maxell VIDEEPOICTAASXSIEATLTE. 1986 Maxell Corporation of America, 60 Oxford Drive, Moonachie, N.J. 07074, Art by Guy Fery. “) 1986 The James Dean Foundation c/o Curtis Licensing, Indianapolis.
“Tape Tests — FUJI Fuji Super XG H451 T-120 re- jvc Super HG is the higher of JVC’s mains among the top tapes tested, easily confused middle grades. A Super XG H451 T-120 with ratings of excellent on video Super HG High Output T-120 glance at the graphs is enough to S/N, consistency between batches, see the differences. Super HG Video S/N and the dropout count. It rates Video S/N good on all other characteristics. rates good or very good on every Consistency Compared to our last test, there Between measurement except audio S/N, were improvements in the consis- which is weak. But remember that 4, tency between batches and drop- our standards have gone up sig- outs, and small decreases on nificantly for this measurement. chroma AM S/N and audio charac- On our 1985 tests the same meas- teristics. It remains a top tape. urement would have earned a rat- ing of good. Dropout Count Dropout Count Premium Standard Grade T-120 Like most tape manufacturers Super Hi-Fi T-120 JVC's Super Hi-Fi is its top-of-the- JVC, the VHS format licensor, has line tape. It sold two additional Video S/N Consistency released an improved basic formu- Video S/N re Between lation based on advances in mate- grades for a time but dropped Audio Batches rials and processing. Its new Pre- Consistency them because six grades of tape Frequency mium Standard Grade reflects Between may have been a bit confusing for Response those changes and is much supe- Batches the average user. Unfortunately, rior to its earlier basic grade. It is all three samples we tested were just fair on video and both chroma from the same batch so there is S/Ns, good on the dropout count no consistency rating. The only and audio frequency response, and average on audio S/N. It is a surprise is a significant increase in moderately well-balanced tape with fair consistency. the dropout count, which makes us rate it at the low end of fair for this characteristic. Remember, though, that all our samples came from the same batch; a wider se- lection could change that rating. Dropout Count Dropout Count HG Super T-120 JVC has two grades with confus- KODAK Kodak’s basic grade of T-120 is a ingly similar names: HG Super and middle of the road tape. A very Video S/N Super HG. HG Super is the lower T-120 good dropout rating is its one out- grade, and is usually priced lower. standing positive quality. A nega- Consistency It shows distinct increases in vid- 5Audio Video S/N tive point is its poor consistency Between eo S/N, audio S/N, and audio fre- which has a variation of just under quency response, with a dropout NG‘onsistency 1 dB. Yet because dropouts are count similar to JVC’s basic probably the number one offender grade. The only major weakness is Owe its consistency between batches. to viewers, the tape presents a Remember, though, that even a picture that is comfortable to poor consistency rating shows a watch though a little grainier than variation of less than 1 dB. average. Dropout Count Dropout Count 52 Video February 1987
MHIUTSIMCOVVIIEDSEOoS r 94100 FOR ONLY plus shipping & handling with Club membership. yADON poo INS TAN 1/h2aNpvoreicwtaeoitbbiounngyustliwksoeavsoironmgtseh.reoYetohuverirdseaColvcuiabnssgs.setYsttoeaurst don’t : BO NUS! J to enjoy right away. TITLE NUMBER TITLE NUMBER TITLE NUMBER 110001 |DELTA FORCE 110737 Reg WHITNEY HOUSTON #1 HITS 110672 |LIONEL RICHIE: ALL NIGHT LONG 110616 |PHIL COLLINS: NO JACKET REQUIRED | 110789 Save up to 157.90 on your intro JAGGED EDGE 110498 |ROCKY IV [110622 |THE KARATE KID 110017 ductory movies or music videos DARLING 110048 [CRITTERS 110876 | when you join the RCA Video THE TRIP TO BOUNTIFUL MADONNA LIVE: THE VIRGIN TOUR 110530 |SHEILA E, LIVE (w/PRINCE) 110731] Club. Yours for only $1.00 each HALL & OATES: LIBERTY CONCERT GHOSTBUSTERS 110671 |AFORCE OF ONE (CHUCK NORRIS) plus shipping and handling when you agree to buy as few as two THE MONKEES, VOL. 1 110796 |JOHN LENNON: LIVE IN NYC 110394 |MURPHY’S ROMANCE 110799 110670 |THE CURE? STARING AT THE SEA more videocassettes in your CROSSROADS 110870 |WHITE NIGHTS 110519 |(VHS only) 111000 video category during the next 110018 |YANKEE DOODLE DANDY (in color) 110872}. STEVIE NICKS: | CAN’T WAIT 110804 |BLADE RUNNER ft0395 two years at regular Club priA ces SPELLBOUND (HITCHCOCK) 110207 |CASABLANCA 110782 |SILVERADO 110023 | ...usually $16.95-$29.95 for music RICHARD PRYOR LIVE ON THE SUNSET videos, $29.95-$79.95 for movies. GENESIS LIVE: THE MAMA TOUR 110452 |TINA TURNER: PRIVATE DANCER LIVE ‘{itoe14 TSTERAIRPS FONE ARESC ENERGETIC 110843 |THE CLAN OF THE CAVE BEAR As a member, you'll receive 110144 |HALLOWEEN the Club’s illustrated maga- TOSCANINI: THE MAESTRO zine every four weeks (13 times a BIG CHAIR PAT BENATAR IN CONCERT 110407 |VIDEO AID (21 VIDEO HITS) 110940} ; year). Each i: ss; ue wi: lfl descri;:be THE AWFUL TRUTH 110779 |IRON EAGLE 110833 |PRUDHOMME’S LOUISIANA COOKING 110884 the featured video in your video category, plus many alternates. If FRIGHT NIGHT 110436 |THE CARE BEARS MOVIE II 110834 KEY LARGO (BOGART) 110192} you want the featured video you need do nothing. It will be sent to U2—LIVE AT RED ROCKS 110866 |DIRE STRAITS LIVE: ALCHEMY HOROWITZ IN LONDON 110095 . |} you automatically. If you want AGNES OF GOD 110462 [ANIGHTMARE ON ELM ST.-2 other videocassettes, or none, ULTIMATE TENNIS 110480 |TERRIFIC SEX: THEDR. RUTH VIDEO 8 MILLION WAYS TO DIE 110878}. just return the card always pro- THE BEATLES LIVE: READY, STEADY, [110624 |ROLLING STONES: LET'S SPEND THE NIGHT| 110499 | KISS OF THE SPIDER WOMAN PiGnO_|1e10026a|TAHLEABASMEAV:ENTGHRESAETAELSTaHI(eTsuSbtitled 110494 |MODERN TIMES Oa(NCHMeAaPLcIDNONALD’S |111100p16011666 | vided, by the date specified. You'll WHITE HEAT (CAGNEY) 110802 |KIDSONGS: DAY FARM always have at least 10 days 110809 |CLOSE ENCOUNTERS (SPECIAL ED.) 110039 |RED RIVER (WAYNE) 110251 |. to decide, but if you don’t you THE 3 STOOGES, WK (128 min. version) 54 A CHORUS pie the MOVIE 110497] may return your featured video FOR FASTEST SERVICE CALL TOLL-FREE! 1-800-428-1928 at our expense for full credit In Indiana phone collect 1-317-542-6307 : I MAIL TO: RCA Video Club - P.O. Box 91506 - Indianapolis, IN 46291 50% off savings bonus! Effective with your very first regu- Please accept my membership in the RCA Video Club and send me the selections indicated here for just $1.00 lar-priced selection, you can | each under the terms outlined in this offer. |agree to buy just 2more selections in my video category at oatrd1e/r2 apnriceequfiovraleevnetrlyy opnreiceydou vibdueyo. J © My introductory video choices are regular Club prices during the next two years, after which (please indicate by number): [--—~ |may cancel my membership,orcontinue and keep getting 1/2 off savings. (Shipping/handling added to each @ Send my videos on (check one only): shipment.) Le VHS BETA am always freetochoose from either category © a ne Oy ! am most interested in (check one only): =] Mrs First Name Initial Last Name (PLEASE PRINT) : MOVIES MUSIC VIDEOS (4) PleBaislel mceh.eck payment method desired: Address. Apt Free 10-day, no-risk trial. If ] Charge my introductory video and future City State Zip not satihsisfsied wit3 h your ?introductory iAcmhearsiescanto:ExpresVsi.sa CI(D_)inMearssteCrlCuabrd videocassettes, just return them / Telephone( cade at the end of ten days with no Your card number Exp. date Limited to new members, continental USA only; one membership per family. further obligation! RCA Video Club reserves the right to request additional information or reject any oe vet Cardholder's signature application. Local taxes, if any, will be added. |WBX27 | gReeSaSSe RCA Video Club 4 6550 E. 30th Street Indianapolis, IN 46219-1194 = ee eee eee eee ee eee eee ee
u(sS=0E;sMe Kodak’s basic T-160 grade shows KODAK Consistency Kodak’s Hi-Fi T-120 is close to the small losses in video S/N and Between XHG T-160 in performance. It chroma AM S/N compared to its Hi-Fi T-120 gives up one rating point on con- T-120, but its consistency jumps Batches sistency between batches, which to very good. The T-160 tapes are Video S/N is very good, to gain one point on not as popular as the T-120s be- the dropout count, which is excel- cause the cost per minute doesn’t Audio make the T-160 as good a value, Frequenc: lent. A dropout loses both the pic- but for long movies, they’re need- ture and the Hi-Fi information, so ed. Among the T-160s we tested, Flesponse,(fA this seems like a good compro- the two Kodaks were the only mise because dropouts affect the ones to rate very good on the Hi-Fi tracks directly. dropout count. Dropout Count Kodak’s XHG T-120 is better than KONICA In our last tape test Konica was a its basic T-120 on every measure- newcomer with two grades of ment except audio frequency re- High Performance T-120 sponse, which was the same. tape. It has expanded its line to With a rating of excellent on drop- Frequency Video S/N Consistency four grades and raised the quality out count, very good on video Berek Between of the basic grade while changing S/N and consistency between Batches its name. Its new basic High Per- batches, good on audio S/N, and formance T-120 has earned its average or better on the remaining name with two ratings of very good, two of good, two of aver- criteria, the XHG T-120 is among age, and excellent on chroma PM S/N. These results are competitive the better well-balanced tapes we with the high grade tape of some of its competitors. tested. Dropout Count Normally T-160 tapes are not as Super HG T-120 Konica’s Super HG T-120 out- outstanding as their T-120 coun- performs its basic grade on four Consistency terparts, but Kodak’s XHG T-160 Audio Video S/N Consistency of the six criteria we show on our Between is an exception. It is one rating Frequency Between point better on consistency and AoSf graph. It equals the lower grade Ns. both chroma S/Ns, while sacrific- Batches on the remaining characteristics. It ing one point on the dropout is indeed a step-up grade that is a count and audio S/N. This makes strong competitor with fairly good the T-160 competitive with the T- balance. Its gains were in video, 120, which is very unusual and audio and chroma AM S/N, and very good for those who need the consistency. Depending on price it could be an excellent value. extra recording time. Dropout Count Dropout Count 54 Video February 1987
© 1986 TDK Electronics Corp. Seeaneee.TeEe pRgSeern teeOoeeeOeMe | Without TDK Hi-Fi in| our stereo VCR, /you may as well sell your speakers. . To get the’most out of your Hi-Fi/stereo VCR system, put the most in. Use TDK Hi-Fi STDK video cassettes. They’re specifically designed fortoday’s sophisticated VHS and Beta’ VCR’s. wan | a8 TDK Hi-Fi/stereo video cassettes capture and deliver purer, clearer and more 'ATDK dynamic sound throughout the entire audio range of your system. So you can now enjoy the dimensional excitement of Hi-Fidelity VCR sound—to the max. Technically superior, TDK Hi-Fi has one of the lowest dropout rates in its class. That’s i because of our new ultra-refined Super Avilyn particles and superior coating technology. Plus TDK’s dust-proof leader, which minimizes electrostatic buildup. Additionally, our SQ mechanism delivers the smoothest running performance of virtually any video cassette. With anything less than TDK Hi-Fi in your Hi-Fi/stereo VCR, you may as well listen to the walls. Get it today and put your Hi-Fi video system to maximum use. Speakers andall. ENT DKK ctne artorperroRMANcE. e : vec Son TDK is the World’s leading manufactufer of audio & video cassettes and floppy disk products. \\ For additional information, circle No, 66 on Reader Service Card. | i peas /
maxell maxell 120) 1Waxeuw f=] =o Super Hi-Fi T-120 Konica’s Super Hi-Fi gave up a MAXELL Maxell’s thinner EX T-160 isa lit- rating point on audio (linear) S/N tle less balanced in its perform- Video S/N for an increase of one point on the EX T-160 ance but rates excellent on consis- dropout count, which is excellent tency between batches and linear N35‘onsistency compared to its Super HG. Since Video S/N the dropout count affects the Hi-Fi audio frequency response at the audio tracks directly, we consider expense of one rating point on the choice a wise one. The result video S/N and chroma AM S/N. It is a good competitor among Hi-Fi is a respectable performer that has tapes, with ratings that promise extra recording capacity for mate- good to excellent picture and aver- rial that won’t fit on a T-120. age linear audio recordings. Dropout Count Dropout Count KONICA Konica Super Pro T-120 is, over- HGX High Grade T-120 Maxell HGX T-120 is one rating all, a very good tape with an ex- Super Pro T-120 cellent dropout count and good Video S/N point better than EX T-120 on all measurements except chroma AM Video S/N Consistency performance on chroma AM S/N and PM S/N and audio S/N. With Between and audio frequency response. four ratings of very good, includ- Audio Batches Compared to its Hi-Fi tape, it ing one for chroma PM S/N (not Frequency (he gives up a rating point on both plotted), and two of good we’re Response (fe chroma S/Ns for gains on consis- tempted to rate the tape as very good overall, but the fly in the tency between batches and audio ointment is its fair performance on S/N. This combination could be a audio S/N. boon to those who shoot their own tapes since most VHS camcorders and portables offer only linear track recording. Dropout Count Dropout Count EX T-120 Don’t let the basic designation fool HGX High Grade T-160 The HGX T-160 is a rating puint you about Maxell’s EX T-120. It weaker than the HGX 1-120 on Video S/N rates good on four of the six char- Video S/N chroma AM S/N and the dropout acteristics we plot on our graph count, but a point stronger on Audio Consistency and very good on chroma PM Audio Consistency chroma AM S/N and audio S/N. Between S/N, which is not shown. It meas- Frequency Between These results make HGX T-160 a Frequency Response Batches strong contender among tapes of Response ures average on video S/N and that length. Although we tested weak on linear audio S/N. We'd three samples, they were from the describe it as a good tape overall. same batch so we could not rate its consistency between batches. Dropout Count Dropout Count 56 Video February 1987
TURN YOUR ORDINARY TV INTO Magazines also agree the FR.E.D. family of decoders trans- AN MTS STEREO-SONIC SUPERSYSTEM forms your ordinary TV into an up-to-date stereo center at a fraction of the cost of anew MTS Stereo TV. And FR.E.D. also Now that the networks—NBC, ABC, CBS and even Cable— synthesizes dynamic stereo sound from non-stereo Elo} goy-Coler-t-jtiare Reley4-al-Me)m ecole e-litoM lanes Zar Us (oncl(cieclencyel¥ ale| broadcasts. Available in amplified and non-amplified versions for use with a home audio system or self-powered speakers. you can change your home TV viewing from dull to dynamic Some models with SAP bi-lingual programming capability. So with one of Recoton’s FR.E.D.™ Family of MTS Decoders. experience the FR.E.D. family—the greatest breakthrough in Easy to install, each FR.E.D. Decoder thrusts the sound and MTS Stereo technology. action beyond your TV screen, delivering theater-like sound R = CG OTO N “THE PROVEN PERFORMERS that’s purer and cleaner than the best Stereo TV on the market. Leading authority on audio Julian Hirsch commented in Audio/Video Accessory Specialists STEREO REVIEW Magazine, “FR.E.D....is a dramatic im- 46-23 CRANE STREET, LONG ISLAND CITY, NY 11101 1-800-RECOTON. provement in the quality of TV sound...can justify its addition to a home entertainment system.” VIDEO and VIDEO REVIEW bseseseWeesaerthtertffreaeiettscee:escd©et itreeetnteteron i SIGNAL STRENGTH OWR® = SYNTH = SPATIAL STEREO SIGNAL SAPY SYNTH a STRENGTH = ONR® SPATIAL as STEREO SYNTH SPATIAL =STEREO = eee np TREBLE BASS AMPLIFIED MTS TV STEREO DECODER SCHOzTroTme For additional information, circle No. 21 on Reader Service Card
‘Tape Tests — tae MEMOREX ‘| INSTANT WINNE MEMOREX MEMOREX ‘SWEEPS TANES 120maxe ro =MEMOREX | \" MAXELL With four ratings of very good, a MEMOREX |r<—(>a—ei good on the dropout count, an av- HGX Gold Hi-Fi T-120 erage on audio S/N, and an excel- Pro Series Plus T-120 Pro Series Plus is Memorex’s step-up grade and many of the Video S/N lent on chroma PM S/N, Maxell Video S/N weaknesses of the HS disappear. HGX Gold Hi-Fi is mostly a very Ratings for chroma AM and PM = oN‘onsistency good performer. With Hi-Fi per- S/N and audio frequency response formance unaffected by the char- remain the same but all the other ghee acteristics of the linear audio characteristics improve; notably track, its only deficiency is its the consistency between batches which is excellent, and the drop- dropout rating. This tape is near out count which is very good. the top of the Hi-Fi heap. The result is a tape that is average or above on every rating except video S/N, which is fair. Dropout Count Dropout Count RX Pro T-120 Maxell RX Pro T-120 is excellent Pro Hi-Fi T-120 Memorex’s top grade is Pro Hi-Fi. on video S/N and both chroma Three of its characteristics are Video S/N Video S/N S/Ns. But it falls to good on drop- good: video S/N, chroma AM S/N, Dropout Count Consistency out count and audio S/N, and to and audio frequency response. Between average on audio frequency re- However, the excellent rating for sponse and its consistency be- tween batches. If you use it for chroma PM S/N and the very good Hi-Fi recording the linear audio measurements don’t count and for the dropout count are balanced our standards on dropout count by ratings of average on audio S/N are so high that good is a respect- and fair on its consistency be- able rating. The good rating on tween batches. Overall, it’s a good tape. consistency represents a deviation of 0.3 dB, which is barely discern- Dropout Count able to the untrained. In short, this is a good tape for Hi-Fi re- cording. HS T-120 HS T-120 is Memorex’s basic MEMOREX Memorex Pro Cam is intended for grade and it’s a fair performer use in camcorders. It is released Video S/N with two ratings of good, one of Pro Cam T-120 mostly in the T-30 length but one average, two of fair, and two of of the cassettes we tested was a weak. The most noticeable de- Audio Video S/N Consistency T-120. It rates average on video ficiencies are the dropout count Frequency A Between S/N, chroma AM S/N, and audio which is fair, video S/N (graini- Response Batches S/N; very good on chroma PM ness) which is weak, and linear S/N; and good on dropouts and audio S/N (hiss) which is fair. Its audio frequency response. But it weak consistency between batches came up poor on batch consisten- is more likely to affect editing cy, which is unfortunate because scenes shot with a camera are when scenes have been recorded most likely to be edited together, on different cassettes from differ- and changes in video S/N would ent batches, or a user’s ability to be very noticeable. predict graininess. Dropout Count Dropout Count 58 Video February 1987
INTRODUCING THE NEXT LOGICAL STEP BEYOND THE STEREO EXPERIENCE. FAR BEYOND. SHURE VIDEO/HI-FI SYSTEM EXPANDER The new Shure AVC20 Power Station™ economical way to add Dolby Sur- TOTAL CONTROL AT brings your audio and video compo- round to your system. All you need YOUR FINGERTIPS. nents alive in ways you never imagined. are four speakers, a TV monitor, and a stereo VCR. No additional A 17-function EXPERIENCE THRILLING power amps are required. Plus, the wireless remote DOLBY SURROUND® MULTI- AVC20 amps can be “bridged” to control makes it CHANNEL MOTION PICTURE create a 60-watt-per-channel stereo possible. You’ll be amplifier to use alone or with your truly amazed by the SOUND IN YOUR HOME. existing amp or receiver. endless possibilities the AVC20 brings Dolby Stereo has become the TRANSFORM YOUR VIDEO you. In addition to standard sound format for almost AND AUDIO COMPONENTS Dolby Surround, all major motion pictures. This INTO A SINGLE, TOTALLY there are two other surround modes Dolby information is encoded on to enhance stereo sound. You can the most popular stereo VCR cas- INTEGRATED SYSTEM. wrap the sound stage around you, settes and laser discs you buy or create concert hall ambiance, mix rent. The Shure AVC20 accurately The Power Station lets you link and balance the room any way you decodes this information, wrapping inputs from up to five sources. With wish. All without leaving your chair. the sound around you with explosive one touch of a button, audio and big picture realism and romance. video signals are internally routed, The new Shure AVC20 Video/Hi-Fi so there’s no need for daisy- System Expander is everything you TAKE ADVANTAGE OF FOUR chaining, plugging and unplug- need to transform your audio and BUILT-IN POWER AMPS. ging. Tape dubbing is effortless. The video components into a truly excit- AVC20 can also route video signals ing home entertainment center. With four 30-watt amplifiers built to two separate monitors and Audition the Power Station for your- in, the AVC20 is the simplest, most enhance images both in recording self at your local authorized Shure and playback modes. Dealer. For more information, write or call Shure Brothers Inc., 222 Hartrey Avenue, Evanston, IL 60202-3696 Call 1-800-257-4878. (In Illinois 1-800-624-8522) Dolby Surround® is a registered trademark of Dolby Laboratories Licensing Corporation. SHURE : MAKING THINGS THE WAY THEY SHOULD SOUND FOR OVER 60 YEARS. = For additional information, circle No. 22 on Reader Service Card.
