video-magazine-1987-12

HOLIDAYGTS 14 Pages of VCRs, Camcorders, TVs, Accessories, Video Games and Pre-Recorded Tapes |With VCRs inhabiting nearly half of America’s homes (last year it was a third), a video gift is amore attractive option for the holiday season than ever. But the vast profusion of equipment, gadgets, tapes, brands, models and prices can make buying gifts a chore |instead of a pleasure. We’ve asked Contributing Editors Murray Slovick and Mark Fleischmann, Associate Editor Lou Kesten and audio/video writer Mike Berger to compile their own wish lists of VCRs, camcorders, TVs, accessories, video games and | |pre-recorded films to help you choose your own candidates for giving. They’ve selected | the brightest among the best. You may find your own irresistibles, but we think you'll find the following a great selection with which to start. Although Christmas comes but |once a year, shopping for it need not take two months. BJARYENNER DECEMBER 1987 VIDEO 51

BY MURRAY SLOVICK HEY, BiGSPENDE Vicks, camcorders and TVs for your favorite videophile Dynamic Duo: Sharp’s 20MV97 TV, $799, with Y/C input, and LC-D800U VCR, $600, which features nine-picture channel search, PIP, and freeze frame. The remote con- trols both TV and VCR. POWER DIGITAL: mie ie _— cia S~e ME. wo (eaten |FFee \\, ‘NR mE, SAAN, wep tale HO ov scecn asia SHARP If you’re among the far-sighted few who knowing that in the madness of the Christ- ness better than three-quarter-inch video | | buy their Christmas gifts in July and store mas, Chanukah and New Year rush, there systems. Its separate chrominance and | | them in a closet until Yuletide, you’ve is simply not enough time to make some luminance processing rids NTSC transmis- | saved much in time and, possibly, money. important gift buying decisions without sions of some of its electronic artifacts: | | But you risk losing out on the new technol- help. What follows are the VCRs, TVs, cross color, cross luminance and crawl. | ogy often introduced in the fall. Anyway, videodisc players and other representa- We'd be happy to have Santa answer most of us, myself included, can’t hide tives of the video hardware arts that have | our seasonal yearings with JVC’s HR- presents around a house for long: kids can caught our eye recently, gifts we would | S700U S-VHS VCR, for $1,200, or RCA’s sniff out concealed gifts better than | like to buy, or better, find under our tree | VPT640 among the many S-VHS decks bloodhounds can. this Christmas. |now for sale. Apart from full S-VHS re- For those of us who don’t think about Super VHS heads the list simply be- cording and playback, JVC’s VCR is stock- readying shopping lists until the Thanks- cause it is the most exciting video develop- ed with lots of goodies including VHS hi-fi, giving Day football fever is over, here is a | ment of the year. It offers 400-plus lines of | MTS reception, index and address search seasonal guide through the crazy-quilt of | horizontal resolution—more detail than and a 10-digit remote control keypad. video hardware shopping possibilities— | broadcast television—for picture sharp- The Magnavox VR9668 S-VHS VCR 52 VIDEO DECEMBER 1987

