bayreuth? A cheerfully singing and dancing frog that, alas, only performs for one frustrated man? Daffy tormented by the very elements of the cartoon medium in Duck Amuck (1953)? That's only a fraction of what Jones created while at the Warners animation studio, affectionately known as Termite Terrace. This building on the Warners lot boasted an array of individualist talents that Jones, like Duke Ellington, could pull into a whole. There was voice artist Mel Blanc's impeccable timing, writer Michael Maltese's absurdist love affair with language, music director Carl Stalling's collaged scores and perhaps best of all a studio that knew enough to just leave the gang alone so long as the cartoons kept coming. After Warners shuttered its animation division in 1962, Jones moved to MGM where he worked on several Tom & Jerry cartoons, his inimitable lines always immediately apparent. In 1966 he directed How the Grinch Stole Christmas from Dr. Seuss' book, one of the finest literary adaptations. A feature version of Norman Juster's classic The Phantom Tollbooth followed in 1969. Along with his daughter Linda, Jones was one of the first to see the value of original animation art and in the late 70s began a thriving business. (For more info see http://www.chuckjones.com.) Jones made cameo appearances in Joe Dante's Gremlins (1984) and Innerspace (1987). In 1989, he wrote a touching and funny memoir, Chuck Amuck, that's pretty much essential reading. Jones won an Best Short Subject Cartoons Oscar for The Dot and the Line (1965), having earlier been nominated twice in 1962. His Pepe LePew film For Scent-imental Reasons (1949) and public-health cartoon So Much for So Little also won Oscars though not for Jones himself. In 1996 he was awarded an honorary Oscar "for the creation of classic cartoons and cartoon characters whose animated lives have brought joy to our real ones for more than a half century." By Lang Thompson GEORGE NADER, 1921 - 2002 Actor George Nader, best known for the B-movie anti-classic Robot Monster, died February 4th at the age of 80. One-time co-star Tony Curtis said, "He was one of the kindest and most generous men I've ever known. I will miss him." Nader was born in Pasadena, California on October 19, 1921 and like many other actors started performing while in school. His first film appearance was the B-Western Rustlers on Horseback (1950) and he made other appearances, often uncredited, before the immortal Robot Monster in 1953. This dust-cheap, charmingly inept film (originally in 3-D!) features Nader as the father of Earth's last surviving family, everybody else having been wiped out by a gorilla in a diving helmet. Shortly after, Nader landed major roles in RKO's Carnival Story (1954) and with Curtis in Universal's Six Bridges to Cross (1955), bringing a beefy charm that earned him numerous fans. As a result, in 1955 Nader shared a Golden Globe for Most Promising Male Newcomer. He then appeared in numerous lower profile studio films before closing out the decade playing Ellery Queen in a short-lived TV series. He relocated to Europe in the sixties where he found steady work. As secret agent Jerry Cotton, he made a series of spy thrillers which earned him a cult reputation in Europe, starting with Schusse aud dem Geigenkasten (aka Operation Hurricane: Friday Noon) (1965). The eighth and final entry in the series was Dynamit in gruner Seide (aka Dynamite in Green Silk) (1968). His film career ended in the mid-70s when a car wreck damaged his eyes so that he could no longer endure a film set's bright lights. Nader began writing novels, most notably the recently reprinted Chrome (1978), an acclaimed science fiction novel with openly gay characters. By Lang Thompson TCM REMEMBERS HAROLD RUSSELL, 1914 - 2002 Oscar-winning actor Harold Russell died January 29th of a heart attack at age 88. As a disabled veteran whose hands had been amputated in The Best Years of Our Lives (1946), Russell won Best Supporting Actor but also an honorary award "for bringing hope and courage to his fellow veterans." This made Russell the only person to receive two Oscars for the same role. Russell was born in Nova Scotia on January 14, 1914 but grew up in Cambridge Massachusetts. He joined the US Army after the attack on Pearl Harbor and while training paratroopers lost both hands in an accidental explosion. He then made a training film where director William Wyler saw Russell. Wyler was so impressed that he changed the character in The Best Years of Our Lives from a man with neurological damage to an amputee so that Russell could play the part. After winning the Oscar, Russell followed Wyler's advice and went to college, eventually running a public relations company and writing his autobiography. He made two more film appearances, Inside Moves (1980) and Dogtown (1997), and appeared in a few TV episodes of China Beach and Trapper John MD. Russell made waves in 1992 when he decided to sell his acting Oscar to help cover expenses of his large family. The Motion Picture Academy offered to buy the statue for $20,000 but it sold to an anonymous bidder for $60,000. About the other statute, Russell said, "I'd never sell the special one. The war was over, and this was the industry's way of saying thank you to the veterans." By Lang Thompson

Quotes

Trivia

Miscellaneous Notes

Released in United States Winter December 2, 1988

Released in United States on Video August 23, 1989

Feature film debut for Priscilla Presley.

Completed shooting April 1988.

Began shooting February 16, 1988.

Released in United States Winter December 2, 1988

Released in United States on Video August 23, 1989