Tape Tests PANASONIC Panasonic’s basic grade is POLAROID All Polaroid tapes carry the Super- available in the T-160 length but color designation. The one in the Premium Standard T-160 its characteristics differ from Supercolor T-120 white and rainbow box is its basic the T-120 version. Dropout, grade. It is an average performer | Video S/N Video S/N with average ratings for video S/N, | — consistency, and audio S/N ratings chroma AM S/N, chroma PM S/N, | — remain the same, but chroma AM Audio Consistency and audio frequency response. S/N drops to weak, chroma PM Frequency Between The overall performance level is S/N and the audio frequency re- Batches enhanced by grades of good on batch consistency and the dropout sponse drop to fair, and video count, and slightly compromised S/N drops to poor. The latter is by a fair on audio S/N. most noticeable during viewing. Dropout Count Dropout Count PANASONIC Panasonic’s step-up grade is SHG. POLAROID Polaroid’s HG is its step-up All its characteristics improve ex- grade. It is better than the basic SHG T-120 cept consistency between batches, Supercolor HG T-120 grade on every characteristic ex- which drops to good, and the au- cept audio frequency response, Video S/N dio frequency response, which Video S/N which is also average, and the /| dropout count, which sinks to fair. drops to weak. The latter is the Audio Consistency Frequency Between It rates very good on video S/N, only curve-breaker to spoil its oth- consistency between batches, erwise good balance. It earned Response Batches chroma PM S/N, and audio S/N, ratings of very good on video S/N, chroma AM S/N, and the dropout and good on chroma AM SVN. It's count. Of course if you’re using the Hi-Fi tracks the weak spot an overall good tape despite its doesn’t count, and you have a fair rating on the dropout count. good to very good tape. Panasonic’s top grade is its Hi-Fi Supercolor SHG Hi-Fi T-120 Hi-Fi is Polaroid’s top tape grade, T-120. With an excellent on con- but it is a weaker performer than Consistency sistency, plus two ratings of very Audio Video S/N Consistency So: Between good, three of good, and an aver- Frequency /— Between the SHG on every count except age for audio frequency response, Response consistency between batches, x] it is somewhat balanced, more so V which is excellent. Its other rat- if you’re using the Hi-Fi tracks. ings are very good on chroma PM Ratings of very good were for the S/N, good on video S/N and chro- dropout count and chroma PM ma AM S/N, average on the drop- out count and audio S/N, and fair S/N. The goods were for video on the audio frequency response. S/N, chroma AM S/N, and audio The wide range of grades do not SIN. contribute to good balance. It can be considered an average tape with high consistency. Dropout Count Dropout Count 60 Video February 1987
Photo/Herbert Migdoll See What Monitor picture The Joffrey Ballet in John Cranko's, ‘The Taming of the Shrew.” You've Been Proton’s 625 Color Stereo Monitor/Receiver Missing with matching 313 two-way, self-powered speakers. Introducing the Proton 625 Stereo Monitor/Receiver One look is all it takes to see the difference between a Proton and other stereo monitor/receivers. There’s absolutely no comparison. It begins with our design. The perfect synthesis of fine art and high technology, Proton’s sleek, all-black cabinets with discreetly concealed controls were a breakthrough when we created them. Today, they've become the industry standard in monitor/receivers. You won't find a more fitting complement to the decor of any viewing or media room. More reasons to look at Proton first We've built in a number of technical advantages which give Proton monitor/receivers a picture that's superior to all the rest. So you'll see pure blacks and brilliant whites. 15% more picture. More accurate shapes and colors. PROTON TYPICAL TV And much greater detail with almost 400 lines of “actual” resolution — far exceed- ing the broadcast industry standard. Plus, our exclusive VNR™ (Video Noise Reduction) System polishes the picture even closer to perfection. Incomparable stereo sound Black Level = _ [— What about sound? Also virtually flaw- cr less. In fact, Proton’s high fidelity stereo PROTON | |PROTON sound far surpasses the audio of conven- __VIDEO — VIDEO tional television. Especially when you add oe a, a a | Linearity Convergence our optional matching two-way, self-power- fre : es) ) ed speakers for even greater impact. PROTON | |PROTON At Proton, we put much more into our _ VIDEO VIDEO stereo monitor/receivers, so you can get , oy J Detail_ much more out of them. Which is why they cost slightly more. But once you've seen them, you'll agree that it’s a very small price to pay. For the Proton audio/video dealer nearest you, call (800) 772-0172. In California (800) 428-1006. taarly Hebo 737 West Artesia Blvd., Compton, Calif. 90220
“Tape Tests T-120 Hi-Fi Stereo Super GT is Quasar’s basic grade. RCA RCA’s highest grade is Super It is an average performer with ex- High Grade which is close to good Super GT T-120 tra strength, and very good in SHG T-120 in overall performance. Even two areas: consistency between 62 Video February 1987 Video S/N though it has three ratings of av- batches and the dropout count. Video S/N, chroma AM S/N, and Audio erage, two ratings of good and audio frequency response are av- Aleit IN Consistency tWO Of very good raise its overall erage. It is good on chroma PM ay ‘Ma S/N, but weak on audio S/N. With G- Between —_rating and make it not too out of the very good and good ratings it ee Batches palance. Very good ratings were earned you can forgive it on audio S/N especially if you use it on a earned on video S/N and audio Hi-Fi machine. S/N, while ratings of good were for consistency between batches and chroma PM S/N. Chroma AM S/N, dropout count and audio fre- quency response were just aver- age. Dropout Count Hi-Fi is Quasar’s highest grade, a RCA calls its basic grade Hi-Fi but it performs identically to its Hi-Fi Stereo T-120 Stereo. At least that’s what the Super HG except on audio S/N, on which it was average, one rating Video S/N box says. The name is strange point lower. For recording on the and confusing since all tapes re- linear track, we recommend the Consistency cord in stereo on a stereo ma- Super HG; use Hi-Fi for Hi-Fi re- Chine and Hi-Fi tapes supposedly cordings because of the self-clean- Between ing action those tapes are sup- have special (better) formulations. posed to have. It is hard to believe this is the RCA uses no special names for its grade RCA intends for Hi-Fi re- basic T-160. It is a fairly well-bal- cording. This basic tape is an av- anced tape with an overall per- erage performer with one rating of formance level near average. It is good, three of average, two of just fair on dropout count and au- fair, plus a rating of good on dio S/N but average on video S/N, chroma PM S/N, which is not chroma AM S/N, and audio fre- quency response. On chroma PM shown. S/N, which is not shown, it is very good. Although we tested Dropout Count three samples, they were all from the same batch so there is no rat- SCOTCH EG is the basic grade in Scotch’s ing for consistency. lineup of six. A quick look at their EG T-120 Video S/N Consistency graphs should convince anyone 7X Between they are not identical performers Adi but have varying strengths and Frequency Weaknesses. The EG is excellent on the dropout count, very good on audio and video S/N, good on chroma PM S/N, average on chro- ma AM S/N and the audio fre- quency response, and fair on con- sistency between batches. It is above average, overall, but the ratings are a bit too spread out for good balance. Dropout Count
No matter what TV and VCR you own, the example of how Sony Vivax magn¢ new Sony Beta and VHS videotapes will particles can hold more video improve your picture. “information” to give you better Because the same thing that makes Sony picture quality, Even at the slower TVs better makes Sony videotape better: «£750 ® speeds that are so tough on tape. Sony technology. New Sony Vivax particles are in depend- The tape you see above is new Sony able Dynamicron®, too, for superior .sonx < PRO-X. Its ultra-fine Vivax™ particles deliver video and audio at an economical extraordinary video and audio recording price. You can record on Sony t{ characteristics. For exacting videophiles, the Dynamicron over and over with best choice!isthe best Sony videotape: PRO-X. sharp, clear results over andover. ./-7508 Then there's new ESX-HiFi, with So now you know you can own a great an extremely high signal-to-noise Sony picture for the price of a videotape. And ratio. It's the nght answer for hi-fi once you do own one, youll clearly see why recording at an affordable price. the Sony is the one and only Our new Sony ES-HG is a perfect videotape to buy. Ss ONY. ‘ THE ONE AND ONLY» © 1986 Sony Corporation of America. Sony, Vivax, Dynamicron and The One and Only are trademarks of Sony. For additional information, circle No 23 on Reader Service Card.
\"Tape Tests SCOTCH EG+ is the step-up grade of SCOTCH EXG Pro is a moderately-balanced | Scotch videotape. Its overall rating tape that rated excellent on chro- EG+ T-120 is just shy of good with four char- EXG Pro T-120 | acteristics that rate good plus an ma PM SIN, very good on video ) Video S/N excellent on consistency between Video S/N | batches, an average on the audio Audio S/N and the dropout count, and Consistency frequency response, and a fair on Consistency good on consistency, chroma AM Between chroma PM S/N. This isn’t perfect RFreesqpuoennscey, (JAS S/N, and audio S/N. Its weakest balance, but it is quite reasonable. BBeattwceheesn rating is average on frequency re- ES sponse. Overall, it is a bit better than good, and we like it best of the EXG group. Dropout Count Scotch has four grades of tape la- Dropout Count EXG Camera is the tape in the belled EXG. You could say it really EXG group specially tailored for EXG T-120 has one grade with three varia- SCOTCH making your own tapes using a tions tailored for specific uses. camera and a recorder, or a cam- Video S/N The plain EXG has three ratings of EXG Camera T-120 corder. Scotch improved the audio average, three of good, and one frequency response on the tape to of very good so it’s rather Video S/N excellent, which is quite useful well-balanced with an overall rat- since most original recordings are ing somewhere between average made on non-Hi-Fi equipment. and good. Its very good rating Consistency between batches also was for video S/N. Chroma AM improves to very good. Ratings on S/N, the dropout count, and audio video S/N, chroma AM S/N, and S/N earned ratings of good. Chro- audio S/N are unchanged. Losing ma PM S/N, consistency between a rating point are the dropout batches, and the audio frequency count which dipped to good, and chroma PM S/N which is now very response rated average. good. Dropout Count Dynamicron is the name of Sony’s magnetic particle rather than a Scotch EXG Hi-Fi sacrifices one SONY tape grade. Sony’s basic grade has no special name; however, it rating point on video S/N, now Dynamicron T-120 is a good performer with one rat- ing of excellent, two of very good, good, in exchange for gains on one of good and two of average. It was excellent on consistency the dropout count and chroma PM between batches and very good on the dropout count and the au- S/N, both of which are now very Video S/N dio frequency response. The char- acteristics that rated average were Consistency good. Chroma PM S/N, audio Audio chroma AM S/N and video S/N. Between Audio S/N rated good. Batches S/N, and the audio frequency re- sponse remain unchanged at i good, good, and average, respec- tively, but consistency between batches drops three points to poor. If you’re not going to edit from mixed batches and don’t mind some inconsistency, it’s ac- tually a reasonably good tape. Dropout Count Dropout Count 64 Video February 1987
Shoot Steady. pee Sima VideoProp Plus™ © Ima The Walking Tripod. This unique video accessory virtually eliminates camera shake, even when you zoom, and helps reduce arm fatigue so you can produce smooth-looking tapes from beginning to end. VideoProp Plus telescopes fo assure a comfortable fit and its built-in quick release lets you snap the camera on and off in seconds. VideoProp Plus also provides a convenient way to carry your camera. It weighs only 14 oz. and fits all of today’s video cameras, camcorders and 35mm SLR’s. Record Remote. Sima SoundCatcher™ Wireless remote microphone for video cameras. Just clip the SoundCatcher wireless microphone to the subject you're taping and pick up the sound at the source—not at your camera. The lightweight receiver attaches easily to any video camera or camcorder and can record up to 200 feet away, professionally capturing all those important events. SoundCatcher comes complete with 3 LED indicators assuring foolproof operation, an earphone monitor, batteries and a compartmented soft case. Lighter Light. Sima CamLight™ Mini Quartz Video Light. This ultra-compact CamLight emits the exact amount of super-bright quariz illumination needed to ensure brilliant, true color video tapes from your video camera or camcorder under all conditions. Super-light at 7 02. and only 34” long, you'll hardly notice CamLight once it’s attached to your camera. Also, CamLight stays cooler longer than any other light in its class. An ingenious bracket mounts CamLight to your camera shoe, or lets it sit anywhere. AC-only and AC/DC models available. DC conversion kit available separately. Transfer Treasures. Sima CopykKit™ Transfers home movies and slides onto video tape. Imagine the pleasures of watching those precious memories on your TV set and never again having to set up cumbersome pro- jectors and screens. All you have to do is project your films or slides onto the high-contrast, distortion-free mirror of the CopyKit and tape them from its rear-projection screen using any video camera. No special lens attachments, no fuss, no bother. The Copykit even folds flat for compact storage. Title Tapes. Sima Video TitleTabs\"™ Video Tape Identification Kit. Unify the look of your growing and ever-changing video library. Dispos- able TitleTabs simply slip in or out of their clear pockets so you can make changes easily as old programs are erased and new ones added, without having to write on the edges of tape cartons or cassettes. The TitleTab starter kit, for 20 tapes, is packaged in a handy wallet you can store right next to your tapes. For Beta or VHS. Expansion kits available. Sima...Making your video life a lot easier. % For more information and the name of your nearest SIMA dealer, contact: Sima Products Corp., 4001 W. Devon Ave., Chicago, IL 60646
‘Tape Tests “us T1420 Dynamicron T-160 Sony also offers a T-160 length in Dynamicron Pro-X T-120 Sony’s Pro-X overshadows its its standard grade. Since T-160s ESX-Hi-Fi by just two rating points, Video S/N use a thinner tape stock than T- Video S/N 120s, the characteristics change, one each on the dropout count Audio Consistency usually downward. In this case, Frequency Between its very good audio frequency re- and consistency between batches. Response Batches The change in the dropout count sponse and average chroma PM is easier to see but the consisten- S/N remained the same. Video S/N cy could be of great use if you’re and chroma AM S/N both dropped shooting original material from from average to fair, the dropout which you expect to edit or dub. count dropped from very good to Its strengths are in consistency, good, and audio S/N dropped from good to average. All samples audio S/N, a low dropout count, and video S/N. It’s weakest on were from the same batch so chroma PM S/N, average. there is no rating on the consis- tency between batches. Dropout Count Dropout Count Dynamicron ES-HG T-120 ES-HG is Sony’s step-up grade. In SG T-120 SKC is the brand of another new overall quality the change from the Korean tape manufacturer. Its bas- Video S/N basic grade appears almost nil be- Video S/N ic tape grade is SG. It earned rat- cause one characteristic went up Audio Consistency ings of good on audio S/N and av- two rating points and two went Frequency Between erage on chroma AM S/N, chroma down on each. However, consid- Response Batches ering that the two-point jump was PM S/N, the dropout count, and on the video S/N and both de- audio frequency response. It’s big Creases affect the linear audio, the weakness was poor video S/N. Al- picture is significantly better. The though we tested three samples, use of Hi-Fi audio removes the all were from the same batch so small change in audio quality we could not rate its consistency. With all but one characteristic as completely. average or better, SKC is off to a good start. Dropout Count Dropout Count Dynamicron ESX Hi-Fi T-120 Sony’s ESX-Hi-Fi rearranges the SKC SKC also makes a step-up grade same range of rating points. labelled SHG. Two characteristics, There’s one excellent, one very SHG T-120 chroma AM S/N and audio fre- good, three good, and two aver- quency response, are the same as Video S/N age. On this tape, audio S/N and Video S/N its basic grade. There are increas- consistency are the high scorers, es on four of the remaining char- Audio Consistency while audio S/N and chroma AM Audio Consistency acteristics. Video S/N jumped two Between S/N rate average. Again, the over- Frequency Between Response Batches points to average and audio S/N all rating hovers around good. It jumped two to excellent. Chroma is another example of how tape PM S/N and the dropout count choice is best made by analyzing went from average to good. We do not have a measurement for what the tape will be used for. To consistency between batches be- squeeze the best out of a system, think carefully about the job that cause all tapes we tested were needs to be done. from the same batch. Dropout Count Dropout Count 66 Video February 1987
“he me hy eta nofyseeey » aa ron Kinesia iLee\" Y A true story of a family’s love and nature’s beauty that youll never forget. Though they reluctantly move to their Uncle Zep’s confronts the perils of nature. wilderness cabin after losing their parents, the Morrison children come to care deeply for the wise This tender and stirring story of the Morrison family and loving old man, as well as nature’s beauty. is sure to be loved by your family. A rousing and But in order to stay together after the county welfare department decides the children must be in foster loving film, In Search of a Golden Sky is available on homes, the family flees into the wilderness — and videocassette, only from Playhouse Video. som Crees © 1986 The Movie Store, Inc. All Rights Reserved. we © 1987 CBS/FOX Company. Playhouse Video is a trademark of the CBS/FOX Company. All Rights Reserved. AN I.P.1./GENERIC FILM starrinc CHARLES NAPIER « IN SEARCH OF A GOLDEN SKY atso starrinc GEORGE “BUCK” FLOWER—CLIFF OSMOND onicinat story e SCREEN PLAY BY JOHN GOFF & “BUCK” FLOWER music written By BOB SUMMERS executive prooucer JAMES G. ROBINSON proouceo ay “BUCK” FLOWER pronuceo@pirecTeo By JEFFERSON RICHARD
‘Tape Tests — TDK TDK’s current basic grade is now HD Pro T-120 TDK HD Pro was one of the best performers on our last tape test HS T-120 HS even though you may still find Video S/N and is again one of the best. It is some of the old standard grade on excellent on three of the character- Video S/N dealers’ shelves. Video S/N, chro- istics measured: video S/N, audio ma AM S/N, audio S/N, and audio S/N, and audio frequency re- frequency response are average. It sponse. Three of its other ratings are very good: consistency be- also rated excellent on consistency tween batches, chroma AM S/N, between batches, very good on and chroma PM S/N, which is not the dropout count, and good on shown. Its dropout count rates a chroma PM S/N. Overall it is good, but only because we tight- above average. One of our sam- ened the rating system. It would ples had a high dropout count that have rated very good on the old dropped quickly on successive scale. passes suggesting that some slit- Zenith’s basic grade of tape has ting debris had got onto the tape. no special name. It’s definitely The first readings were not used above average with four ratings of for averaging. average and one each of good, very good, and excellent. The su- Dropout Count perior ratings are for the dropout count, audio S/N, and consisten- Extra HG T-120 TDK’s step-up grade is Extra HG cy. Think of it as good, over- or EHG. Consistency between all—high praise for a basic grade Video S/N batches slid down to fair but every of tape. Audio Consistency other characteristic jumped up to Frequency Between ratings of good or higher with the dropout count and audio S/N reaching excellent. Since even the fair rating on consistency repre- sents a just visible difference be- tween batches, we'll call the tape very good and just not recom- mend it for editing masters. Dropout Count Dropout Count Extra HG Hi-Fi T-120 TDK’s Extra High Grade Hi-Fi tape ZENITH Zenith T-160 theoretically uses has one excellent rating on audio Video S/N S/N that affects only the linear au- Video S/N the same emulsion as the T-120 a dio track. Most of its other ratings but on a thinner base. By our Consistency are good, except for a very good Consistency Between Between measurements they seem like rela- Batches on video S/N and average on con- sistency between batches. A rating tives in name only. It rates poor a little better than good is de- on video and chroma AM S/N, and served, but we prefer the EHG weak on consistency between tape. batches and chroma PM SIN. It squeaks up to fair on the dropout count, average on audio frequency response, and good on audio S/N. Overall, it is fair to weak. Dropout Count Dropout Count 68 Video February 1987
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GOLDSTAR Goldstar’s step-up grade, HG PANASONIC Panasonic’s basic grade is now T-120, performs better than its called premium standard. It has HG T-120 basic grade on consistency and Premium Standard T-120 reasonable balance with grades of audio S/N but is weaker on the good on three characteristics: Audio Video S/N dropout count, chroma PM S/N, chroma AM S/N, audio S/N, and Frequency and audio frequency response. audio frequency response. Its rat- Response =<nsistency Since the differences vary by no ing jumps to excellent on consis- more than one of our rating levels tency between batches, very good @ and the HG’s lowest ratings were on chroma PM S/N, and good on better than Goldstar’s basic grade, the dropout count, but it slips to the result is a better balanced fair on video S/N. We call it an av- tape. erage tape with a few better rat- ings where it really matters in re- turn for a small compromise on video S/N. Dropout Count Goldstar’s highest grade is its Super HG T-120 Super HG is Quasar’s step-up SHG Hi-Fi which is weak on video GOLDSTAR S/N, chroma AM S/N, and audio grade. It is distinctly better, with S/N. However, its dropout count ratings of good or higher on every SHG Hi-Fi T-120 is very good and its audio fre- characteristic except audio fre- quency response is average. Al- quency response, which is aver- Video S/N age. It rates good on video S/N, though we tested three samples chroma AM S/N, chroma PM S/N, we couldn't calculate a figure for and audio S/N, and very good on consistency between batches be- its consistency between batches cause all the samples were from and the dropout count. It deserves the same batch. an overall rating of good, especial- See page 125 for additional Gold- ly if used on a Hi-Fi machine. star tape. Dropout Count Accuchrome HQ T-120 For a while Magnavox marketed SHG T-120 Zenith’s SHG T-120 is a very good several grades of tape. It now only Video S/N sells the Accuchrome HQ, which tape, one of only five to earn that has a wide mix of ratings. It’s ex- rating in this year’s tests. It is ex- Dropout Count cellent on consistency between 70 Video February 1987 cellent on the dropout count and batches and very good on every- consistency between batches, thing else except video S/N, which poor on audio S/N, good on the rates good, and the audio frequen- audio frequency response, and av- erage on the video and chroma cy response, which is average. It S/Ns. We consider the balance be- should be suitable for most pur- tween characteristics so important poses because it is fairly well-bal- that we would give up some of the anced, too. higher ratings to boost the various S/Ns. Yet the HQ produces an ac- ceptable picture, from which the average audio S/N did not detract.
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Can You Find True Love On Home Video? In 1961, with the gritty streets of New York’s Upper that same enthusiasm, but fans of aching hearts, burning West Side as backdrop, Italian Tony (Richard Beymer) desires, and passionate embraces will find no shortage damour in home video. Many of the classic cinematic pledged his love to the ethereal Maria (Natalie Wood), a clutches are available, as are a growing number of Puerto Rican. These West Side Story lovers defied the made-for-video romances, proceeding from the genre animosity of their respective ethnic groups to optimisti- novel which has long been the staple of lovers of love. cally proclaim, in song, “There’s a place for us, some- As actor Dack Rambo—whose amorous conquests where,” and come together in a desperate kiss. At film’s have enthralled audiences on All My Children, Dallas, end, with Maria, the innocent victim of racial hatred, and now as the male lead of the made-for-video ro- mance, Lilac Dreams, puts it, “There’s always a place slain in a playground battle zone, there’s not a dry for this kind of thing. There’s a little bit of romance in eye—on screen, or off. almost all of us. Some people are just too cynical to be romantic, but I do think people love seeing the guy get Seven years later, filmmaker Franco Zeffirelli brought the girl, the girl get the guy.” a beautiful pair of young lovers to the screen in his SEEDS OF LOVE version of Romeo and Juliet. Newcomers Leonard Whit- Cinema was still in its infancy when the Edison studio ing and Olivia Hussey adhered to the temper of the times created a scandal with The Kiss in 1896. But 25 years passed until the first true romantic swoon object, Ru- with tasteful nudity as they otherwise traditionally dolph Valentino, held sway on the silent screen. In films like The Sheik and Blood and Sand, Valentino—paired re-enacted this tale of flowering romance amid hostile with an exotic locale and an initially reluctant maid- clans. A painstakingly constructed escape from the real world of Vietnam, political assassinations, and racial en—started what is now known as fantasy romance. Although infrequently seen in today’s movies, fantasy confrontations, Romeo and Juliet became a box office romances do fill the pages of several million genre novels smash. purchased every month. They are nothing more or less than pure escape from a humdrum reality, explains Pam- Since its 1978 debut as a six-hour mini-series, prime time serial Dallas has focused on the trials and tribula- ela Wallace, author of several Harlequin romances and tions of Pamela Barnes (Victoria Principal) and Bobby an Academy Award nominee for Witness, which she Ewing (Patrick Duffy). Drawn together despite her co-wrote. “When you're fantasizing, you want to forget humble origins and his stature as the scion of a powerful and wealthy Texas oil dynasty, the couple has resisted about your real life. You want an idealized existence to lose yourself in. And that means not living in Fresno and the overwhelming hatred between their two families and wed, although circumstances (mainly soap opera’s per- going to Safeway to do grocery shopping and falling in ennial need for conflict) have conspired to keep them love with a plumber, or whatever.” apart much of the time. In or out of each other’s arms, With the advent of sound and the onset of the Depres- sion, romance became a cinematic staple. The discovery however, Bobby and Pam remain in love. Created in different eras and media, these three pro- and acceptance of love could be light, frothy, and amus- ing, as in the classic 1934 comedy, Jt Happened One ductions are all phenomenally successful romances. And Night. The budding relationship between Claudette Col- all owe their existence to the original romantic family bert, as a society girl on the lam from her rich daddy and feud penned over 400 years ago by William Shake- smarmy husband, and Clark Gable, as a straight-talking, speare, who knew audiences are suckers for a good love street-smart newspaper reporter, melted the hardest story. Whether or not love really does conquer all, its heart, using laughter as its key. representation in theater, on film, and on television is a Five years later, two of the cinema’s all-time great constant crowd pleaser. Even iflove is being tested—or romances took very different approaches. Gone with the worse, is lacking—in our own lives, we are drawn to the romantic pains and pleasures of those familiar strangers who populate film and TV screens, just as earlier socie- ties responded to romances presented on stage, in song, and in the poems of traveling troubadours. Current cinema may not be embracing romance with Dy Seby Ccldstern
‘Shades of Love’ ts the most ambitious of a host of new video romances. Wind, starring Gable and Vivien Leigh as the tempestu- ‘Love with a Perfect Stranger,’ a made-for- ous Rhett Butler and flirtatious Scarlett O’Hara, video romance, with Daniel Massey and couched its romantic tale in a sweeping historical drama Marilu Henner. of the Civil War. In 1939’s Wuthering Heights, an equally storm-tossed pair—Laurence Olivier’s Heathcliff and Year—stand out like quaint oddities in a sea of solipsism Merle Oberon’s Cathy—played out their unrelieved and sexual bravado. With only daytime soap operas sus- passion against the stark landscape of 19th century En- taining the slow and tortuous development of romantic relationships, we have just come through an era where gland. Where Gone with the Wind was larger than life, Wuthering Heights was introspective to the point of few movies paid tribute to the values and risks of loving claustrophobia. Yet in both films, as in Casablanca another person. Instead, films have portrayed women destroying themselves for men, teenagers flinging (1942) and South Pacific (1958), the romantic relation- themselves mindlessly into sex play, and, recently, a ship was the focal point, over and above the exotic spate of sadomasochism (9 1/2 Weeks, Body Heat, Blue Velvet) revealing a deep-seated unease between men settings. What remained with the viewer, as hand- and women. kerchiefs were discreetly being wrung out, was the handsome pair, trying to find happiness against great In this climate, the bed hopping on evening soap odds. operas, for example, is pretty much the province of “bad” characters, such as Falcon Crest’s Richard Chan- That these four films, and many other enduring ro- ning (David Selby) or Knots Landing’s Abby Ewing mances, don’t end happily ever after doesn’t negate (Donna Mills). Meanwhile, especially on daytime seri- their romantic quality. In fact, according to screenwriter als, the emphasis has returned to romance, with young Wallace, a so-called happy ending is less than likely in a lovers, such as a current Romeo-and-Juliet-like pair on successful romance. “When Witness was sold, the pro- Another World, exchanging nothing more intimate than a ducer said he bought it because he believed it could be a fully-clothed kiss in a sleeping bag. Soap opera weddings great love story. And his reasoning was all of the great remain occasions to get out the hankie, particularly since love stories didn’t end happily, in the sense that the two the faithful viewer realizes such happiness must be brief people didn’t get together. That doesn’t mean it’s un- if the characters are to continue in a major storyline. happy. Idon’t believe Witness has an unhappy ending. So I don’t think romance is defined by loving happily ever Away from serials, prime time programs are also after. To me, a romance is a man and a woman overcom- returning to romance. Bright, attractive couples now indulge in the sassy variety of verbal sparring, punctuat- ing serious obstacles to reaching a real intimacy with each other. And that doesn’t mean that they’re going to ed by sly, secret, admiring glances, that herald the stay together, but that they’ve achieved something pro- arrival of romance. In the past two seasons, viewers found and it will stay with them.” have played the “will they, won't they” game with the principles on Moonlighting, Remington Steele, Scarecrow MODERN LOVE and Mrs. King, and Cheers, while the shows’ producers Not surprisingly, very few films of the late 1960s, avoid actually resolving these burning questions. As psychiatrist and author Willard Gaylin wrote in a TV ’70s, and even ’80s—an era of sexual and social upheav- Guide analysis of prime time romance, “Television al—have been primarily romantic. The excep- maintains the separation of sex from commitment but, unlike the modern world, it abandons sex for the sake of tions—Love Story, The Way We Were, Same Time Next romance. Modern television has rediscovered the Mid- . ai a dle Ages.” If the networks have indeed returned to Arthurian Time-travel love: Kathleen Turner and Nicholas Cage in ‘Peggy Sue Got Married’ times, and the bulk of current cinema is still centered around sex, violence, or some voyeuristic combination of the two, where does that leave romance? Hopefully, several video companies believe, in their capable hands. With an almost exclusively female target audience, at continued on page 125 74 Video February 1987
Car Grant A Fond Look Back At Filmdom’s Master Of Romance a=raa ia=) oO o & a o the strains of Henry Mancini music, Cary __ replies the ever so suave Grant. Grant and Audrey Hepburn engage in ro- “T thought maybe you wanted me to see mantic banter aboard a Parisian tour boat __the kind of work the competition was turn- gliding down the Seine. Suddenly, the boat ing out,” she teases, watching a couple is plunged into darkness. The moment of _ kissing on the bank. fear passes quickly, though, as a spotlight “Pretty good, huh? I taught them every- scans the banks, seeking out lovers forthe thing they do.” tourists’ amusement. Cary Grant was almost 60 when he “Hey, you don’t look so bad in this light,” filmed this scene from Stanley Donen’s comments Hepburn. Charade. That line from this highly enter- “Why do you think I brought you here?” taining homage to Hitchcock is Grant’s By Beverley Bare Buehrer February 1987 Video 75
| Cary Grant with four of : his notable leading lad- : ies: Grace Kelly in ‘To Catch a Thief’ (left); his third wife, Betsy Drake, in ‘Every Girl Should Be Married’ (below)... boastful opening romantic gambit. But per- acter’s name ina play they were doing. But there was already a Harold Lockwood in haps it’s just a statement of fact. Maybe he films, so a different surname was needed. didn’t teach us all we do romantically, but The studio had a list of names just for such Cary Grant’s films have certainly taught us an occasion, and Archie closed his eyes, that romance can be fun. stuck a pin into the list, and became Cary Shortly before he died last November, a Grant. fan told Cary Grant his secret for 25 years He was directed by the best—Cukor, von Sternberg, Walsh, McCarey, Hawks, of happy marriage—to approach romantic Stevens, Capra, Curtiz, and Hitch- problems by wondering what Grant would cock—but it was Grant’s screen chemistry do in such a situation. The 82-year-old with some of filmdom’s sexiest leading la- star, perhaps the suavest, most romantic dies that brought out his distinctive brand of lighthearted, yet heartfelt, romance. Al- man ever to make audiences laugh, was though not a very successful film, Blonde tickled by the remark. Venus (1932) proved the newcomer could Although his film career ended in the easily hold his own against superstar Mar- lene Dietrich. Mae West coined a great 1960s, Cary Grant remained a beloved, if phrase in She Done Him Wrong when she propositioned, “Why don’t you come up publicity-shy, icon his entire life. The pop- Paramount declined, and Grant daringly ularity of his many films, aided by their sometime and see me.” He did go up and decided to become a freelance actor. video availability, will endure for many see her for a second film, I’m No Angel, but His new-found ability to choose roles years to come. ; the role was weak. and studios coincided fortuitously with the A spate of forgettable films followed. arrival of a new film genre, the screwball His impressive career spanned four dec- comedy. This battle of the sexes was ades and includes almost 75 films. Thanks The unsuccessful Sylvia Scarlett fared so fought on a humorous battlefield, where badly that co-star Katharine Hepburn and the weapon of choice was fast-paced dia- to the classic status and popularity of director George Cukor offered: to make logue. The genre perfectly suited Grant’s their next film for producer Pandro Ber- many, more than one-third are available on unique screen persona. man for free. Grant, as a petty Cockney videotape, and their continued appearance SCREWBALL STAR crook, however, stole the film and won seems assured. Generations to come will The process began in 1937’s Topper, more than one critic’s admiration. where Grant and Constance Bennett be able to watch the method and study the played the wealthy (ifspectral) George and In his first five years in Hollywood, Marion Kirby. Audiences envied the play- style of one of Hollywood’s most romantic Grant made 25 films for Paramount. Most ful dialogue, prankish mischief, and solidly were B movies, and he became frustrated affectionate underpinnings of their mar- leading men. with the roles he was getting—and not riage. HUMBLE BEGINNINGS getting. MGM wanted him to play Flet- Topper recently became one of the first cher Christian in the 1936 version of Mutt- Just four years into the 20th century, ny on the Bounty. He desperately wanted films subjected to the controversial pro- Archibald Alex Leach was born in Bristol, cess of computer color enhancement. England. Attracted early to the exciting the part, but Paramount refused to loan Grant marveled at the technology (calling it theatrical life, Archie ran away at 14 to join him out. This further fuelled his disillusion- “an amazing process”) but also admitted, Bob Pender’s Troupe of Knockabout Co- “I wasn’t too hot about the colorization of medians, with whom he came to America ment with the studio’s contract system. Topper.” Somewhat startlingly he added, and soon adopted it as his new home. When Grant’s contract came up for renew- “But then I wasn’t too keen about myself in Topper.” Bit parts in New York plays garnered al, he asked for script approval—a right Archie his first screen test but he was dismissed with, “you’re bow-legged, and reluctantly given only to the biggest stars. your neck is too thick.” A second attempt in 1931 resulted in both a contract with Paramount and a new name. Actress Fay Wray suggested Cary Lockwood, his char- 76 Video February 1987
Cary Grant offered a beguiling charm and self-effacing humor that made him adored by women and envied by men. ...{ngrid Bergman in ‘Notorious’ (left); and Audrey Hepburn in ‘Charade’ (above). That same year The Awful Truth was doing my own stunts when I stopped mak- VIDEOGRAPHY released. Grant and Irene Dunne play a ing films.’”’) divorced couple fighting over custody of Arsenic and Old Lace their pet dog and trying to undo each oth- One of the hallmarks of top-of-the-line 1941 (released ’44). B&W. Grant, Priscilla er’s romantic plans. The pair teamed up screwball comedies is sharp, fast dialogue, Lane, Raymond Massey, Peter Lorre, Ed- again in 1940 foMry Favorite Wife, in which and no movie demonstrates this better ward Everett Horton; dir, Frank Capra. Dunne plays Grant’s supposedly deceased than His Girl Friday. Rosalind Russell 116m. B/V/LV CBS/Fox. CED RCA. first wife. Merely stranded on a desert plays an ace reporter who plans on giving island, she reappears to create mischief up the newspaper game to settle down The Awful Truth between Grant and his new spouse. with Ralph Bellamy—plans which are glori- 1937. B&W. Grant, Irene Dunne, Ralph ously shattered by Russell’s ex-husband, Bellamay; dir. Leo McCarey. 92m. B/V Hi Grant made two classic comedies with the paper’s editor (Grant). Fortunate- LV RCA/Columbia. Katharine Hepburn in 1938. In Bringing ly—and unfortunately—His Girl Friday is Up Baby, Grant (an uptight paleontology a public domain film. Videotape copies can The Bachelor and the Bobbysoxer professor) and Hepburn (a scatter-brained be purchased very inexpensively, but the 1947. B&W. Grant, Myrna Loy, Shirley socialite) scour the countryside looking for transfer quality varies widely. The movie, Temple, Rudy Vallee; dir. Irving Reis. 95m. a dinosaur bone and a pet leopard. In Holi- however, is enhanced by video viewing Blackhawk, Nostalgia. day, Grant breathes life into a stodgy because repeated rewinds allow one to wealthy family as he gradually discovers catch all the intricate, overlapping, hilari- The Bishop’s Wife that the sister he is engaged to is not the ous verbal interplay. 1948. B&W. Grant, Loretta Young, David one who really appreciates his abili- Niven, Monty Woolley, Elsa Lanchester; ties—especially to execute a back flip. Grant starred in a few other likeminded dir. Henry Koster. 109m. B/V/LV Embassy. (Tumbling skills Grant learned with the comedies—The Philadelphia Story (1941) Pender Troupe were often put to use in his again with Hepburn and Talk of the Town Charade films. It was part of Grant’s particular al- (1942) with Jean Arthur and Ronald Cole- 1963. Grant, Audrey Hepburn, Walter lure that he could look urbane and debonair man—but it’s Arsenic and Old Lace that Matthau, James Coburn, George Kennedy; in a tuxedo while pratfalling over furniture. offers particular enjoyment on video. Made dir. Stanley Donen. 113m. MCA. No stuntman stand-in for Grant. As he in 1941 but unreleased until the Broadway show had finished its run in 1944, Arsenic Every Girl Should Be Married ee Oereminisced recently, “I guess I stopped 1948. B&W. Grant, Franchot Tone, Betsy continued on page 129 Drake, Diana Lynn; dir. Don Hartman. 84m. RKO. Father Goose 1964. Grant, Leslie Caron, Trevor Howard; dir. Ralph Nelson. 116m. Republic. The Grass Is Greener 1960. Grant, Deborah Kerr, Jean Simmons, Robert Mitchum; dir. Stanley Donen. 105m. Republic. Gunga Din 1939. B&W. Grant, Victor McLaglen, Douglas Faribanks Jr., Joan Fontaine; dir. George Stevens. 117m. Nostalgia, Vid- America, Blackhawk, RKO. His Girl Friday 1940. B&W. Grant, Rosalind Russell, Ralph Bellamy, Gene Lockhart; dir. Howard Hawks. 92m. Roach, Prism, United, Kartes, Images, etc. continued on page 130 February 1987 Video 77
Sigourney Weaver returns as Warrant Officer sophisticated weapons mankind has ever seen. |ane Ripley in the blockbuster sequel to the smash hit And they don’t stand a chance. tt Alien. Get ready to experience all the terror, suspense She escaped the awesome, terrifying crea- and shocks you can handle. Aliens...It’s even scarier the second time around. Coming soon on tures once. Now she’s going back, with the toughest sol- Videodisc. Alien is available from the 5-Star Collection diers on earth. They’re battle-hardened veterans for $29.98, suggested retail. to whom combat is a game, armed with the most TWENTIETH CENTURY FOX °° BRANDYWINE sss sJAMES CAMERON: ALIENS SIGOURNEY WEAVER \"'JsAMES HORNER i GORDON CARROLL, DAVID GILER .« WALTER HILL jesCieated byDAN BRANNON ne RONALD SHUSETT “'s JAMES CAMERON. DAVID GILER ; WALTER HILL S\"**s JAMES CAMERON \"GALE ANNE HURD °SJAMES CAMERDN © 1987 CBS/FOX Company. All rights reserved. Except'in Canada. CBS“ is a trademark of CBS Inc. used under license. In Canada CBS ™ is a trademark of CBS Records Canada Ltd. used under license FOX\" is trademark of Twentieth Century-Fox Film Corporation uses under license © 1986 Twentieth Century Fox. All Rights Reserved
VIDEO MAGAZINE'S GUIDE TO @ FILM REVIEWS. ..................81 MM VIDEO QUICK TAKES. .........89 * QUICK TAKES ON FILMS .... 86 ie NEW TAPES & DISCS..........90 Mi VIDEO REVIEWG................87 PROGRAMMING SOURCES ..96 SE NEWS AND VitSP a Ia IT TTT TET TTEOIN TRIN TE ETS BY MARK FLEISCHMANNeeececce @eceoseeeseeoesceece eeeeecece eee Blue Velvet, with its delirious glimpses of sadism and perversion, may prove to be a very controversial video release in 1987. It’s the most masterful work yet from director/writer David Lynch, who also directed Eraserhead (RCA/Colum- bia), Dune (MCA), and The Elephant Man (Paramount). Video rights have been sold to Karl-Lorimar, which would like to release it in the spring unless de- mand keeps it in theaters. True Stories shows the more accept- able side of oddness at work. David Byrne of the Talking Heads directed, co- wrote, co-stars in, and narrates this ec- centric meditation on high technology in the heart of Texas. Warner Bros. distrib- Laura Dern, Isabella Rosellini, and Kyle MacLachlan in ‘Blue Velvet’ uted this indie production of Byrne’s first : film, and Warner Home Video spokes- TOMORROW’S entines on the following titles—and on : man Mike Finnegan confirms it for a 1987 VIDEOS TODAY the filmmakers and executives who gave : video release, but won’t say when. RTE ERA EER RS TTL AT ES CEE TH life to them. At presstime none have : The Color of Money, Martin been announced for video release—they : Scorsese’s sequel to Robert Rossen’s here’s nothing for serious filmgoers will be held to fully exploit their theatrical : The Hustler, puts Paul Newman together to see.” That was the lament of 1986 potential—but the box office makes less ? with Tom Cruise and screenwriter/nov- as summed up in anAmerican Film edito- money nowadays than the video store, : elist Richard Price. Buena Vista distrib- rial. Hollywood’s apparent brain-death so these titles are likely to be among next : uted the Touchstone Films release, and became a favorite critics’ subject, the : year’s most important videos. : ifyou know your trade names, you'll rec- most exhaustive treatment coming from Sid & Nancy is the second film by : ognize Disney in disguise. Disney Home New York’s confused but energetic Alex Cox, the English director who at- : Video president Ben Tenn won't talk David Denby. Since the movies of today tracted attention when his Repo Man : about any video release—not when the are the videos of tomorrow, videophiles earned the adoration of aging punks ev- : movie pulled $6.5 million in its first week. had good reason to be concerned about erywhere. S&N is the story of Nancy : She’s Gotta Have It, directed by Spike cinema’s distressingly dull state last Spungen and Sex Pistol Sid Vicious. : Lee, and Down by Law, directed by Jim spring and summer. Moody and schizophrenic, it begins as : Jarmusch, are two sophomore directorial As it turned out, Hollywood’s much- punk comedy, then veers into a graphic : efforts distributed by Island Pictures. An publicized aesthetic drought didn’t en- and disturbing drug tragedy. According : Island spokeswoman says her company dure into fall, as independents came to to senior VP Rand Bleimeister, Embassy : is negotiating with video labels for both the rescue with a reassuring film flotilla. provided more than half the financing for : titles, but declines to say more. Key Vid- Even more encouraging, some of the this daring project. After execs viewed : eo released Jarmusch’s first film, Strang- most daring new items received heavy eCoecaeneseraereleyeevseereseion, he says, “they went : er Than Paradise, but there’s no indica- funding from big-name video labels. back and re-edited the film. Wehadsome : tion of future plans. Both pics are from So let’s bestow “News & Views” val- : input on that.” : New York University film-school grads. ce TET SEO UE Pe Ce vioe a February 1987 Video 79
LET’S GO, INSTANT VIDEO! —— Sota a UE EE RE B etween acts at Manhattan’s Ritz, club-goers stared up at big and small screens hung from the rafters. The club owner knew the Mets and the World : Series were momentarily more impor- tant to this New York crowd than any : musicians. Pandemonium broke out on ? the dance-floor when the Mets clinched ° yet another victory; now the top of the : bill could go on. When the music ended, the VJ reached for a rock video, and be- ; gan playing the “Let’s Go Mets!” clip. The scene at the Ritz marked a minor : victory for instant video publishing and : for Vestron, which created the Let’s Go Mets! cassette. Jeffrey Peisch, manager :‘ Let’s Go Mets! : American, British, and other countries’ of original programming, says Vestron : like anything. They could have blownit.” borrowed the name and the concept of : public television. The remarkable thing about Let’s Go + Home Vision’s recent releases offer an instant publishing from the book world. : Mets! is the speed with which it came into - astonishing array of riches. The “Portrait “They’ve been doing that kind of thing for : the world. “The turnaround time from : of an Artist” collection covers everyone years—you know, Gerry Ferraro an- : first day of production to cassettes onthe : from Raphael to Jules Feiffer. There are nounces her vice-presidential candidacy ‘ major opera and dance rosters, “Profile and six months later there’s a book out.” : street was about 10 or 12 days,” says : Peisch. - ofa Writer” and “War” collections (three He also tips his hat to MPI Home Vid- * Call it instant publishing, the electronic : titles each), a “Documentary” collection eo, which had the first major commercial : broadsheet, or perhaps video journalism. success with an instant-publishing ven- : With a little creativity exercised at the that includes the four-cassette Africa, ture last year. MPI’s Super Bowl Shuffle : right moments, whatever it is could turn “came out right around the Christmas and six volumes of The Story of the Sym- selling season. People were already in : out to be a major force in nontheatrical the stores and oriented to buying gifts.” > video. phony with Andre Previn. Vestron’s own previous efforts include As a reporter/critic with a music hu- The Statue ofLiberty and Liberty Weekend :HOME VISION BRINGS Commemorative Edition. The Mets pro- manities course in my past but little other gram, which could have been an exercise CULTURE TO THE MASSES in cheeseball mercantilism, actually turns specialized knowledge, I was curious to out to be good clean fun. Let’s Go Mets! 0 ES see how the series would appeal to an ringing the performing arts into a ill-informed but interested party like me. : home-video arena dominated by I was surprised at the depth and scope of the composer-turned-conductor’s lec- may be a throwaway, but it’s the kind * teen pics is no easy task. Kultur and tures. some fans might want to collect. : Video Arts International are among the For Beethoven, Previn concentrates : most important independent labels fight- Vestron had been thinking of doing a : ing this good fight. Now they have com- on the man himself, tracing the genesis of sports quickie for some time. “The Mets * pany in the form of Home Vision, a sub- the composer’s powerful music to his in- were a natural choice. We began discus- : sidiary of Film Incorporated, a major in- sions with the team in June—they were : dependent film distributor. Home Vision dependent personality. Brahms gets a doing well but didn’t have the huge 20- : specializes in skimming the cream off more cerebral treatment as Previn ex- game lead they had later on. It’s a risk, plicates symphonies line by line to etch his portrait of a musical conservative in eee epurely musical terms. Tchaikovsky goes in the opposite direction, turning the tor- SCANLINES mented man’s career into an untechnical personality profile, in keeping with the Dustin Hoffman’s stage performance in Death of a Salesman achieves video “expressive directness” of his music. immortality with the help of Karl-Lorimar, which will sell the tape for $59.95. Shostakovitch describes the career of the contemporary Russian composer who in- Morris Video moves into movies with its new More Entertainment subsidiary. curred (but survived) Stalin’s wrath. First release will be Scuba Run, starring Tulla Cove (Daryl Hannah’s Splash Here and elsewhere, Previn carefully stand-in) and photographed by Jim Crosby (Miami Vice). crafts the Royal Philharmonic Orches- tra’s performance into something neither 8mm users needn't worry about getting their hands on the few available tapes. flamboyant nor dull. The remaining two The 8mm Video Council has started a venture called Cinema 8 to cater to partisans eerveoslcucmeecse are devoted to Haydn, Mozart, of the littlest cassette. The first catalogue—to be updated quarterly—is, as Woody and Berlioz. Allen once said of himself, “thin but fun.” You can order tapes by mail or phone (800-446-6388, ex. 88; in N.Y.: 212-315-5000, ex. 88). Partial credit for getting At $39.95 a shot The Story ofthe Sym- this act together goes to Sony, which financed the catalogue to promote the format. phony is a good deal for schools, libraries, and ordinary people with an interest in Richard Burton made his last TV appearance in Ellis Island, a five-hour-plus eee orcehestral music. And it bodes well for docudrama about the famed New York immigrant center. U.S.A. Home Video will : one of the biggest caches of arts video sell the entire program, probably in a two-volume twin-pack. : available. 80 Video February 1987
: too high, but Sweet Liberty is an enter- : tainingly playful poke at a number of Hol- : lywood’s foibles and obsessions. —Rod Granger arte ae ——. : LABYRINTH a ss age é : 1986. David Bowte, Jennifer Connelly; : dir. Jim Henson; wr. Terry Jones. 116m. Sweet Liberty > (PG) Hi St cc $79.95. LV $34.95. Em- SWEET LIBERTY : goddamn vaudeville show,’ ? complains : bassy. Image: excel. 1986. Alan Alda, Michael Caine, Bob : Burgess. “Alright, we'll fix it,” says Okay everybody, look rapt. We’re go- : ing to creep stealthily through the mysti- Hoskins, Michelle Pfeiffer; wr./dir. * screenwriter Stanley Gould, who, as em- : calmaze called Labyrinth. Careful now as Alda. 107m. (PG) Hi D$79.95. LV CX + bodied by Hoskins, practically steals the : we slip through this window, creep down $34.98. MCA. Image: excel. : film. Known for his humanistic portrayal : a hole, tiptoe through that dark tun- : nel....now, let’s unlock this exotic- A commercial disappointment because : of British gangsters, Hoskins here dem- : looking door and see what’s behind it. of mixed reviews and a weak marketing - onstrates a great gift for comedy as an : What do you think could be in there...? campaign during its theatrical release, : earthy American. Caine is also good as Sweet Liberty is actually an engaging if : Elliott James, the film-within-the-film’s : AUUGGH!! MUPPETS!! RUN! RUN! flawed comedy. The satiric tale revolves : conceited but charming leading man. As pure spectacle, Labyrinth is the around a Hollywood crew’s summer in- ‘ Whether showing Burgess the finer year’s most extravagant eye and ear vasion of a small university town to turn : points of fencing, or teaching the univer- Professor Michael Burgess’ (Alda) his- : sity president’s wife a few new tricks, candy. A collaborative effort of Muppet : king Jim Henson, star warrior George torical tome into a lighthearted look at : Caine invests James with a smooth, Lucas, artist Brian Froud, and Monty the birth of this nation. Alda has a good : self-deprecating air that contributes Python’s Terry Jones, there are ele- ear for humorous dialogue andakeeneye : enormously to the film’s sardonic tone. ments to appeal to each’s following, not : to mention a singing and dancing David for comedic situations as the conflict be- : Pfeiffer is equally convincing as a tough, : Bowie in the goblin lead. Unfortunately, : these diverse talents are at odds with tween art and commerce unfolds. The : independent actress with whom Burgess : each other. Henson’s Muppets are ap- age-old struggle is epitomized by Bur- : has a brief liaison. pealing, yet their mechanical cuteness is gess’ efforts to portray history realisti- : Sweet Liberty is also the story of the -: downright intrusive in Lucas’ seamless cally despite director Bo Hodges’ (Saul : relationship between Burgess and an : illusion approach. Jones’ Grimm-like hard Rubinek) belief that filmgoers want re- : American Lit teacher, and here writ- edge may scare off the wee tads as much : as his scatology will horrify uptight par- bellion against authority, destruction of : er-director Alda gets into trouble. The ents. And the film’s overt homage to the property, and removal of clothing. : film loses momentum when it shifts focus darker elements of children’s book mas- “The American Revolution was not a - from the making of the picture, and the ter Maurice Sendak promotes a fantasy : two plots never achieve a strong balance. that may be upsetting to young children. : In a snotty fit of adolescent pique, For key to headings, see Legend on first : Alda himself is not the likeliest historian, Sarah (Connelly) wishes her baby broth- page of Directory section. : and the predictability factor is often far : er snatched by the King of the Goblins, : who is only too glad to oblige. Guilt prods : her into a gallant rescue attempt in the ultra-confusing Labyrinth. Sarah goes through hell and a lot of Muppets to re- trieve the infant, but the baby seems to prefer the goblins to his sister’s hysteri- . cal rantings. The only time the poor lad - seems to be having a good time is when February 1987 Video 81
viduals, and the context wasn’t exactly plausible, but the levels of energy, charm, and, above all, the constant pro- cession of musical numbers moved the picture along at such a breakneck pace that audiences were totally caught up. Under the Cherry Moon is a different matter insofar as the narcissistic indul- gence outweighs the charm and energy, turning the film into little more than an extreme exercise in Prince’s highly pub- licized self-adulation. First of all, there’s the story. Prince plays a totally amoral Cote d’Azur gigolo who attempts to snare a spoiled heiress, played by the decorative but not overly talented Scott-Thomas. Along the way he discov- ers love and is shot dead by the girl’s father (Berkoff) for his troubles. It’s hard to care about a love affair between two people who are so unsympathetic that you don’t care what happens to them. Labyrinth The movie’s only likable character is Tricky (Benton, again serving as he is being danced around by Bowie’s infiltrate and eliminate Chicago’s most ‘ Prince’s foil and sidekick). Another prob- Goblin King. Sarah is too whiny and ; powerful syndicate. Of course, Kamin- ; lem is Prince himself. He must be on self-absorbed to really earn the audi- : sky’s mission comes complete with car ; screen for at least 90 out of the 100 minutes, pouting, posing, driving a con- ence’s sympathy, so you don’t root for -; chases, fistfights, and shootouts. her success so much as sit back and let : If you enjoy this kind of thing, one : vertible, and wearing a large number of the cinematic gods decide who’s in the : scene is particularly fun. Kaminsky rolls: extremely exotic costumes. The one thing he doesn’t do much ofis singing. He right. back the top of his white convertible, What really saves Labyrinth is Bowie. turns on the Rolling Stones playing “Sat- : only really performs two songs, seem- Made up to look like a Tina Turner clone - isfaction,” and races through an outdoor : ingly a major miscalculation for someone whose reputation rests primarily on be- who’s never seen sunlight, he symbol- : heroin production facility while wasting izes the unpredictability of the harsh ; thugs left and right with his howitzer and : ing a rock star. The one thing not lacking is style. The “adult” world, but in so unthreatening a : other automatic goodies. manner that he is actually the most popu- : Although Schwarzenegger has more : sets and costumes are exceptional, and lar character. If you like any of the princi- : trouble with English than acting, he does : the lavish black & white photography has pals, Labyrinth is worth crawling through : manage a few funny, well-timed lines ; the attention to detail of an extended perfume commercial, although the con- just to see how they spent their share of : (“Who do I look like—Dirty Harry?”). the budget. But play this for kids, and ° Posing frequently for the mirror, he : trast on video doesn’t do it true justice. don’t blame me if they start shrieking : sneaks in a word or two about the impor- : Lifestyles of the rich and petulant. —Mick Farren next time you turn on Sesame Street. tance of exercise and fitness. Old pros : —John Walker : Sam Wanamaker (as the crime boss) and ; LETTER TO BREZHNEV McGavin lend their fine talents to this : RAW DEAL Darren formula blood-and-guts revenge flick. 1985. Alexandra Pigg, Peter Firth, Mar- 1986. Arnold Schwarzenegger, : But, notwithstandaihanpgpy ending that : gv Clarke: dir. Chris Bernard. 94m. (R) McGavin, Kathryn Harrold; dir. John : intentionally alludes to Casablanca, Raw : $79.95. Karl. Image: excel. Irvin. 90m. (R) Hi $79.95. HBO/Can- + Deal is not worth the time it takes to ; Working-class films—unflattering, —Clifford Meth : claustrophobic dramas of England’s dis- non. Image: good. watch. Skip it. affected and disenfranchised—have long It looks as if Arnold has evolved his + UNDER THE been a staple of British cinema. The grit- “stay hungry” philosophy into ‘“‘stay : ty realism of great movies like Saturday smug,” anattitude shared by anumber of ; CHERRY MOON 1986. B&W. Prince, Jerome Benton, : Night and Sunday Morning, A Taste of his competitors—Clint Eastwood, Kirsten Scott-Thomas, Steven Berkoff; : Honey, and Room at the Top provides a Chuck Norris, and Sylvester Stallone. Unfortunately, Schwarzenegger lacks : dir. Prince. 100m. (PG-13) Hi St cc : bracing antidote to the familiar English Eastwood’s finesse, Norris’ moves, and ; $79.95. LV CX St cc $34.98. Warner. menu of regal costumers, James Bond Stallone’s personality. Actually, the most : Image: good. adventures, and Peter Sellers farces. appealing thing about the guy is his phy- : Prince always requires a certain sus- : Letter to Brezhnev, in its own idiosyn- sique: a thoroughly intimidating body : pension of disbelief. Is his chronic : cratic ’80s fashion, continues that fine lends the only semblance of verisimili- : self-obsession for real or is it part of the : tradition. The setting is Liverpool, put-on? In the case of Under the Cherry ;: where two young women, Elaine (Pigg) tude to his super-cop persona. Arnold plays Mark Kaminsky, a hot- : Moon the actor-singer-songwriter-direc- : and her friend Teresa (Clarke), are fac- shot FBI agent ousted from the Bureau * tor really pushes the envelope of credibil- : ing the equally grim prospects of a life- by an unconventional investigation. He’s : ity. It was easy to go along with the gag in : time working in a chicken factory and offered a second crack at the big time : Purple Rain. Prince’s character may not : apparently permanent unemployment. when his ex-boss (McGavin) hires him to : have been the most sympathetic of indi- ° The girls are restless, anxious to escape 82 Video February 1987
the dead-end tedium of their lives even DESERT HEARTS But Deitch is definitely in touch with 1986. Helen Shaver, Patricia Char- : her younger and older Western charac- for just a few hours. Salvation of sorts arrives in a chaotic nightclub when they bonneau, Audra Lindley; pr./dir. Donna : ters. She knows just how Kay’s hit-the- pick up two Russian sailors who are in Deitch. 96m. (R) $79.95. Vestron. Im- - jackpot 25-year-old romanticism can turn into the leathery, sun-creased 50-year- town for a day. (A map may illuminate the age: good. When Columbia University professor : old romanticism of Audra Lindley’s dude situation’s geographical logic.) Glamor- : ranch boss, a woman prickly as a cactus Vivian (Shaver) arrives in 1959 Renoina : with the whining divorce-seekers she ous Teresa picks the strong, primitive stiff, gray sheath dress and shiny Berg- : serves, but unable to forget how Kay’s dorf Goodman shoes, her blonde hair pin-_ Sergei; Elaine goes for the sensitive, ar- ticulate Peter. While Teresa and “Igor” (as she calls him) opt for earthy pleas- ned into a sophisticated French twist, father “put a string of lights around my ures, Elaine and Peter stay up all night you know she needs more than a divorce. heart.” Following her tough, passionate She needs to loosen up; she needs color. instincts all the way, Deitch has come up talking—and falling in love. Unable to forget Peter, Elaine ulti- As soon as you see Desert Hearts’ shots with a first film that leaves a neon im- mately pleads her case to the Kremlin, of gaudy chrome slot machines, the su- print. —Kathy Huffhines percharged reds, blues, and pinks of des- receiving a plane ticket to the USSR by THE GODS ert sunsets, and winking neon casino return post. (So much for socialist real- ism.) Relatives, girlfriends, even the for- signs, you know she’s come to the right MUST BE CRAZY eign secretary all attempt to dissuade her place. : 1984. Marius Weyers, Sandra Prinsloo, Xao; wr./dir./pr. Jamie Uys. 109m. (PG) from going, forcing her—and by implica- Especially when Kay (Charbonneau), tion, themselves—to realistically consid- a Reno-bred casino hellion, zooms into Hi cc $79.98. Playhouse. Image: excel. er the merits of the life she may be for- view, speeding in reverse in a converti- Like a Disney ““True-Life Adventure,” saking. What makes Letter to Brezhnev so ble, riding backwards alongside the car : this opens with narration describing an fascinating is that her love for the for- carrying the prof to a dude ranch. With : unfamiliar life form. A big difference: in- eigner violently divides her from her her swinging fringe of dark hair, bold stead of snakes and birds, it’s peo- peers, making her seem increasingly like face, and sexy mustang body, Kay is ev- ple—the Bushmen of the Kalahari Des- an outsider to friends and family. The erything Vivian isn’t, but she’s intrigued - ert—being ever so whimsically ex- plucky heroine role is familiar enough, and challenged by the ivory tower East- plained. Leave it to a white South African but Alexandra Pigg makes Elaine a mem- erner. Though the New Yorker tries to filmmaker to patronize by “idealizing” orable, modern woman. remain aloof, they edge together, ex- those whom he often refers to as “the lit- Americans may find the accents and changing kisses during a cloudburst, ulti- : tle people.” Merseyside slang impenetrable. (The mately sharing one of the most raw- - The Gods Must Be Crazy is cratty, Beatles sounded like this before becom- nerved, electric love scenes in recent : covering its racist tracks by making both ing wealthy world travelers.) And yes, American film. the villain and the head buffoon white. the story is somewhat contrived, heavy- Director Donna Deitch evinces much : Yet the “humor” depends on blacks being handed, and slight. But there’s a sincere more interest in Kay and the wide open ruthlessly violent toward each other: Ha and ultimately moving quality about this West than in Vivian and the Eastern intel- ha! He shot him in the leg! He may never look at the joys and miseries of pure, lectual range, and unbalances the Jane walk again! How funny! Never are the mindless love, and how even the most Rule novel on which ‘Natalie Cooper’s : blacks allowed a shred of the individuality ordinary lives can change in a moment. script is based. In the novel, the local : necessary for character comedy. They Also, it captures the anything-can-hap- girl’s breezy easy-sex attitudes seemed : are merely pawns who can’t understand pen allure of nightlife, as well as the un- as limiting as the teacher’s reserve; in : each other or the whites whose every easy social torpor poverty encourages. the movie, you’re much more likely to : whim affects their lives. Letter to Brezhnev should not be over- wonder what Kay sees in Vivian than vice : A Coke bottle falls from a plane, the looked. —TIra Robbins versa. primitive Bushmen find it and think it to be a gift from the gods. When it becomes Letter to Brezhnev a source of community strife, Xi decides to return it. On the way, he runs into the film’s white subjects and aids in foiling black terrorists-without-a-cause before returning to his remote home. While the picture begins and ends with Xi and his community, it is never really about them—except when they interact with the whites, who have no interest until they stray outside their customary boundaries, and then only as curiosities. ererceoLsietstleeseisn ethe film is truly funny. There is plenty of absurdity and lots of speeded up sight gags. Without a sense of the char- acters being human, it is hard to care about any of it, particularly when the same joke is repeated without variation. The Gods Must Be Crazy proves that not just Americans are susceptible to the worst of bad taste: the need to feel supe- rior to somebody, somewhere is world- wide. —M. George Stevenson
FOOL FOR LOVE RAN nists. When Saburo rides to the rescue, 1985. Sam Shepard, Kim Basinger, Ran- 1985. Tatsuya Nakada, Akiva Terao, he imagines himself saved, but the com- dy Quaid, Harry Dean Stanton; dir. Rob- Jinpachi Nezu, Mieko Harada; dir./co- ert Altman; wr. Shepard. 108m. (R) HiSt wr. Akira Kurosawa. 160m. (R) sub. Hi passionate son takes a bullet in the chest right in the middle of their reconciliation. $79.95. MGMIUA. Image: good. St cc $79.98. CBS/Fox. Image: good. Kurosawa allows Hidetora transcen- Although you may wonder just what Akira Kurosawa is Japan’s John Ford, dence but not mercy, remaining true to the spirit of Shakespeare, who nicked the the hell is going on here, Fool for Love's sharing Ford’s streamlined visual thrust plot from older plays but was first to posit bizarre characters and pacing make wait- and longing for his country’s turbulent ing for the answers worthwhile. The sto- past. Both directors have alienated some a tragic ending. ry takes place at a run-down motel film buffs with the violence and conserva- Kurosawa also caps his career with an tism of their worldviews; inRan, howev- owned by an unnamed man (Stanton) intense moral vision, reserving the final who turns out to be May’s (Basinger) er, Kurosawa has brought the wisdom of frames not for the death of the old war- father. May has fled there to escape the lord but for the pathos of a blinded memory of Eddie (Shepard), her lover of advancing age to his self-declared final prince—one of his few surviving victims. film. Loosely based on Shakespeare’s 15 years who mysteriously shows up tragedy, King Lear, Ran is an unblinking This revelation, unprecedented in a stating that he has traveled 2,482 miles look at the centuries of savage feudalism Kurosawa war film, arguably makes Ran to find her and that she must accompany the director has devoted his career to an analogue to Ford’s Man Who Shot him to Wyoming. After much arguing, Liberty Valance—his greatest elegy for a glorifying. past that no longer exists, and can not— yelling, and breaking of things, she Hidetora, lord of the Ichimonji clan, agrees to do so. But as they kiss to must not—ever exist again. has spent most of his 70 years slaughter- —Mark Fleischmann re-confirm their love, she knees him ing rivals to the power he now holds. He foolishly decides to retire and divide the sharply in the crotch. This slow-moving film’s disorienting style is set. kingdom among his three sons (loosely A FINE MADNESS Halfway through, two catalysts ap- adapted from Lear’s three daughters) ina 1966. Sean Connery, Joanne Woodward, pear: the Countess, Eddie’s former lover scene discreetly peppered with full- Jean Seberg, Patrick O'Neal; dir. Irvin who drives up to the motel and empties a screen images of gathering clouds. Taro pistol at anything that moves, and Martin and Jiro, who butter up the old man, Kershner. 104m. $59.95. Warner. Im- (Quaid), May’s wimpy boyfriend, about ultimately betray him; Saburo, who fol- age: excel. whom Eddie states, “If you ain’t a cow- lows Shakespeare’s advice to “speak. The name is Shillitoe. Samson Shilli- boy, you ain’t shit.” Quaid’s role is impor- what we feel, not what we ought to say,” toe. What’s this—Sean Connery in a tant: he’s the uncomprehending outsider first attracts Hidetora’s wrath but ulti- comedy? Playing a poet? Yes, here he is in a fine slice of 1966 with the director who who leads everyone to explain their mately proves his loyalty. would put the real cinematic James Bond squalid histories. The film’s climax re- In the most striking scene, Hidetora’s veals the excruciating truth: Stanton has grief mounts to Shakespearean mad- to bed 17 years later in Never Say Never led a double life, marrying two women Again. ness. Amidst a crimson bloodbath ac- and fathering both May and Eddie, who companied by grieving dissonant-chro- Samson Shillitoe is a loony poet with a fell in love in high school, unaware of violent desire to finish an epic poem. matic strings, Taro gets a bullet in the their kinship and unable to escape their back as his army besieges Saburo’s cas- Lord help anyone who gets in his way, be attraction for one another. tle. The strings stop and the roar of war- it his frumpy but well-meaning wife (a Writer Shepard and director Altman fare kicks in, turning mystic vengeance curiously charmless Joanne Woodward), use some interesting narrative technique to animal carnage. With all his escort the shrink she sends him to (Patrick here, such as having a character tell a warriors dead, Hidetora suddenly O’Neal), or Mrs. Shrink (Jean Seberg). story while the visuals show a parallel emerges alone from the burning castle, He does concede a few moments to set a scene which may either be the “real” stunned. He walks between the armies ladies’ club reading aflutter with lascivi- version or another semi-related tale. The activities of the motels’ other occu- of his two cruel sons; they part as the sea ous references to stray metaphors pants tell another small story, which parted for Moses. “creeping above your knee.” Will this seems somehow related to the overall Stricken by grief over his misfortune classic mid-’60s protagonist stop at noth- plot. Altman’s normally verbose style is and by guilt over his sins, Hidetora ing in his compulsion to rile the bourgeoi- severely undercut by Shepard’s lean knows he must pay for his past. He is sie? Will a lobotomy do it? Nope, the script, which reveals as little as possible thus unique among Kurosawa’s protago- HSTEHHHTHTTSPEHOHEHTEEHTSEHHERHEHSEETHEOTEHESETlEESPoHbPEotEomy doesn’t do it. He leaps out of Ran per dialogue line. Unfortunately, the heart-rending plot, Altman’s penchant for tediously slow pan and zoom shots, and cheesy orchestral music make Fool for Love look like a truncated mini-series. It even has a big finish, during which May walks off down the highway, Eddie rides into the desert on horseback, and the motel burns to the ground while Stanton dejectedly waits for the flames to reach him in his trailer. Still, the situation is powerful, and the acting first-rate. As a tale of the decadent Southwest, Fool for Love is a surprising success. —Adam Philips SHEHHESHEEESSHSFSHHEEemeHSEETSHOSEeHTEeSeEHeHESHEOeSSEeHEESeEHSTEHeERSTHHESTHSHEEHHSSEHREHHET
much a period piece, an opportunity to recall the era of beads, bells, and Nehru jackets, where fantasy attempted to hold reality at bay, even though the most beautiful illusions were ultimately doomed images. —Toby Goldstein THE TOXIC AVENGER 1985. Mitchell Cohen, Andree Mitchell: dir. Michael Herz, Samuel Weil. 82m. : (R) $79.95. Lightning. Image: good. It’s time some enterprising critic did a serious study of one fundamental but ne- glected element of cult movies: stupidi- ty. Some films—Police Academy 3, Meat- balls, the Friday the 13th series, for in- stance—are just plain stupid. They’re boring, infantile, and simply not very Head much fun. Truly great cult movies strive for transcendent stupidity, the all- the hospital bed. : scientists and a crazed Indian cult—led encompassing idiocy that only a truly cre- ative and twisted mind can conjure up. The role is actually a logical one for by the fine blustery comic actor, Leo Classics of this sort include Pee-Wee’s Big Adventure, Rock ’n’ Roll High Connery. His irrepressible dynamism McKern—who want to retrieve a sacred School, and Plan 9 from Outer Space. To and heavy brogue both get full play in ruby ring from (where else?) Ringo Elliott Baker’s script, while Kershner’s Starr’s finger, and are perfectly willing to fluid direction keeps the high energy lev- sacrifice the moptop drummer in the pro- make a distinction, let’s call them el under control. The New York location cess. At convenient moments, the boys “stoopid,” adding the vowel to represent shots are not intrusive—this is not a New break into vignettes of song, which in that extra margin of goofiness. York movie on a par with A Thousand : retrospect make perfectly self-contained Troma Pictures, the indie studio be- Clowns—but the city’s boho spirit reigns rock videos. hind Toxic Avenger, has built its reputa- over the rowdy goings-on like a guardian tion on a series of u-stupid cheapos like angel. Lester was able to shoot Help! in col- Squeeze Play (a baseball sex comedy) and or, but even the crisp purity of Bahamain Waitress! (a restaurant sex comedy), A Fine Madness is that happy paradox, ocean views and Alpine snow scenes are the period piece that never ages. See it mere window dressing on a pretty pic- both of which are recommended for 12- some night when you're feeling silly. ture. Perhaps realizing that dialogue year-old boys into flatulence, belching, —Mark Fleischmann would be drowned out by the screams of ‘ and “tit” jokes. With Toxic Avenger, teenage Beatlemaniacs, Lester opted to though, Troma ventures into dou- HELP! concentrate on high-impact visuals. ble-o-stoopid territory with the errone- 1965. The Beatles; dir. Richard Lester. By 1968, the political environment in ously self-billed first gore comedy. 92m. (G) Hi $69.95. MPI. Image: good. the U.S. was ugly, with assassinations Nerdy Melvin is the tormented mop- HEAD and streetfighting on the nightly news. boy at a health club in Tromaville, New 1968. The Monkees; dir. Bob Rafelson. The Beatles had quit touring and, in Jersey, “Toxic Waste Capital of the 1967, the Monkees were launched via a World.” He falls into an open vat of chem- 86m. (G) Hi $69.95. LV $29.95. icals and turns into a muscular monster, prime-time TV series in a flagrant at- getting revenge on his abusers and wip- RCA/Columbia. Image:good. x ing out the town’s corrupt politicians and tempt to mimic them. The Monkees— petty hoods. It’s an amusing premise, Thanks to America’s latest epidemic of : which included two former child ac- and there are some fairly innovative splatter scenes, featuring witty uses of a retromania, two bands that haven’t ex- : tors—duly cavorted through a weekly pizza oven, a laundry press, and other appliances. The plot, totally at the mercy isted for 15 years are once again sharing : half-hour of imitative madcap Beatlesque of the gore effects, is just ridiculous enough to qualify for stoopid stature. the music charts. But despite the Bea- ? silliness. The Toxic Avenger scores some points tles’ vitality or the Monkees’ boyish : Head, however, casts the quartet as in the creative grossout department, but charm, both groups distinctly belong to G participant/observers in their own plight. its attempts at laughs are mostly pathet- ic. Lamest of all is the running bit with the decade that birthed them. The re- : “We know we’re nothing more than a lease of Help!, the first Fab Four’s sec- : plastic money making machine,” they de- ond film, and Head, the Monkees’ only : clare at several points, and spend most of theatrical outing, reminds that while the : the film attempting to escape from bi- past may be an awfully nice place to visit : zatre boxed-in situational nightmares. it’s no longer appropriate for perma- : Directed by Bob Rafelson, who used nent residence. ° Head as an absurdist training ground for Melvin’s blind girlfriend poking him in the crotch and knocking things over. The Beatles’ nonsensical yet amusing : his follow-up, Five Easy Pieces (particu- romp through Europe and the Caribbean larly the infamous chicken salad sandwich This film could have been a mile- is perfectly suited to a time that offered scene), and written by Rafelson and Jack stone of Stoopid Cinema; instead, Troma “nothing to get hung about.” Director took the low road for just another dumb Lester does little more than repeat what Nicholson, Head is virtually plotless. adolescent comedy. Those who yearn he started with AHard Day’s Night, and for a good, funny gorefest should stick the quartet’s irreverent personalities far What were musical interludes in Help! outweigh Help!’s flimsy plot. The lads ; make up Head's entirety; unfortunately, with Re-Animator, or wait until Albert rush about trying to fend off two mad : few of the dreamy, mystical numbers are : Brooks makes a splatter movie. : as memorable as the band’s bet- : ter-known pop tunes. Head is pretty —Louis Kesten February 1987 Video 85
QUICK TAKES ON FILMS MURPHY’S LAW : of which King employs. On the level of a : Roadrunner cartoon, it’s kind of a hoot. 1986. Charles Bronson, Carrie Snod- + Confirming King’s intent, there’s as gress, Kathleen Wilhoite; dir. J. Lee much heavy metal (courtesy of AC/DC) Thompson. 101m. (R) Hicc $79.95. Me- : on the soundtrack as you can swallow. dia. Image: good. —Richard Gehr As a killer psycho with Charles Bron- son on her tail, Carrie Snodgress’ finely : 8 MILLION WAYS TO DIE sculpted features look startling even with : : A1n98d6y. GJaerfcfiaB;riddigre.s, HalRoAssahnbnya. 1A1r5qmu.ett(eR,) those cruel lines etched in. Bronson’s - Hi cc $79.98. CBS/Fox. Image: good. If you’re the type of person who can’t improved with the years, too—he does a : get enough of Miami Vice, this film might great Charles Bronson! Kathleen Wil- : serve as some sort of substitute. The convoluted, illogical story has an alcohol- hoite is boyishly charming as the foul- ; ic former cop (Bridges) redeeming him- self by taking down a murderous drug mouthed adolescent (“monkey vomit!”) ° pusher (Hispanic, of course). You've got your chase scenes, drug abuse, hookers who accompanies him. What a pity such : (white, of course, with requisite hearts 0’ good players get no more than a figleaf of : character development in this murder- : ous thriller. The inevitable shootings, drownings, stranglings, etc. are elliptical : but shocking. —Mark Fleischmann : LAST RESORT gold), pimps (black, of course), and—to 1986. Charles Grodin, Robin Pearson : assuage the morals panel—pious sobrie- Rose, Jon Lovitz; dir. Zane Buaby. 84m. + ty: this ex-cop attends AA meetings. (R) $79.95. Vestron. Image: good. Murphy’s Law Whatever happened to Hal Ashby? He didn’t used to make rambling, hypocriti- Once aware that the title refers to a : wretchedly bad tropical vacation club, : barely less smarmy than your average : cal, preachy movies like this. Maybe it nothing about this shrill, sniggering - Porky’s clone, but, to their credit as an- : has something to do with that Rolling “comedy” will come as any surprise. In ; achronists, F&D have created perhaps : Stones tour documentary... the awful Chevy Chase/John Candy ; the first “getting laid” extravaganza with : —Richard Gehr American-travel-victims tradition, Gro- : liberal sensibilities. In fact, the only con- : din’s hysterical schlemiel exudes the wit : sistently responsible characters here are : MY LITTLE PONY— and charm ofa harried supermarket man- : an upscale black couple, and hardly a sin- : THE MOVIE ager as he drags the family off to Club : gle act of stupidity passes without seri- : ous guilt feelings by the film’s zoo of : 1986. Anim. 89m. (G) cc $79.95. Ves- Sand, where the ambience is sleazy, the : stereotypes. An inconsequential film? : tron. Image: excel. Utterly. But the sight of “rock ’n’ roller” : amenities nonexistent, and the people : Franken’s unsuccessful attempt at se- : Let me get this off my chest night monstrous. By the time the movie plays : ducing a teen by teaching her the guitar : away: Ihate Smurfs and My Little Ponies its hand—an armed guerrilla insur- ‘ part to “Wild Thing” is almost funny ; and all those cartoon commericals that gency—it has trundled out some of the : enough to carry this bag of air. originated as products. With that caveat, stupidest, most obnoxious stabs at hu- : : I must confess that this is not such a bad mor you've seen hundreds of times. The : —John Walker film. There’s plenty of non-violent action word “breasts” is mentioned a lot, and : as the ponies try to stop the evil witch marijuana, homosexuality, and nudity : Hydia and her dastardly daughters from provide the basis of what try to pass for :: MAXIMUM OVERDRIVE : covering Ponyland with the purple lava- -: 1986. Emilio Estevez, Pat Hingle, Laura + like smooze. The animation quality is su- jokes. Hideous, offensive, and above all Harrington; dir. Stephen King. 97m. (R) : perior to most of the Saturday morning utterly unoriginal. —Ira Robbins ONE MORE : St cc $79.95. Karl. Image: good. : brigade (‘cept Pee-Wee Herman, god Neither as boring as Cat’s Eye, bless ’im). The voices of Danny DeVito, SATURDAY NIGHT : Firestarter, and Creepshow, nor as good : Madeline Kahn, Rhea Perlman, and To- 1986. Al Franken, Tom Davis, Nan : as The Shining and Cujo, Stephen King’s : ny Randall add extra charm to the occa- Woods; dir. Dennis Klein. 96m. (R) Stss : directorial debut is a ballsy attempt to : sionally clever script. You could do $79.95. RCA/Columbia. Image: good. : shock and amuse an audience that de- ; worse. Then again, there’s a scene One gets the feeling that Saturday : sires little else from its entertainment ‘ where the ponies lose their dream castle Night Live’s resident vulgarians Franken : dollar. The ridiculous premise—that the : and move into a new home called “Para- and Davis had to promise to be nice be- > earth’s passage through a comet's tail : dise Estates.” Why do I suspect Paradise fore being allowed to shoot this slight film : causes all machinery to go ona homicidal : Estates is—or soon will be—the latest in their home state of Minnesota. This : rampage—suggests a grisly and illogical : My Little Pony toy, sold separately? You embarrassing homage to the horny is : assortment of comic possibilities, most : could do better. —Marianne Meyer
VIDEOS MADE FOR HOME VIEWING MONTY PYTHON’S mentaries, and these tapes feature a : umentary. CBS Inc., Amos n’ Andy's classic: an examination of the Piranha : copyright owner, has cautiously licensed FLYING CIRCUS 1970, 1972. Graham Chapman, John Brothers, a pair of unsuccessful gang- : the. videotape for only a two-year sales Cleese, Terry Gilliam, Eric Idle, Terry : period. ee sters. A criminologist explains, “A mur- Jones, Michael Palin; dir. Ian : derer is only an extroverted suicide,” - Will the show always be too hot to McNaughton. 3 cas. 60m. ea. $24.95 ea. : and a Piranha colleague breaks down on eeehandle? Probably. The “controversy” Paramount. Image: good. camera, exclaiming, “I’ve seen grown goes all the way back to its 1920s origins: What has six heads and makes you eeemen pull their own heads off rather than two white southerners, Freeman Gos- | laugh? Monty Python’s Flying Circus, the eeesee Doug.” Interviewer: “What did he den and Charles Correll, doing black- groundbreaking British series which be- : do?” Criminal: “He (long pause, biting his dialect humor. Anatomy of a Controversy gan a whole style of television humor : lip) used sarcasm...dramatic irony, met- doesn’t skirt the issue, but it doesn’t (and whose traditition, if not wit, went aphors, pathos, puns, parody, and sat- : quite hunker down with it either. The | into Saturday Night Live). Its 45 epi- ire.” : tape shows Gosden and Correll (in black- sodes, filmed between 1969 and 1974, : You could say the same about Monty face) in a 1932 film and an equally offen- have inspired a cult following unsated by : Python’s Flying Circus. Or as George sive 1934 cartoon. Because it had a black a plethora of books, albums, stage : Harrison once observed, “Let’s face it. cast, the television show receives revi- shows, and feature films. : There are certain things in life which eccscicoenciesst praise from narrator George Kir- The show was created by five Britons : make life worth living, and one of those by and interviewees Redd Foxx, Marla and an American for the BBC to fill a : things is Python.” —Tom Soter Gibbs, and Jesse Jackson. There are also late-night slot originally occupied by a sits a snippets of talk from cast members religious program. (As one Python ob- weeseeEcmemeestine Wade (from a 1975 Tom Snyd- served, “We were initially seen by in- er appearance) and Alvin Childress. somniacs, intellectuals, and burglars.”’) But the heart of the presentation is Their off-the-wall humor knew no limits clips from the series itself, highlighted by and made no exceptions, poking fun at eecace1e2e-minute condensation of one epi- TV, the clergy, politicians, movies, pre- sode. What makes Amos n’ Andy worth tentiousness, pomposity, and life in gen- : watching is neither Amos nor Andy, but eral. Before Python, TV sketches had the conniving George “Kingfish” Ste- beginnings, middles, and ends. The : vens. The marvelous Tim Moore over- group did away with that, frequently hav- played ‘‘Kingfish” to perfection, ing characters stop scenes by saying, eerdcoeucbelsetalking the dimwitted Andy “This is silly,” and walking off, or just (Spencer Williams, Jr.) and staring in having a piece of bizarre (and often vio- amazement when his victim inevitably lent) animation take over. (In one bit, : took the bait. Graham Chapman’s head is sawed off and : The show was funny. The laughter, used in the cartoon that follows). however, came with strings attached. In This collection of six shows from 1970 : one sequence shown here, “Kingfish” is heoepTSameRraEnerNeeeIveNsa t and 1972 features a cross-section of : : ina courtroom before a white judge. Sud- some of the Pythons’ best work: the : denly we’re back in the “real” world. Ministry of Silly Walks (a government : We're not even watching a brilliant come- agency that gives grants for silly walk eeedian; “Kingfish” becomes a brutal stere- research); the Attila the Hun Show (in otype. Anatomy of a Controversy would the style of the Debbie Reynolds Show, have done well to seek out Amos n’ An- with silly opening song, American ac- dy’s production crew and probe their cents, bad jokes, and a laugh track); the Amos n’ Andy: Anatomy of a Controversy eeefeeeclcicncges about the show. Let’s respect Argument Clinic (“I came here to have a : the black talent that went into the pro- good argument”); the Spanish Inquisition gram—and then find other things to (“No one expects the Spanish Inquisi- AMOSeeeeeeerece N’ ANDY: ANATOMY laugh about. —Scott Isler tion!” cries out an inquisitor, who tries to OF A CONTROVERSY torture his victims with “the comfy chair” 1983. Nar. George Kirby. 55m. $29.95. + THE EBONY TOWER and “the soft cushion”); the Charades : Avery (distributed by MPI). Image: good. : 1986. Laurence Olivier, Roger Rees, Gre- Trial (in which a jury gives its verdict : Germany has its Nazi past to contend ta Scacchi, Toyah Wilcox; dir. Richard through a game of charades); the Sum- : with; we have Amos n’ Andy. That may Knights. 79m. Hi $79.95. Vista. Image: marize Proust Competition (in which : be stretching it a bit, but the ra- eoegoeoede.e contestants are given 15 seconds tosum- : dio-turned-television comedy series : In his old age, Laurence Olivier has marize the author’s works); and a James does remain a cultural flashpoint in this : chosen some odd projects. For every Bond-style film (with snazzy credits) country’s minefield of race relations. The : King Lear, there’s A Little Romance or called The Bishop (who rides around in a NAACP, which hounded the program out : The Betsy. Of course, Lord Larry is enti- sports car to the tune of Peter Gunn). of production in 1953 and off the air in : tled to get his ya-yas out after decades of The Pythons excelled at mock docu- ? 1966, raised a similar stink over this doc- : being the World’s Greatest Thespian. _ February 1987 Video 87
But another motive may be the fun he : BILLY JOEL—THE VIDEO had being the matinee idol of millions of well-bred young ladies in his youth. ALBUM, VOL. I, II 1986. 48m., 40m. Hi St $19.98 ea. CBS/ Which is why the old dog is so perfect : Fox. Image: excel. in The Ebony Tower. A parable about art Seeing these clip compilations makes and its creation (as one might imagine me feel sorry for Billy Joel. First, I feel from the source, a John Fowles novella), this concerns an old artist (Olivier) who bad because so many of these videos shares his French estate with two art completely fail to entertain. Second, the students. Young, lovely art students. Su- cost of making these weak videos proba- perannuated bliss? Well, for him it is. He bly came straight out of his record royal- gets what sex he can manage, forbids ties. The poor guy probably had to pay a them to wear swimsuits, and encourages small fortune for a bunch of clips that one, “Mouse” (Scacchi), in her painting. : make him look bad. The old genius is a bit crotchety—insult- : Three of the ten videos in Vol. I are ing, really—but the girls don’t seem to + : stock performances: Joel sits or stands at mind. : his keyboard and sings or lip-syncs. He Enter the complication: a painter/critic : : makes few stage moves, so there isn’t (Rees) come to interview the Great : much to look at. Unimaginative cam- Man. While following a different school, : erawork works against him, too. Rees’ character has nothing but respect Most of the other pieces in Vol. J are for the old guy’s work. And his taste in : only slightly more entertaining. “Tell women. He also encourages Mouse and : Her About It” casts Joel as an act on the wants to run off with her. Ed Sullivan Show in 1963. Between The two men face off in a verbal : shots of Joel’s performance, a fat man joust—old vs. young, representational reads a newspaper with the headline vs. abstract—all for the love of a girl. : “Russian Orbits Earth,” while up in Despite the artistic trompe l’oel, Olivier : space, the orbiting cosmonaut has some- is Heathcliff all over again—passion vs. : how tuned in Joel’s spot. The director intellect, the world of romance vs. the : Color Me Barbra must have been hard-pressed for ideas to security of the world. In Larry’s best ; resort to such a far-fetched scenario. line, he cries “art isn’t about fundamen- :‘ standard variety show. “Piano Man” does somewhat better by tals, it’s about fundaments!” Good fun! : High-concept before there was such a showing us the characters Joel sings Although little more than intellectual > thing, both are solo—no guest stars— : about: an old man engrossed in his gin popcorn, The Ebony Tower is well-real- : and are divided into a studio segment, a and tonic, and a middle-aged bartender ized popcorn. Scacchi and her cohort location segment, and a concert segment who dreams of becoming a movie star. In (Wilcox) are very good and Rees pro- : (with live audiences). Her locations are - this instance, the clip has a clear connec- vides a fitting foil for the deft Olivier. bizarre: Bergdorf Goodman and the Phil- - tion to the song. Produced for British TV, the visuals are adelphia Museum of Art. Both are used ; “Pressure,” which opens with Joel a bit flat, but the direction is nicely com- to excellent advantage. In the depart- : hypnotized by a big-screen TV flashing : ment store, she sings a medley of ’30s ° “hate,” “friends,” “love,” and “mother” pact. —M. George Stevenson : poverty songs; in the PMA, songs sug- ‘ at near-subliminal speed, is easily the : gested by the paintings, including a won- most creative clip in Vol. I, conveying the MY NAME IS BARBRA 1965. B&W. Barbra Streisand; dir. : derful “Where or When” (a song about pressure Joel sings about. In his living Dwight Hemion. 54m. Hi $29.98. CBS/ : deja vu) in the Egyptian collection. room, broadloom turns to quicksand and Fox. Image: good. The studio sets are a circus (with live - sucks him under. COLOR ME BARBRA animals) and a child’s world, where she is : Vol. II likewise suffers from a surfeit 1966. Barbra Streisand; dir. Dwight more variety-show traditional, but her of bland performances. ‘Everybody Hemion. 54m. Hi $29.98. CBS/Fox. Im- kid act is charming and the numbers dou- Loves You Now,” “You May Be. Right,” age: good. e: ecbelcee-edged and sharp. Although not much “Los Angeles,” and “It’s Still Rock n’ Roll By now, Barbra Streisand is familiar of a dancer, her ability (even at 23) to - to Me” are remarkable mainly for their enough to be a cliche, which is odd since bring off a performance greater than the : lack of imagination. Thanks to a dash of her career has been marked by her pen- sum of its parts is impressive. humor, “Uptown Girl” is a different and chant for taking chances. In fact, she is Her early brilliance and radical song better story. usually least successful artistically when styling come to the fore in the concert Pathos makes ‘Allentown’ work, trying to play safe (mid-’70s proto-rock) segments. My Name features songs showing the optimism and job opportuni- and best when pushing near the edge. : from Funny Girl (which she was doing on ties of returning World War II veterans On the heels of The Broadway Album, Broadway at the time); Color contains changing into pessimism and unemploy- her strongest (and most daring) work in quite simply the best “Where Am I Go- ment lines. The video meshes superbly ing” (from Sweet Charity) ever. Nowhere : with the song’s lyrics about the decline of years, the video release of her two mid- is there the belabored mannerism of her America’s industrial heartland. 60s TV specials provides even better In Joel’s best clips—‘‘Allentown,” evidence for this view. Both My Name later work. Here, she is the chanteuse of Is... and Color Me Barbra present vin- > whom Glenn Gould(!) said “with the pos- “Uptown Girl.” “Pressure,” and “Piano tage performances of standard Barbra sible exception of Elisabeth Schwarz- Man’’—the visuals complement the repertoire, but also highlight some evoc- ative work in unfamiliar realms. And both eookeopef, no one has brought me more sheer eecscocnegcse and, sometimes, add a new layer : pleasure.” Ditto. : of meaning to the lyrics. Too bad so few go soundly against the grain of that era’s 5 —WM. George Stevenson :‘ make that grade. —Andrew Roblin 88 Video Februa19r87y
VIDEO QUICK TAKES KISS MEETS THE _ + gripes about his dismissal from a Dallas PHANTOM OF THE PARK : paper, holds forth on religion, dating, and 1978. KISS, Anthony Zerbe, Carmine : : the farming of dirt, insults a few ethnic Caridi; dir. Gordon Hessler. 96m. : groups, and leads his audience through $59.95. Worldvision: Image: poor. : the scurrilous parody (“We Are the Before MTV and music videotapes, : Weird”) that earned him pickets, cen- rock groups with overblown egos and : : sure, and unemployment benefits last huge followings had limited ways to : : year. While Joe Bob is a wonderfully re- spend other people’s fortunes on cellu- : : pulsive character in print, a courageous loid adventures. For their regretta- : : reveler in trash, he’s not that funny a ble/forgettable feature debut, KISS : : performer. This barely scores on the made a moronic TV movie—set in an : : vomit meter, although the customized amusement park where the band is : : FBI warning is a hoot. —lIra Robbins performing—concerning a mad subterra- : GORE VIDAL: nean scientist who attempts to replace : THE MAN WHO SAID NO our musical super-heros with evil clones. The effects are as cheesy as the story is : 1982. Dir. Gary Conklin. 99m. $60.00. infantile, and calling what the New York : Mystic Fire (24 Horatio St., New York, N.Y. 10014). Image: good. quartet does here “acting” would be a : gross misuse of the language. No wonder : KISS Meets the Phantom of the Park Anyone familiar with Gore Vidal, ora- tthheoseMognukyeseshavreeviavaslenisse.soofbihgu—moart. least tor, will not be surprised to learn that —Ira Robbins : Andy and the Lion is a Norman Rockwell- ° Gore says a lot more than “no” in this : like retelling of Androcles and the Lion. HOME EMERGENCY VIDEO : —Marianne Meyer documentary of his bid for a California 1985. 31m. $24.95. ThetaMark (1101 + Senate seat. Is Gore Vidal an articulate : KID CREOLE AND Westwood, Plano, Tex. 75075). Image: spokesman for the verbal elite? Yes. Is good. : THE COCONUTS: : THE LEISURE TOUR Gore Vidal a U.S. Senator? No, which Heart attack, choking, drowning, : 1986. 60m. Dir. Peter Orton. $29.95. bleeding, poisoning, and burns are hardly proves that the effete, however noble, pleasant subjects, but Dr. Lawrence *Embassy. Image: good. Magruder handles them well in this will never topple the turgid power struc- low-budget how-to. The program alter- : August (Kid Creole) Darnell has al- nates dramatized vignettes and Magrud- : ways loved to ride musical merry- ture. A self-described realist who, con- er’s explanations of what’s happening. * go-rounds, You never know what he and With paramedic Kyle Vaught, he shows : his 12-piece band are going to play next. versely, appears to view his prospective how to perform CPR, the Heimlich Ma- : At this show—taped at Paris’ Le Zenith : club—the Kid, sidekick Coati Mundi, and place in politics as something of a birth- neuver, and other lifesaving techniques. : alovely bunch of Coconuts all go to camp He keeps his advice simple and to the : with neo-Caribbean pop and Carmen Mi- right, Vidal effectively razor- point; what details he adds are just the : randa statements. In person, the Kid and necessary ones. This may be the closest : his crew throw one of the best parties tongues the opposition, but loses the big thing ever to a tape that everyone ought to : you'll ever attend, yet on video they’re see. —Mark Fleischmann : strangely tepid. The muted audio mix enchilada. Perhaps the most realistic : lacks bite, and the Coconuts’ singing and thing Vidal did was to have his Senate bid filmed. —John Walker OZZY OSBOURNE: THE ULTIMATE OZZY : 1986. Dir. Andy Morahan. 85m. Hi St > $29.98. CBS/Fox. Image: excel. And now, h-e-e-e-re’s Ozzy, the John- : ny Carson of heavy metal. Like Carson, ANIMAL STORIES : dancing are both off this night. Save your : he makes a grand entrance, descending 1986. Anim. 30m. $29.95. Children’s ; to the stage in the lap of a monstrous Circle. Image: excel. : money and buy two tickets the next time > Ozzy-idol. Like Carson, he pumps up the : show with co-star abuse, dragging his Here’s a pleasant triple treat for par- : the Kid’s in town. —Frank Lovece : guitarist by the hair across the stage. ents who want their kids’ video viewing : Ozzy could even market his fashion to acknowledge and respect the enter- :: JOE BOB BRIGGS: ; sense—he goes for sparkling’ gown-like > numbers—in a line of clothes, as Johnny tainment value of books. The three sto- : DEAD IN CONCERT : does. Every adolescent male power fan- ries vary in tone, animation style, and ; tasy comes true in Ozzy’s concert, which content but all make for delightful repeat : 1986. Dir. Jim Rowley. 60m. $39.95. ; makes up the bulk of this video. In the plays. Petunia is a comic tale of a know- : United. Image: good. > conceptual tidbits, a leather Lolita gives it-all goose whose bad advice makes for : This may reflect a parochial view of : just the right touch of prurient interest. barnyard mayhem. Why Mosquitos Buzz : Like him or not, Ozzy’s grip on his audi- : journalism, but what qualifies a film crit- in People’s Ears is a visually stunning, : ence is unbreakable. —Andrew Roblin : ic—even the numero uno drive-in doyen, award-winning version of an old legend. : Texas’ own Joe Bob Briggs—to be a : Stand-up comic? In a bizarre, unsteady : concert tape, Briggs delivers the drive-in : oath (“...blood, breasts, and beasts”),
NOENWTAPREEALNEDADSIESCS SS oe SeRee SOSA HROSHHH HSH TES Zerbe. TV-movie account of Doomed to Die. 1940. B&W. Bo- Five Mile Creek Vol. 14. 1985. 1971 prison riot. 97m. Hi $59.95. ris Karloff, Marjorie Reynolds, Louise Claire Clark, Rod Mul- Charter. Grant Withers. Karloff as Chi- linar, Liz Burch, Michael Caton. nese detective Mr. Wong, on Two episodes of series set in Blue City. 1986. Judd Nelson, Al- case of murdered shipping mag- Australian pioneer community. ly Sheedy, Paul Winfield, Anita nate. 69m. $29.95. Images. 96m. Hi $49.95. Disney. The Adventures of Bullwhip Grif- Morris. Son of murdered Florida Dr. Strange. 1978. Peter Hooten, Gun Fury. 1953. Rock Hudson, fin. 1966. Roddy McDowall, Su- mayor wants justice. 83m. (R) Hi Clyde Kusatsu, Jessica Walter, Donna Reed, Phil Carey, Lee zanne Pleshette, Karl Malden, $79.95. Paramount. John Mills. TV movie featuring Marvin; dir. Raoul Walsh. Civil Hermione Baddeley. Boston but- Marvel Comics sorceror. 94m. ee.ee eeesWeacer vet pursues outlaws who ler reluctantly accompanies Challenge. 1976. Earl Owensby. Hi D $39.95. MCA. kidnapped his fiancee. 83m. Hi charge on prospecting trip. Mobsters murder family of Sen- $69.95. RCA/Columbia. 110m. Hi $69.95. Disney. ate candidate when he declines Dr. Syn, Alias the Scarecrow. their campaign contributions. 1964. Patrick McGoohan, Hanging on a Star. 1978. De- And Smooth as Silk. 1986. Cec 90m. (PG) $59.95. VCL. George Cole, Tony Britton. borah Raffin, Danil Torppe, Wolf- Verrel, Bill McLaughlin. Woman Originally produced for World of man Jack. Woman manager’s cop stops drug ring. 84m. Code Name: Emerald. 1985. Ed Disney TV show: English minis- campaign to make unknown rock (R) Hi $79.95. MGM/UA. Harris, Max Von Sydow, Eric ter takes on pirate’s guise to fight band a top attraction. 93m. (PG) Stoltz. Agent infiltrates German King George III. 129m. (G) Hi Hi $79.95. MGM/UA. The Archer: Fugitive from the Em- intelligence before D-Day. 95m. $69.95. Disney. pire. 1981. Lane Caudell, Belinda (PG) LV cc $34.98. CBS/Fox. The Karate Kid II. 1986. Ralph Bauer, Victor Campos, George Macchio, Pat Morita; dir. John G. Kennedy. Sword and sorcery; Dead End Drive-in. 1986. Ned Fire with Fire. 1986. Craig Shef- Avildsen. Sequel with teen pupil young warrior claims his throne. accompanying master on return 97m. Hi D $39.95. MCA. Manning, Natalie McCurry, Pe- fer, Virginia Madsen, John Polito. trip to Japan. 113m. (PG) HiSt ss cc $79.95. RCA/Columbia. Attica. 1980. Charles Durning, ter Whitford. Drive-in is really Boy in reformatory falls in love George Grizzard, Anthony with girl from Catholic school. Life Is Beautiful. 1979. Giancarlo state run concentration camp 103m. (PG-13) Hi $79.95. Para- for the unemployed. 92m. (R) B eCeemeeoeremreeeHrsierVsecces$e79s.e95s.eeNeesweeeWoersled.essseseesmoeuenet.eseees PROGRAMMING LEGEND EE Giannini, Ornella Muti. Spanish man accused of conspiracy against state. 102m. B Hi V $59.95. New World. DATE AUDIO FEATURES good: adequate but unremark- Lives of a Bengal Lancer Varies according to type of able 1935. B&W. Gary Cooper, Fran- All available audio information chot Tone; dir. Henry Hathaway. programas follows: Films: origi- is provided. The following abbre- poor: seriously flawed Cooper and Tone as pals in Brit- nal theatrical release. Made- viations apply: ish foreign regiment. 110m. Hi D for-broadcast: first telecast. ETCETERA $29.95. MCA. Made-for-video: first release in St: stereo any format. Compilations: pro- Hi: Hi-Fi Official MPAA ratings (G, PG, Low Blow. 1986. Cameron Mit- duction of collected work. D: Dolby noise reduction PG-13, R) are provided when chell, Troy Donahue. Cult leader ss: surround sound available. All programs are in col- turns women into hypnotized kill- FORMAT cc: closed-captioned for the or unless noted. Prices are not ers. 90m. (R) $69.95. Vestron. generally given for CED discs. All programs are available in hearing impaired Menace on the Mountain. 1970. Beta and VHS unless noted. All CX: CX encoded anim: animated Patricia Crowley, Albert Salmi, programs on videodisc are also B&W: black & white Charles Aidman. Civil War rene- available on videocassette unless IMAGE QUALITY cas.: videocassette gades take over southern family’s noted. The following abbrevia- comp.: compilation home. 89m. Hi $69.95. Disney. tions apply: For theatrical releases, this dir.: directed by rating refers to the transfer quali- m.: minutes Never Too Young to Die. 1986. B: Beta videocassette ty and overall visual appearance. nar.: narrated by John Stamos, Vanity, George V: VHS videocassette For non-theatrical productions, it pr.: produced by Lazenby, Gene Simmons. Pair of 8: 8mm videocassette refers to overall visual quality. RE: reissue LV: LaserVision videodisc sub.: subtitled CED: CED videodisc excel.: exceptionally attrac- wr.: written by tive and/or faithful to the original Editors’ choices in the “Directory” are highlighted with red titles. secret agents foil demented her- eeoeaee eemaphrodite’s plan to poison city’s e
water supply. 97m. (R) HiSt ss D Vendetta. 1985. Karen Chase, CASH REGISTER cc $79.95. Charter. Sandy Martin, Durga McBroom. Sister of woman murdered in Nikki, Wild Dog of the North. prison commits crime to meet Special promotions and other pricing news 1961. Jean Coutu, Emile Genest. killer face to face. 89m. $79.95. Pup separated from master in Ca- Vestron. ceeeres>eceFollowing up its successful music promotion last fall, nadian wilderness must fend for War Bus. 1985. Daniel Stephen, Sony has permanently reduced prices on an additional se- itself. 73m. (G) Hi $69.95. Dis- ney. Rom Kristoff, Urs Althuas. Trio eeee lection of Video 45s, EPs, and LPs. Five 45s, including Phil of marines use abandoned bus to Collins, Tears for Fears, and Sheena Easton—Private The Nine Lives of Elfego Baca. transport civilians out of Vietnam Heaven drop from $16.95 to $9.95. Eleven EPs, among 1958. Robert Loggia, Robert F. territory. 90m. HiD$79.95. Em- them Bowte—Jazzin’ for Blue Jean, The Jam, Pete Town- Simon, Lisa Montell. Sheriff in bassy. shend, and Bananarama, go from $19.95 to $14.95. The frontier New Mexico. 78m. Hi Where the Hot Wind Blows. 1960. ten LPs reduced from $29.95 to $19.95 include American $69.95. Disney. Gina Lollobrigida, Marcello Mas- Suite, Devo, and Breakin’ Metal. No. 1 of the Secret Service. 1977. troianni, Yves Montand, Melina If you prefer jazz, opera, and classical programming to Nicky Henson, Richard Todd, Mercouri; dir. Jules Dassin. Mel- poprock compilations, take note of V.LE.W.’s reduced Aimi MacDonald. Agent foils plot odrama of young Italian woman prices on 30 catalogue titles. All jazz concert tapes, previ- , to murder world’s top financiers. and her suitors in tawdry coastal ously $39.95, are now $24.95 to $29.95. This includes 87m. (PG) Hi $79.95. MGM/UA. town. 120m. $39.95. Monterey. programs featuring Bobby Short, Mabel Mercer, and Gil Raw Deal. 1986. Arnold Wizards of the Lost Kindgom. Evans. The Kirov Ballet, The Bolshoi Ballet, The Moiseyev Schwarzenegger, Darren McGa- 1985. Bo Svenson, Vidal Peter- Dance Company, and all other dance titles drop from $59.95 vin, Kathryn Harrold, Sam Wana- son, Thom Christopher. Scram- maker. FBI chief hires ex-agent ble to retrieve magic ring that to $39.95. The same reduction applies to all opera titles to find out who’s leaking company keeps evil sorceror in check. except Mozart's Magic Flute, a two-tape production that secrets to the mob. 90m. Hi 76m. (PG) $69.95. Media. now costs $49.95. Finally, two acclaimed concerts with $79.95. HBO/Cannon. Yehudi Menuhin have been reduced from $39.95 to $29.95. The Wrestler. 1973. Ed Asner, The Ski Bum. 1975. Charlotte Elaine Giftos, Harold Sakata. > There’s nothing high-toned about HBO/Cannon’s hottest new sale item—Rambo, First Blood Part II. Sylvester Stallone’s top-grossing actioner, which debuted last Janu- Rampling, Zalman King. Ski re- Promoter approached by mob- ary at $79.95, now sells for $29.95. The initial Rambo sort instructor becomes key to outing, First Blood, is available at the same price. businessman’s takeover plan. sters who want his profits. 103m. PAll four titles in Embassy’s “Reel Deals II: Take Home (PG) B Hi V $59.95. New World. Winners” sale were released at $79.95, but through April 94m. (R) Hi $59.95. Charter. SpaceCamp. 1986. Kate Cap- they can be yours for $24.95 apiece. The tapes are among shaw, Lea Thompson, Tom Embassy’s biggest sellers: The Emerald Forest, The Sure Skerritt. Teenagers visiting Thing, Eddie and the Cruisers, andA Chorus Line. Another NASA accidentally launch into 20 titles make up the company’s concurrent “Survival Kit” space on board shuttle. 115m. promotion—same deal, different films. Top items here in- (PG) LV St ss CX $34.95. Ves- clude The Ruling Class (the full-length British version), tron. The Adventures of Black Beauty: Blake Edwards’ The Tamarind Seed, The Hit, and Another The Student Nurses. 1970. Elaine A Long Hard Run/Game of Country. —Steve Daly Giftos, Brioni Farrell, Barbara Chance. 1972. Village horse Leigh. Four nurses with excep- race; Beauty lost to carny huck- Babar and Father Christmas. : famed comic strip detective. tional bedside manner. 89m. (R) ster. Two cas. 30m. ea. Hi 60m. $29.95. Hi-Tops. Hi $59.95. Charter. $14.95 ea. Sony. 1986. anim. Elephant king seeks : out Santa. 30m. $14.95. Hi-: The Fabulous Fleischer Folio Vol. A Tiger Walks. 1964. Brian Keith, The Adventures of Mark Twain. Tops. 5.1983 comp. anim. Vintage car- Vera Miles, Sabu, Una Merkel. 1986. anim. Voice of James Whit- toons with a Christmas theme Abused tiger escapes from circus more. Twain stories with clay fig- : from Max Fleischer Studios: Ru- truck in small town. 88m. Hi ures. 86m. (G) Hi $59.95. Para- Cartoonal Knowledge: Confes- dolph, the Red-Nosed Reindeer $69.95. Disney. sions of Farmer Gray. 1986 (48), Peeping Penguins (’37), 4 mount. comp. anim. B&W. Dir. Paul more. 43m. Hi $49.95. Disney. Terry. Silent cartoons Chemistry Lesson (’22), The Window Wash- ers (25), 5 more. With organ ac- The Fabulous Flei companiment. 54m. $24.95, Im- Hanna Barbera’s All-Star Comedy ages. Ice Revue. 1986. Roy Clark, Bonnie Franklin, hosts; with ceeeeeeee skaters dressed as Fred Flint- Christmas Stories. 1986 comp. anim. Adaptations of award-win- stone, Yogi Bear, Huckleberry ning storybooks: Morris’s Disap- Hound, others. 60m. $19.95. pearing Bag, The Clown of God, : Worldvision. The Little Drummer Boy, The : eee Twelve Days of Christmas. 30m. : He-Man and the Masters of the $29.95. CC. Universe: The Rarest Gift of All/ Defenders of the Earth Vol. 2. To Save Skeletor. 1986. anim. Two cas. 25m. ea. $14.95 ea. 1986. anim. The Mind Warnirs, Magic. Hall of Wisdom. 45m. $14.95. Hero High’s Supermagic Adven- eeeeeFeasmeisly. tures. 1981. anim. Six stories set Dick Tracy and the Oyster Caper. aPein eschool for superheros. 80m. Hi | 1961. anim. TV fare featuring : $19.95. Embassy.
Higglety Pigglety Pop. 1985. : ter and the Kids. 52m. $19.95. Fawlty Towers. 1975/9. John International House. 1933. Production of Maurice Sendak’s * MPI. Cleese, Prunella Scales. Epi- B&W. W.C. Fields, Peggy Hop- picture book filmed at England’s sodes of BBC series about inept kins Joyce, Rudy Vallee, George Glyndebourne Festival Theatre. Tales of Magic Video Book Three. hotel manager Basil Fawlty. 4 Burns, Gracie Allen, Bela Lugo- 60m. Hi St $29.95. Home Vision. 1977. anim. Aladdin’s Lamp, The cas., 3 episodes per. Approx. si, Franklin Pangborn. Zany tale Ugly Duckling, The Three Little 95m. ea. Hi cc $29.98 ea. CBS/ of guests arriving at Chinese ho- The Hunchback of Notre Dame. : Pigs, 6 more. 90m. Hi $19.95. Fox. tel for unveiling of invention. 72m. Hi $29.95. MCA. 1986. anim. Adaptation of Victor : Embassy. Hugo story. 60m. $19.95. Light- - Finnegan Begin Again. 1985. ning. eee Voltron: The Return of Sven. Robert Preston, Mary Tyler - Joe Bob Briggs Dead in Concert. 1986. anim. Toy tie-in: robot de- : Moore, Sylvia Sidney, Sam : 1986. Stand-up by controversial Inhumanoids. 1986. anim. Toy : fense league. 45m. Hi $9.95. Waterston, David Huddleston. comedian/movie columnist John tie-in: Earth besieged by race of Sony. Made-for-cable feature about af- * Bloom. 65m. $39.95. United. subterranean monsters. 90m. fair between over-the-hill news- $24.95. Hi-Tops. Where the Wild Things Are. 1985. paperman, middle-aged school- Kid Millions. 1934. B&W/Color. Production of Maurice Sendak’s teacher. 112m. Hi $29.95. Eddie Cantor, Ethel Merman, HBO/Cannon. Ann Sothern, George Murphy. Madballs. 1986. anim. Toy tie-in: picture book filmed at England’s gross-looking creatures leave na- Glyndebourne Festival Theatre. Musical fantasy of Brooklyn lad rewarded for saving life of sheik’s tive planet Orb for Earth. 30m. 60m. Hi St $29.95. Home Vision. From Here to Maternity. 1986. $19.95. Hi-Tops. Carrie Fisher, Lauren Hutton, daughter. 90m. Hi $39.95. Em- The Wonders of Aladdin. 1961. Patrick Duffy, Paul Reiser, Grif- bassy. More Dinosaurs. 1986. Live ac- Donald O’Connor, Noelle Adam, fin Dunne, Brooke Adams. Trio eeeeeersoef rwsoemeeenesesaegecre to become moth- tion/anim. Gary Owens, Eric Vittorio De Sica, Aldo Fabrizi. The Long Shot. 1986. Tim Con- Boardman host make-believe sa- Lad stumbles upon magic lamp. ers. 40m. $59.95. Vestron. way, Harvey Korman, Jonathan fari for prehistoric creatures. 93m. Hi $59.95. Charter. Winters, Jack Weston, Stella Ste- 30m. $19.95. Twin Tower. Hardbodies2. 1986. Brad Zutaut, vens, Ann Meara; dir. Paul Bar- | Music and Feelings. 1986. Mister -eecceeeereccces Brenda Bakke, Fabiana Udenio. tel. Racetrack tip prompts frantic Hollywood film crew in Greece effort to raise capital. 89m. (PG- Rogers video featuring material 13) Hi $79.95. HBO/Cannon. finds location distracting. 89m. from PBS program plus new foot- eeoer(eRe)esHeicc$e79e.95. RCA/Columbia. ressereercrrre age. With Ella Jenkins, cellist Yo Love at First Sight. 1978. Dan Yo Ma. 65m. Hi cc $19.98. Play- The Horse in the Gray Flannel Aykroyd, Mary Ann McDonald. Suit. 1968. Dean Jones, Diane Spoof with Aykroyd as blind em- house. Baker, Morey Amsterdam, Kurt ployee in china shop. 90m. (PG) Andy Kaufman: Sound Stage. Russell. Ad exec comes up with $59.95. VCL. My Favorite Fairy Tales Vols. 1- ereec1e9s8c3e.s Sketches, stand-up rou- 5. 1986. anim. Three stories per tines featuring Kaufman, guest campaign featuring horse so he cas., including Little Red Riding Elayne Boosler. 59m. $59.95. can keep animal for daughter. The Medicine Man. 1930. B&W. Hood, Puss’n’ Boots, Cinderella, Lightning. 114m. (G) Hi $69.95. Disney. Jack Benny, Betty Bronson, Georgie Stone. Benny as debo- The Little Mermaid, Ali Baba. The Three Little Pigs, The Ugly eeeAenrgeeclcsesOver Broadwav. 1940. Hot Touch. 1986. Wayne Rogers, nair huckster peddling bogus Duckling, Snow White and the B&W. Douglass Fairbanks Jr., health tonic. 67m. $29.95. Im- Marie-France Pisier, Samantha ages. Seven Dwarfs. 45m. ea. $9.95 ea. Rita Hayworth; wr./dir. Ben Eggar. Art forger’s stormy ro- Hi-Tops. Hecht. Would-be hood set to : mantic life. 92m. $69.95. T. W.E. swindle suicidal man saves him. Misfits of Science. 1985. Dean My Pet Monster. 1986. Toy tie- 75m. LV $29.95. RCA/Columbia. Howard the Duck. 1986. Lea Paul Martin, Kevin Peter Hall, in: boy turns into shaggy blue Thompson, Jeffrey Jones, Tim Mark Thomas Miller. Pilot for beast whenever he’s hungry. Bellboy and the Playgirls. 1962. Robbins; dir. Willard Huyck. NBC-TV series: research scien- 60m. $29.95. Hi-Tops. June Wilkinson. Sex farce co-wr. Wisecracking fowl from another tist forms watchdog group. 96m. eecbeyssFersacnccies Ford Coppola. 93m. planet arrives in Cleveland. Hi D $39.95. MCA. Robin Hood. 1986. anim. English Hi $59.95. 111m. (PG) Hi St ss D cc $79.95. outlaw and his merry band. 60m. weeeeerMeCeAe. $19.95. Lightning. Billy Crystal: Don’t Get Me Start- ed. 1986. Eugene Levy, Christo- Scooby-Doo. 1986 comp. anim. pher Guest, Rob Reiner. Crystal Saturday morning TV show: ca- + as Fernando, Buddy Young Jr. nine sleuth and friends. 50m. < 60m. Hi $59.95. Vestron. awereecoses $19.95. Worldvision. The Comedy Jam. 1986. Stand- She-Ra, Princess of Power: - up routines featuring Howie Friendship/Loo-Kee Lends a - Mandel, Paul Rodriguez, many Hand. 1986. anim. Two cas. + others. 60m. $59.95. Lightning. 25m. ea. $14.95 ea. Magic. Destry Rides Again. 1939. B&W. Shirt Tales. 1986. anim. Pint- + Marlene Dietrich, James Stew- sized crimestoppers. 45m. art, Brian Donlevy, Jack Carson. $19.95. Worldvision. Gun-shy sheriff sets out to clean up Western town. Features Diet- Sylvia Anderson's The Animates. * rich’s rendition of “See What the 1978 comp. anim. Shorts pro- : Boys in the Back Room Will duced for British TV; 13 seg- + Have.” 94m. HiD$29.95. MCA. ments. 57m. $14.95. Family. The Ed Wynn Show. 1950. B&W. T.V. Classics Vol. 2. 1986 comp. Episode of CBS-TV program B&W. Episodes of ’50s kiddie + with guests Lucille Ball, Desi shows Howdy Doody, Art Linklet- + Arnaz. 29m. $19.95. Images.
on American Revolution into racy : Cary Grant; dir. Josef von Stern- teen comedy. 107m. (PG) LV CX : berg. Cafe singer becomes mis- cc $34.98. MCA. : tress to support child and ailing T.V. Classics Vols. 4, 5. 1986 comps. B&W. Vol. 4: Arthur : husband. Restored version; con- Godfrey's Talent Scouts, The Ed : tains long-missing skinny-dipping Wynn Show (guests The Three : scene. 89m. Hi D $29.95. MCA. Stooges). Vol. 5: The Burns and * Allen Show (pilot episode), Heav- en for Betsy (with Jack Lemmon). : Box Office. 1981. Robin Clark, 52m. ea. $19.95 ea. MPI. * Monica Lewis, Eddie Constan- : tine, Aldo Ray. Show business : intrigue. 92m. (PG-13) $39.95. : U.S.A. Two Reelers—Comedy Classics : The Boy in Blue. 1986. Nicolas # 7. 1986 comp. B&W. Seldom : Cage, Christopher Plummer, Da- seen shorts from Depression vid Naughton. Drama based on era: Benny Rubin, Harry Gribbon eolsife of 19th-century Canadian in Dumb Dicks (31), Herman : rowing champ Ned Hanlan. 97m. Timberg Jr., Pat Rooney Jr. in : (R) Hi St cc $79.98. Key. Love and Onions (38), Benny ! Robin Williams Comedy Special Rubin inJulius Sizzler (’31). 56m. : Captain Newman, M.D.. 1963. $24.95. Images. : Gregory Peck, Tony Curtis, An- A Woman of Distinction. 1950. : gie Dickinson, Eddie Albert, : Robert Duvall, Larry Storch, Monty Python’s Flying Circus : B&W. Rosalind Russell, Ray Mil- : Bobby Darin. Compassionate land. Russell as college dean who : staff of Army hospital’s psychiat- EVroilcs. Id1l-e3,. T1e9r6r9y-73G.illJiaomh,n GCrleaehsaem, ! 112B, Golden Gordon. 90m. Hi ? falls reluctantly for visiting as- : ric ward, ca. WWII. 126m. Hi D cc $29.98. CBS/Fox. tronomer. 85m. Hi $69.95. : $59.95. MCA. RCA/Columbia. Chapman, TerryJones. Episodes : : AChristmas Without Snow. 1980. : John Houseman, Michael from seminal BBC series, 2 More Ripping Yarns. Michael : : Learned, Valerie Curtin. Woman : depressed over recent divorce shows per cas. Vol. 1: Archi- Palin; wr. Palin, Terry Jones. : : joins church choir. 96m. Hi cc : $59.98. Playhouse. tect’s sketch, Naughty Chemist, The Testing of Eric Olwaite, ‘ Ministry of Silly Walks, Pirahna Whinfrey’s Last Case, The Curse : Brothers. Vol. 2: Argument of the Claw. 92m. Hi cc $29.98. : Clinic, Church Police, Spanish In- : CBS/Fox. quisition, Semaphore Wuther- : ing Heights. Vol. 3: Atilla the : Even More Ripping Yarns. 1986 : : Contract for Life: The S.A.D.D. : Story. 1984. Anne Gee Byrd, Es- Hun/Bun/Nun, Killer Sheep, : comp. Michael Palin; wr. Palin, All Creatures Great and Small. * tee Chandler, Robert Chestnut. Summerize Proust Competition, : Terry Jones. Roger of the Raj, 1986. Christopher Timothy, Car- : Story of high school hockey team Travel Agent Sketch. 60m. ea. : Murder at Moorstones Manor, : who founded Students Against Hi $24.95 ea. Paramount. : Across the Andes by Frog. 90m. Hi ol Drinkwater, Robert Hardy, : Driving Drunk after losing 2 star Peter Davison. BBC series about : players in car accidents. 46m. Hi : $39.95. Disney. Mr. Love. 1986. Barry Jackson, cc $29.98. CBS/Fox. country veterinarian: James has Maurice Denham. Mild-man- : trouble adjusting upon return : Desert Bloom. 1986. Jon Voight, nered gardener is in reality a pas- : Robin Williams Comedy Special. : from service in WWII. 94m. Hicc : JoBeth Williams, Annabeth Gish, ? 1986. Stand-up program record- : $39.98. Playhouse. : Ellen Barkin. Troubled Nevada : family at start of A-bomb test pe- sionate ladies’ man. 91m. (PG- : ed at the Metropolitan Opera : : riod. 103m. (PG) Hi $79.95. 13) Hi cc $69.95. Warner. : House; made for cable TV. 60m. As Summers Die. 1986. Bette RCA/Columbia. My Best Friend's Girl. 1984. Isab- : $59.95. Vestron. : Davis, Jamie Lee Curtis, Scott Dream Lover. 1986. Kristy Glenn. Aging Southern matri- McNichol, Ben Masters, Paul elle Huppert, Thierry Lhermitte, : Sammy, the Way-Out Seal. 1962. : Shenar; dir. Alan J. Pakula. Girl Coluche. Woman stranded in ski : Jack Carson, Robert Culp, Patri- : arch involved in land disute. 88m. : troubled by nightmares seeks out resort is attracted to two men. : cia Barry, Billy Mumy, Ann Jil- ° (R) Hi $79.95. HBO/Cannon. : help of sleep researcher. 105m. : (R) Hi St ss $79.95. MGM/UA. 99m. Hi sub. $59.95. Embassy. : lian. Feature made for World of : At Close Range. 1986. Sean The Ebony Tower. 1986. Lau- : Disney TV show: rambunctious : Penn, Christopher Penn. Small- eoereence Olivier, Greta Scaachi, Paramount Comedy Theater Vol. : pet seal. 89m. $69.95. Disney. : time hood tries to bring son into : Toyah Wilcox, Roger Rees. Oli- 1: Well-Developed. 1986. Bruce ! vier as temperamental painter crime ring. 115m. (R) LV St ss : who shares remote chateau with : two women. 80m. $79.95. Vista. Mahler, Judy Carter, Philip : Seven Minutes in Heaven. 1986. CX $34.95. Vestron. Wellford, Bob Saget. Howie Jennifer Connelly, Byron : Mandel hosts standup showcase. Thames, Maddie Corman. Love : Bad Ronald. 1974. Scott Jacoby, 71m. Hi St D $29.95 LV St : lives of three teenage friends. ee Pippa Scott, Dabney Coleman, $29.95. Paramount. : 88m. (PG-13) Hi cc $69.95. Kim Hunter. Family moves into The Private Life of Don Juan. : Warner. house, unaware of secret room 1934. B&W. Douglas Fairbanks, and disturbed teenager who lurks Merle Oberon, Benita Hume. : Stan Without Ollie Vol. 1. 1986 : comp. Stan Laurel in three 1923 there. Made for TV. 74m. eeeer$e4e9e.e9e5e. U.S.A. Aging Don returns to his wife but : shorts: Kill or Cure, Oranges and has trouble remaining true. 87m. : Lemons, The Noon Whistle. Si- * Ballad of a Soldier. 1959. B&W. : Echo Park. 1986. Susan Dey, Hi $39.95. Embassy. : lent, with organ score. 53m. Vladimir Ivashov, Shanna Pro- Tom Hulce, Michael Bowen. : $24.95. Images. khorenko; dir. Grigori Chukhrai. Struggling actress rents rooms to Ripping Yarns. 1986 comp. Mi- Russian soldier on leave during aspiring musician, body builder. chael Palin, Gwen Watford, Ian Sweet Liberty. 1986. Alan Alda, 93m. (R) Hi $79.95. Paramount. Ogilvy; wr. Palin, Terry Jones. Michael Caine, Michelle Pfeiffer, eeeWrWeIeIcesfalls in love with homeless Tnio of genre spoofs culled from Bob Hoskins, Lillian Gish; wr./ girl. 87m. sub. $29.95. Images. : Hold the Dream. 1986. Jenny BBC series: Tomkinson’s School- dir. Alda. Prof appalled by film days, Escape from Stalag Luft *: company efforts to turn his novel Blonde Venus. 1932. B&W. Mar- : Seagrove, Stephen Collins, De- * borah Kerr. Follow-up to ecccee . lene Dietrich, Herbert Marshall, February 1987 Video 93
TV-movie A Woman of Sub- Reflections of Murder. 1974. rupt police official in sleazy Mexi- Dr. Terrors House of Horrors. can border town. Score by Henry 1965. Christopher Lee, Peter stance; ambitious British woman Tuesday Weld, Joan Hackett, Mancini. 108m. (restored from Cushing, Donald Sutherland. 93m.) Hi D $29.95. MCA. Train traveler predicts grim fu- executive. 195m. (2 cas.) Sam Waterston; dir. John tures for five fellow passengers. Wagner: The Complete Epic. 98m. $29.95. Republic. $99.95. Roach. Badham. Mistress and wife con- 1983. Richard Burton, Vanessa Redgrave, Laurence Olivier, Horror Rises from the Tomb. spire to murder man they share. Ralph Richardson, John Gielgud. 1974. Knight decapitated centu- Full version of film cut to 4 hrs. ries ago is back, looking for re- The Homecoming—A Christmas 100m. Price n.a. Republic. for TV: musical and political ca- venge. 90m. Hi $59.95. Charter. reers of German composer. (5- Story. 1971. Patricia Neal, Rich- : hr. version available from Em- The Manitou. 1978. Tony Curtis, bassy.) 540m. (4 cas.) $249.95. : Susan Strasberg, Burgess Mere- ard Thomas, Edgar Bergen, Revenge of the Stepford Wives. Kultur. : dith, Stella Stevens. Dead Indian 1980. Sharon Gless, Don John- {reincarnated through fetus grow- Cleavon Little, Ellen Corby, Wil- The Waltz King. 1963. Kerwin Matthews, Senta Berger, Brian ing out of woman’s neck. liam Windom. TV movie that : son. TV-movie sequel to Stepford Aherne. Life of Viennese musi- 104m. (PG) Hi $59.95. Charter. cian Johann Strauss Jr. 94m. spawned Waltons series: depres- Wives: journalist uncovers secret $69.95. Disney. : Maximum Overdrive. 1986. Emi- : lio Estevez, Pat Hingle, Laura sion-era family awaits father on ° of town’s strange women. 95m. Witchfire. 1986. Shelley Winters, : Harrington; dir. Stephen King. Gary Swanson, Francesca De- : Possessed trucks begin wiping stormy Christmas Eve. 98m. Hi ? Hi $59.95. Embassy. Sapio. Trio of disturbed women : out human population. 97m. (R) escape from mental hospital, kid- : $79.95. Karl. cc $59.98. Playhouse. nap young hunter. 92m. (R) $79.95. Lightning. : Vamp. 1986. Chris Makepeace, The Runaways. 1975. Dorothy : Robert Rusler, Gedde Wata- Horror Just Between Friends. 1986. McGuire, Van Williams, John nabe, Grace Jones. Two frat brothers in search of stripper Mary Tyler Moore, Christine : Randolph. Teenage orphan be- wind up with vampiress. 93m. (R) Hi cc $79.95. New World. Lahti, Ted Danson, Sam Water- friends escaped leopard. 76m. ston. Woman discovers close $49.95. U.S.A. friend had affair with her late hus- band. 110m. (PG-13) Hi $79.95. Running Mates. 1985. Greg HBO/Cannon. Webb, Barbara Howard. Teen romance threatened by parents’ Kent State. 1981. Talia Balsam, involvement in local political race. Ellen Barkin, John Getz. TV 90m. (PG) B Hi V $69.95. New docudrama about students killed World. in 1970 by National Guardsmen. Salvador. 1986. James Woods, 120m. Hi D $39.95. MCA. Jim Belushi, John Savage; dir. Ol- Latino. 1985. Robert Beltran, iver Stone. American photojour- Annette Cardona, Tony Plana. nalist in Central America. 123m. Vietnam vet joins covert U.S. (R) LV cc $34.95. Vestron. war effort in Nicaragua. 108m. The Seventeenth Bride. Lisa (PG) LV St ss CX $34.98. CBS/ Fox. Hartman. Young Jewish woman in Nazi-occupied Czechoslovakia The Marriage of Maria Braun. must marry to escape labor 1979. Hanna Schygulla, Ivan camp. 91m. Hi $79.95. Sony. The Ape. 1940. B&W. Boris Kar- loff, Gertrude Hoffman, Henry Desney; dir. Rainer Werner Hall. Physician develops serum Fassbinder. Parable of soldier’s : Sherlock Holmes and the Secret for cripples from spinal fluid of gorilla. 62m. $29.95. Images. wife who rises to position of ; Weapon. 1942; colorized 1986. eeeeeAleieveeeeasnedssWeesll: Diet for Life. Count Dracula. 1970. Christo- 1986. Host Mike Jerrick. Epi- wealth in post-WWII Berlin. Basil Rathbone, Nigel Bruce. pher Lee, Herbert Lom, Klaus Kinski. Adaptation of orig. novel: sode of made-for-cable health 120m. (R) Hi sub. $69.95. Sleuth tracks Moriarty in WWII lawyer and fiancee fall under vampire’s spell. 90m. $29.95. program with nutritionist Diane RCA/Columbia. setting. 68m. $29.95. Roach. Republic. Jouganatos. 60m. $19.95. Gems. Nevil Shute’s The Far Country. TV Classics Vols. 1, 3. 1986 com- Death Ship. 1980. George Ken- : Be a Winner. 1986. Pointers for 1985. Michael York, Sigrid ps. B&W. Vol. 1: Joan Leslie, nedy, Richard Crenna, Nick beauty pageant contestants from Thornton. Romance between Vincent Price in Hollywood Half Mancuso. Survivors of sunken Bob Barker, others. 60m. Czech immigrant and English Hour; Reed Hadley, Charles ocean liner board possessed $29.95. A.N.S. woman set in post-WWII Austral- Bronson in Public Defender. Vol. freighter that rammed them. ia. $59.95. Roach. 3: Boris Karloff in Colonel March 91m. (R) $59.95. Embassy. The First Steps to Success in of Scotland Yard; Sherlock One Magic Christmas. 1985. Holmes. 52m. ea. $19.95 ea. : Modeling. 1986. Advice from ex- Mary Steenburgen, Harry Dean MPI. . Stanton, Elizabeth Harnois, Ar- . perts on choosing an agency, au- thur Hill. Mom depressed by on- ; The Third Walker. 1983. Colleen set of holiday season gets visit : Dewhurst, William Shatner, ditions, make-up, more. 60m. from guardian angel. 88m. (G) Hi : Frank Moore. Three brothers St ss $79.95. Disney. $29.95. A.N.S. weather identity crises. 85m. (R) Parting Glances. 1986. Richard $59.95. U.S.A. One Magic Christmas Ganoung, John Bolger. Gay man leaving Manhattan for Africa bids A Time for Miracles. 1980. Kate his lover and friends farewell. : Mulgrew, Lorne Greene, Rossa- 90m. (R) Hi St cc $79.98. Key. no Brazzi, John Forsythe. Life The Pursuit of Happiness. 1970. story of Elizabeth Seton, Michael Sarrazin, E.G. Marshall, 19th-century woman who be- Barbara Hershey, Robert Klein, came America’s first native-born Sada Thompson; dir. Robert saint. 97m. Hi $59.95. Charter. Mulligan. A man tried for manslaughter on flimsy evidence ; Touch of Evil. 1958. B&W. Charl- is convicted by a hardnosed ? ton Heston, Janet Leigh, Orson judge. 85m. (PG) Hi $69.95. RCA/Columbia. Welles, Akim Tamiroff, Dennis ; Weaver, Marlene Dietrich, Zsa Zsa Gabor, Joseph Cotten; wr./ dir. Welles. Dazzler about cor-
Caroline,” “You Don’t Bring Me sters. Dubbed. 89m. (PG) Flowers,” more. 60m. LV St CX $49.95. Prism. eee$e2v9e.95. Vestron. Making Contact. 1985. Joshua The Pointer Sisters: So Excited. Morell. Good and evil spirits take 1986 comp. Videos “Dare Me,” “Jump,” “Freedom,” more. 30m. up residence in boy’s closet. LV (8-inch) St CX $16.95. Pio- 80m. (PG) B Hi V $79.95. New neer. World. Romeo and Juliet. 1966. Margot Overdrawn at the Memory Bank. 1983. Raul Julia, Linda Griffiths. Fonteyn, Rudolf Nureyev, David Future controlled by corporate Blair, Desmond Doyle. Royal computers. 84m. B Hi V $69.95. Ballet production; music by Pro- New World. ecekcofcieeev,ecechoreography by Ken- Tripods. 1985. Three episodes ee neth MacMillan. 124m. Hi D from British TV series: $59.95. Embassy. Tammy Wynette in Concert. 22nd-century Earth controlled by 1986. Includes “Stand By Your alien invaders. 150m. Hi $79.95. eeeeesMcaene,” “I Don’t Want to Play Sony. Kathy Smith’s 7,oneUp House,” “Amazing Grace,” a more. 60m. $29.95. MusicVideo. The International Workout. 1986. Aerobic exercises geared for Ten Years After: Going Home. minimal risk of injury. 45m. eee1e9e86. Concert taped at London’s $19.95. A.N.S. Marquee Club, July 83. 55m. Hi The Jazzercise Better Body Work- out. 1986. Judi Sheppard Missett mary, production notes en- St $29.95. Jem. CrunchTime. 1986 comp. Pro leads exercise set to jazz music. closed. 160m. (2 cas.) sub. Two cas.: Tight & Toned, Fit & $59.95. Home Vision. They Shall Have Music. 1939. football’s roughest players: Dick Physical. 15m. ea. Jazzercise B&W. Walter Brennan, Joel (2808 Roosevelt St., Carlsbad, Colonel Abrams. 1986. Combina- McCrea, Gene Reynolds, Marjo- Butkus, Howie Long, Mike Cur- Calif. 92008; 619-434-2101). rie Main. Student at faltering mu- : tis, Larry Csonka, Randy White. Kathy Smith’s ToneUp. 1986. 45m. $19.95. NFL. Workout aimed at weight reduc- tion and muscle tone using aero- tion CD/LV includes complete al- sic school convinces star violinist bics, resistance bands. 60m. $29.95. JCI. bum plus videos “Trapped,” to appear in fundraiser concert. Going for It. 1986. Expert Secrets of Magic. 1986. The “The Truth,” “Over and Over.” 101m. Hi $39.95. Embassy. « skateboard, dirtbike riders offer Great Tomsoni demonstrates 40 St CX $16.95. Pioneer. safety tips, pointers on style. tricks involving cards, coins, eeeesesrccee mind reading, more. 60m. St Guitarra! The Guitar in Spain. : 30m. $14.95. Morris. $24.95. Twin Tower. 1985. 4 cas. Evolution of Spanish Til Tuesday. 1986 comp. Videos guitar from 1500 to present. Se- eee“eVeoices Carry,” “What About Wayne Gretzky: Hockey My Way. Take Time with Pat Boone. 1986. lections performed by Julian : Love,” 3 more. Hi St $19.98. 1986. Instruction by Gretzky, Boone, Connie Letney. Exercise Bream. 60m. ea. $39.95 ea. star center of Edmonton Oilers. routines set to Big Band tunes. Home Vision. CBS/Fox. 60m. $39.95. Coliseum. 55m. $19.95. All. eeeWcheaem! in China—Foreign Skies. ( : 1986. Concert footage plus look Boris Godunov. 1986. Yevgeni Hard to Handle: Bob Dylan with : backstage. Songs include “Bad Nesterenko. Russian opera Tom Petty and the Heartbreakers. : Boys,” “Wake Me Up Before taped live at Moscow’s Bolshoi 1986. Concert program orig. Theatre in ’78. 190m. 2 cas. HiSt You Go-Go.” 60m. LV St CX $69.95. Kultur. aired on cable. Includes “Like a $29.98. CBS/Fox. Carmen. 1985. England’s Glyn- eevee debourne Festival Opera, Lon- don Philharmonic Orchestra; Rolling Stone,” “Just Like a eeeWomen in Rock. 1986 comp. In- Alaskan Safari. 1968. Documen- cond. Bernard Haitnik. Plot sum- Woman,” 8 more. 60m. LV St CX terviews, performance footage, $29.98. CBS/Fox. videos featuring Brenda Lee, tary exploring habitats of wildlife. Carole King, Janis Joplin, Pat Be- 120m. $19.95. United. Heart. 1986 comp. Videos natar, Whitney Houston, Madon- “These Dreams,’’ ‘‘Never,” na, Aretha Franklin, Tina Turn- Colonel! Culpepper’s Flying Cir- “What About Love?,” “Nothin’ at er, others. 57m. Hi St D $29.95. cus. 1981. Texas museum devot- All.” 18m. LV (8-inch) St CX MCA. $12.99. ed to restoring, preserving WWII Zoot Sims—In a Sentimental planes. With footage of simulated Hot ’n’ Heavy. 1986 comp. Vid- Mood. 1985. Jazz saxophonist in dogfights. 50m. $39.95. Home Vision. eos by heavy metal groups Ven- session with Red Mitchell (bass) Falklands: Task Force South. om, UFO, Lee Aaron, Anthrax, and Rune Gustafsson (guitar). 1982. Britain’s historic naval bat- others. 54m. Hi St $29.95. Jem. 52m. Hi St $29.95. Sony. tle as recorded by BBC News camera team. 114m. $39.95. More Women in Rock. 1986 eoee Home Vision. comp. Concert performances by The All Stars, Judy Tzuke, Lee Aaron, Rock Goddess, Darts, 48 Hours on Crack Street. 1986. Amazulu, others. 52m. Hi St Nar. Dan Rather. CBS-TV docu- $19.95. Sony. mentary on drug traffic in New Neil Diamond: I’m Glad You're Infra-Man. 1976. Li Hsiu-hsien, York City and environs. V only. Here with Me Tonight. 1986. Dia- $15.00. CBS Interactive Learn- mond backstage, in rehearsal, Wang Hsieh. Astronaut/su- ing (One Fawcett Pl., Green- performing title tune, “Sweet per-being saves Earth from Prin- . wich, Conn. 06836; 1-203-622- ee: eeeceesese Dragon Mom and her mon- 2771 collect). Febru19a87rVyideo 95
Life Is a Beach! 1986. Gary : The Romantic Hero Video Calen- bathing, figure skating, surfing, Vietnam: Time of the Locust. Busey, Cheech Marin host look : dar. 1986. Profiles of 12 heart- performing her song ‘“‘You’re 1986 comp. B&W. 1974 anti-war at beach party featuring Iron Man the one.” 30m. $9.95. Karl. documentary, plus 2 govern- World Championships, beauty throbs; written by romance nov- ment-sponsored films: A Day in contest. 75m. St $29.95. Twin. : elist Serita Stevens. Includes Vietnam: The Secret Agent. Vietnam, narrated by Jack 1981. Look at use of toxic de- Webb, The Battle. 55m. $29.95. The Mystery of Picasso. 1956. wall calendar. $59.95. Romance : foliant Agent Orange in Vietnam MPI. Documentary wherein Picasso Video (1765 N. Highland Ave., : and U.S.; archival footage, inter- creates 15 art works. 85m. (PG) Suite 770, Los Angeles, Calif. views with veterans, scientists, Visions of War. 1986. Package of $69.95. Vestron. 90028; 213-654-6254. ) : Dow Chemical personnel. 56m. programs chronicling events of ¢ $29.95. MPI. WWII. Titles: World in Flames The Quick and the Dead. 1977. Seapower. 1981. Documentary Books 1-3 (Hitler's Rise to Power, Stacy Keach hosts look at hazard- on world naval history; extensive : Vietnam: The War at Home. The Fight for Freedom, The Final ous careers of Formula One rac- footage of new British and U.S. 1978. Color/B&W. Look at An- Battle), 80m/cas., $79.95. The ers; interviews with Jackie Stew- vessels. 109m. $39.95. Home ti-war movement, with focus on Warlords, 75m., $39.95. Blitz- art, Niki Lauda. 107m. St $39.95. Vision. krieg, 80m., $39.95. Berlin Twin. : Wisconsin student radicals. 1945, 60m., $39.95. Pacific. Video Centerfold #4. 1986. Play- 100m. $29.95. MPI. boy playmate Luanne Lee sun- PROGRAMMING SOURCES A&H Video Sales, 430 W. 54St., , Home Vision, 5547 N. Ravens- MGM/UA Home Video, 1350 : Republic Pictures Home Video, New York, N.Y. 10019; 212-489- : wood Ave., Chicago, Ill. 60640- Sixth Ave. New York, N.Y. 12636 Beatrice St., Los Angeles, 8130. 1199; 800-826-3456; in Ill. 312- 10019; 212-408-0600. Calif. 90066-0930; 213-306- A.N.S. International Video, 196 - 878-2600 ext. 336. Monterey Home Video: see IVE. : 4040. Fifth Ave., New York, N.Y. : Hal Roach Studio Film Classics, 10018; 212-736-1007. Image Entertainment, 6311 Ro- More Entertainment: see Morris. : 1600 N. Fairfax Ave., Holly- : maine St., Hollywood, Calif. Sybil Danning’s Adventure Video: : 90038; 213-468-8867, 800-421- ~: Morris Video, 413 Ave. G #1, : wood, Calif. 90046; 213-850- see IVE. * 4585. 0525. Box 443, Redondo Beach, Calif. 90277; 213-379-2414. : : Video Images (Video Yester- Sony Video Software, 9 W. 57 : year), Box C, Sandy Hook, All Seasons Entertainment, MPI Home Video, 158R2ob5Roy : St., New York, N.Y. 10019; 800- Conn. 06482; 1-800-243-0987. 847-4164. 18121 Napa St., Northridge, Calif. 91325; 800-423-5599. Dr., Oak Forest, Ill. 60452; 312- : CBS/Fox Video, 1211 Sixth Ave., * IVE, 21800 Burbank Blvd., 687-7881. Trans World Entertainment, 6464 New York, N.Y. 10036; 212-819- : Woodland Hills, Calif. 91365- Sunset Blvd., Los Angeles, Calif. 4062; 800-423-7455. Vestron MusicVideo: see : 90028; 213-461-0467. 3200. Vestron. CC Studios, 389 Newtown Turn- : JCI Video, 9000 Sunset Blvd., New World Video, 1440 S. Sep- : Twin Tower Enterprises, 12345 Ventura Blvd., Studio City, Calif. pike, Weston, Conn. 06883; 203- * Los Angeles, Calif. 90069; 213- 271-5131. ulveda Blvd., Los Angeles, Calif. ; 91604; 818-761-0932. 226-4666. 90025; 213-444-8100. Charter Entertainment: see ° Jem Music Video, 3619 Kennedy NFL Films Video, 330 Fellowship : United Home Video, 4111 So. Rd., Box 708, South Plainfield, Embassy. Rd., Mt. Laurel, N.J. 08054;°: Darlington St., Suite 600, Tulsa, N.J. 07080; 800-932-0579. 800-NFL-TAPE. Okla. 74135; 800-331-4077. Children’s Video Library: see : Karl-Lorimar Home Video, Pacific Arts Video, 50 N. La : U.S.A. Home Video: see IVE. Vestron. 17942 Cowan Ave., Irvine, Calif. 92714; 714-474-0355. Cienega Blvd., Suite 210, Bever- : VCL Communications, 2980 Bev- Coliseum Video: see A&H. ly Hills, Calif. 90211; 213-657- : erly Glen Circle, Los Angeles, Walt Disney Home Video, 500S. * Key Video: see CBS/Fox. 2233. Calif. 90077; 213-474-4225. Buena Vista St., Burbank, Calif. : Kultur International Films, Ltd., Paramount Home Video, 5555 ? Vestron Video, 60 Long Ridge 91521; 818-840-1111. 121 Hwy. 36, West Long Branch, Melrose Ave., Los Angeles, Rd., Stamford, Conn. 06907; N.J. 07764; 201-229-2343. Calif. 90038-3197; 213-468- 203-968-0000. Embassy Home Entertainment, 5000. 1901 Ave. of the Stars, Los An- : The Video Late Show: see IVE. Vista Home Video, 645 Madison Ave., New York, N.Y. 10022; geles, Calif. 90067; 213-553- : Pioneer Artists, 200 W. Grand 212-486-7272. 3600. Lightning Video: see Vestron. Ave., Montvale, N.J. 07645; Warner Home Video, 4000 Warn- er Blvd., Burbank, Calif. 91522; Family Home Entertainment: : Magic Window Video: see : 201-573-1122. see IVE. RCA/Columbia. Playhouse Video: see CBS/Fox. Video Gems, 731 North La- : MCA Home Video, 70 Universal : Prism Entertainment, 1875 Cen- 818-954-6000. tury Pk. East, Los Angeles, Brea Avenue, Box 38188, Los City Plaza, Universal City, Calif. World Video Pictures, 12401 Wil- Angeles, Calif. 90067; 213- : 91608; 818-508-4315. Calif. 90067; 213-277-3270. shire Blvd. Los Angeles, Calif. 938-2385. 90025; 213-820-6100. HBO/Cannon Home Video, 1370 Media Home Entertainment, RCA/Columbia Pictures Home Worldvision Home Video, 660 Sixth Ave., New York, N.Y. : 5730 Buckingham Pkwy., Culver : Video, 3500 W. Olive Ave., Bur- Madison Ave., New York, N.Y. 10019; 212-977-8990. : bank, Calif. 91505; 818-953- 10021; 212-832-3838. City, Calif. 90230; 800-421- 4509. 7900.
Backwards? Most people do. The way many people shop for their video equipment is by looking at prices first — without looking at the bottom-line. The bottom-line is your price with product delivered to your door; including U.S. warran- ties, factory sealed cartons, shipping charges, insurance, double boxing and credit card charges. The bottom-line is also the credibility of the shipper — being able to get the product promised to you. The hardest part of buying electronics by phone is finding a reputable com- pany to deal with — after that, it’s easy. Call Video Products Distributors today — we’re an Inc. 500 company and now a Ven- ture “Fast Track 100’’ company — known world-wide for our exceptional service. Why take chances with boiler-room mail order companies? Call us today for the fastest service and the best prices on all your video electronics needs. No grey goods — No factory seconds — No nonsense. ALL MAJOR BRANDS AT THE LOWEST LEGITIMATE PRICES WE'LL GIVE YOU THE BEST BOTTOM-LINE PRICES WITH PRODUCT DELIVERED TO YOUR DOOR! Video Products Distributors, Inc. Direct Mail ¢ 2947 Arden Way Sacramento, California 95825 ¢ In California 916-978-7107 For additional information, circle No. 25 on Reader Service Card February 1987 Video 97
ee aigSeem -) ec ED aewRel | oll Bey’ am February 1987 Zenith VM7100 HQ VHS Camcorder Pioneer VH-900 HQ VHS Hi-Fi VCR NEC EM-E8U 8mm Camcorder Multivision 3.1 Digital Video Adapter Zenith VHS chine has the loop for the carrying strap for about two seconds to make manual set- Camcorder and an accessory shoe to attach the carry- ting of quickly varying levels easier. Below ing handle, with a second accessory shoe the display are sliders for manual right and At last, there is a located on top of the handle. The left of the left Hi-Fi level adjustment. Mini jacks for stereo Hi-Fi cam- body is bare but for the battery release and stereo earphones and a remote control are corder, Zenith’s a cheek pad. At the front of the base is a VM7100. Up to multi-pin input/output connector. On its on the base. now the only stereo underside are a tripod socket and a non- On the grip that wraps around the right camcorder has skid pad. been the Kodak side of the lens are the camera run/pause MVS-5000, but its The recorder controls are concentrated control, and the tele/wide angle rocker. digital stereo is limited to 14,000 Hertz on on the forward third of the right side. The Under a sliding door on the other side of the high end. Other 8mm camcorders have record and power buttons are on top, fol- the lens are manual controls for white bal- an audio frequency response to 20,000 lowed by a large gray area with touch pads ance, AGC, iris standard, iris + and -, and Hertz (-6 decibels at worst), but they are for audio dub, stop, pause, rewind/search, quick review on/off. A bit forward of the all mono. All VHS and Compact VHS ma- play, and fast forward/search. The eject door is a button that activates all the auto chines so far have only mono linear tracks button lies below these, and the tracking circuits. On the front left edge of the lens with limited frequency response. So, this control is at the front edge. cowl are buttons for fader on/off and focus Zenith is really a breakthrough. mode, which switches between autofocus, Zenith didn’t stop with Hi-Fi stereo. The At the bottom of the gray area are slide manual focus, and focus lock. On the lens VM7100 has two of the HQ circuits—and a switches for SP/EP, auto/manual ALC for itself are the manual focus and zoom rings, contour detail circuit for sharpening edges, Hi-Fi, and Hi-Fi/mix/normal audio output a feature normally found on profession- select. The raised black area below has and a button for macro focus. al equipment. It is also the first full-sized buttons for counter memory and reset The electronic viewfinder (EVF) VHS camcorder to record at the EP speed, above an LCD display which shows the tor eight-hour capacity on a T-160 tape. It counter, tape function, low battery, and mounts onan accessory shoe at the front of offers a fully automatic (switchable to man- Hi-Fi level. The peaks on the display hold the camcorder. It has a swiveling head with ual) focus, white balance, iris, and fade. a magnifier and a soft rubber eyecup. It has The Hi-Fi level may be set manually or Zenith VM7100 HQ VHS Camcorder onscreen indicators for recorder speed, with the ALC (automatic level control), just like the best table models. In short, the S VM7100 combines the best of a top-end table model, less the tuner/timer, and a sophisticated solid-state camera. It isn’t small, light, cute, or as heavy as its many features would suggest. Description. The VM7100 is a some- what chunky machine styled in silver gray and black with touches of red. It measures 8-1/8 inches high by 5-1/8 wide by 13-1/2 deep, and weighs 5.6 pounds. Its handle weighs 0.2 lbs., and the battery adds an- other 1.3 Ibs. The camcorder is powered by a 60- or 90-minute battery, an AC adapter, or a car battery adapter, all of which slide onto grooves on the back. The top of the ma- 98 Video February 1987
OLYMPUS vis |OLYMPUS “S74” Camcorder agi 8mm Camcorder, /QUR CCD, HO @\\an , CCD, HQ, INC © 8:1 Zoom 6:1 Zoom Auto Focus, eee Auto Focus, : 7 Lux vx 801 CALL FOR PRICE! Camcorders 4 VHS, C Format, ~ and 8mm IN STOCK! VIDEO TAPES : 4 BEST BUYS IN BETA <= CCD, HO, VHS TTDOKK TEx-t1r2a0 H(GHi-gTh-1S2t0andard) . 43..7944\" SUPER BETA HI FI ~y Camcorders Maxell EXT-120 ia 4.39 o Buitin MTS me At g95 IN STOCK! Wireless Remote, FMauxjeil1l12H0igh oGradoe T-1 3.P 45: B Cable, Multi Event ZENITH FFuujjii HSiu-Fpi erT-1 HGT- 5.. 29° x MCORDEOZleynmiptuhs vA7, GE: Panasonic aa JVC Pus, Quasarrele. st7 ock SFcuoltcPhrofTe-s1s2i0onaElG 451 486499 = 3 Auto Focus Scotch Hiah Grade EG + 4.99 ™ VHS HiH-Fi1 a “Camcorders Zenith, JVC, Panasonic. +0 K IN STOCK! GE. RCA. etc. WS Smm —- wie GE Quasar, etc. l=. Auto Focus Candidates On Cassette How Video Is ai and Chan _s Beta Movie IN STOCK! . VHS Camcorder CCD, t = Auto FiocusMa STOICNK! Send me a full year of VIDEO (12 Name (please print) Zip HITACHI | Bill me later monthly :issues) at the low basi.c sub- Address State ;VHS Camcorder scriptioyn price) of $12.00. I save City 472A7 CCD, HQ, $11.40 (almost 50%) off the cover price of $23.40. Auto Focus _] My payment is enclosed IN STOCK! For Please allow up to 60 days for delivery of first issue. For Canada, add $4.00, U.S. funds. PBJUG“a‘;I94O8/TUEe0oINPODuU4MPMIOAB9eNSYUIWPOpJeUI foreign orders, add $25.00 for Air Mail delivery, U.S. funds. Foreign orders must be prepaid.
++ DPDEBCED— DRDD AIATTUTUAW/AIVTiEd. OO le a =rSrseeaert February 1987 Zenith VM7100 HQ VHS Camcorder Pioneer VH-900 HQ VHS Hi-Fi VCR NEC EM-E8U 8mm Camcorder Multivision 3.1 Digital Video Adapter Zenith VHS chine has the loop for the carrying strap for about two seconds to make manual set- Camcorder and an accessory shoe to attach the carry- ting of quickly varying levels easier. Below ing handle, with a second accessory shoe the display are sliders for manual right and located on top of the handle. The left of the left Hi-Fi level adjustment. Mini jacks for body is bare but for the battery release and stereo earphones and a remote control are At last, there is a a cheek pad. At the front of the base is a on the base. stereo Hi-Fi cam- multi-pin input/output connector. On its On the grip that wraps around the nght corder, Zenith’s underside are a tripod socket and a non- side of the lens are the camera run/pause VM7100. Up to skid pad. control, and the tele/wide angle rocker. The recorder controls are concentrated Under a sliding door on the other side of now the only stereo the lens are manual controls for white bal- camcorder has on the forward third of the right side. The been the Kodak record and power buttons are on top, fol- ance, AGC, iris standard, iris + and -, and MVS-5000, but its lowed by a large gray area with touch pads quick review on/off. A bit forward of the digital stereo is limited to 14,000 Hertz on for audio dub, stop, pause, rewind/search, door is a button that activates all the auto the high end. Other 8mm camcorders have play, and fast forward/search. The eject circuits. On the front left edge of the lens an audio frequency response to 20,000 button lies below these, and the tracking cowl are buttons for fader on/off and focus Hertz (-6 decibels at worst), but they are control is at the front edge. mode, which switches between autofocus, all mono. All VHS and Compact VHS ma- At the bottom of the gray area are slide manual focus, and focus lock. On the lens chines so far have only mono linear tracks switches for SP/EP, auto/manual ALC for itself are the manual focus and zoom rings, with limited frequency response. So, this Hi-Fi, and Hi-Fi/mix/normal audio output and a button for macro focus. Zenith is really a breakthrough. select. The raised black area below has The electronic viewfinder (EVF) Zenith didn’t stop with Hi-Fi stereo. The buttons for counter memory and reset mounts on an accessory shoe at the front of VM7100 has two of the WO-«ixeuite—_ando ahava an ICD dicnlayv which chau the the camcarder_It has.a swiveling head with contour detail circuit for a feature normally fou al equipment. It is also VHS camcorder to reco1 NO POSTAGE NECESSARY tor eight-hour capacity « IF MAILED offers a fully automatic ( ual) focus, white balanc IN THE The Hi-Fi level may UNITED STATES with the ALC (autome — just like the best table m BUSINESS REPLY MAIL VM7100 combines the table model, less the { FIRST CLASS PERMIT NO. 3494 NEW YORK, NY sophisticated solid-stat small, light, cute, or as POSTAGE WILL BE PAID BY ADDRESSEE features would suggest Description. The V uideo what chunky machine st and black with touches 8-1/8 inches high by 5-: P.O. Box 52255 deep, and weighs 5.6 | Boulder, Colorado 80321-2255 weighs 0.2 lbs., and th other 1.3 Ibs. The camcorder is po 90-minute battery, an A battery adapter, all of grooves on the back. 7 98 Video February 1987
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