cnwyerene “oN Pe AVN o “ ' 00 ; Q PIONEER -- ~ ———— t(‘<i‘ié‘< . Small Wonder: |’ : : Tr Sony's $800 EV-S1 Laser Delight: SS 8mm VCR (left) weighs Pioneer's $800 CLD1010 (above) plays in at a mere 5.75 five different laser for- mats and offers 400 lines of resolution. pounds and features three-event/14-day pro- | . gramming. | : a: : Light Impressions: YOURE mCMaTE mmtgntiom qvsmis at Toshiba's digital-effect = Hi-Fi DX-900, $300, displays programming functions onscreen and takes information via a light pen. that go from stop to play in just 1.5 | seconds. This is accomplished by thread- proves good things come in big packages, | Apart from the high horizontal resolution, | ing the tape around the head drum as soon too. This home deck combines two advanc- | its tuner gives you access to MTS stereo | as it loads and keeping the tape on the es in video technology: S-VHS and bar | sound. Digital circuitry makes possible pic- | video heads in all modes, including fast code programming, the latter to simplify | ture-in-picture displays with up to 12 fro- | forward and rewind. If you’ve ever had to | time-shift viewing. A bar code booklet pro- | zen pictures on the screen at once. Hi-fi | scan through two hours of tape you'll also | ) vides scannable codes for the days, hours | audio, onscreen display programming, dig- | appreciate the speedy 5x search of Akai and channels. To program the VCR, run | ital still TV picture capability, VHS index | VHS VCRs. As offered on the VS-33U-B, | the scanner across the appropriate code in | and address search, mosaic special effects | for $449, the quick start feature is accom- the booklet then beam the programming | and other exotic features add to the menu. | panied by four video heads, a four-event/ information to the VCR via an infrared sig- | This one’s loaded. one-month timer and VHS index and ad- nal. Akai, taken over recently by Mitsu- | dress search. The Hitachi VT-2700 S-VHS VCR, for | bishi, is coming back strong, thanks in part The Sony Betamax SL-HF1000 may $1,199, is a videophile’s dream machine. | to its line of innovative “quick start” VCRs | look ordinary but its editing features are DECEMBER 1987 VIDEO 53

Featherweight: Sanyo’s $1,300 VM-10 8mm camcorder weighs in at 2.8 pounds and has a shutter speed of 1/1800 second. Speedy Pro: Sony's 8mm CCD-V9, $1,650, features a five- speed electronic shutter and blur-free slow motion. not. It’s packed with eight-segment pro- The latest 8mm VCR from Sony deli- Smooth Operator: grammable assemble editing, one-seg- vers a full measure of video performance in Panasonic's super- a 5.75-pound portable package. Priced at simple PV-320 full- ment audio/video insert editing, a charac- $900, the EV-S1 is 11 inches wide by eight ter generator and Super Hi-Band Beta re- inches deep and has a detachable handle, a size VHS camcorder, cording capability, making it a perfect gift 152-channel tuner with 99 presets, MTS $1,500, uses flying for the Beta user with a creative bent. stereo reception and three-event/14-day erase heads for edits. . programming. Scaling down engineering activity to re- | spond to the needs of the average video CAMCORDERS consumer is what the Toshiba Digital DX- In camcorders, manufacturers are also time and date directly on tape as you shoot. 900 digital-effect VHS Hi-Fi VCR is all about. Using fiber-optic technology, jumping on the S-VHS bandwagon. Among (See “Videotests,” this issue for more in- || Toshiba has made programming this these, our gift list would have to include the formation. ) | RCA CPR 350, which delivers S-VHS per- $1,300 deck as foolproof as we’ve seen. All formance ina full-size cassette format. The Ideal for capturing sharp images of | programming functions are displayed on CPR 350 features a 2/3-inch MOS image the TV screen in simple, clear computer sensor, a fast f/1.2 lens and two-speed 8x moving subjects, the electronic high-speed graphics. Input is via a unique light pen or a power zoom for close-ups or wide-angle standard remote control. Other innova- shots. A built-in clock and calendar record shutter will be among the most popular tions include pulse code modulation (PCM) digital audio and digital special effects. features on this season’s camcorders. While VHS and VHS-Compact camcorders generally lack the special-effect video heads needed to play back slow motion or frame-by-frame images shot at high shut- | 54 VIDEO DECEMBER 1987

Designer Sets: RCA’s EPR 295s, $279 each, boast nine-inch screens and AC/DC capability. Panasonic vouo CRYSTAL DISPLAY Vt = 2486 79n 8 Mighty Mite: The Panasonic CT-335, $550, with a three-inch LCD screen and an AM/ FM radio, runs 16 hours on six AA batteries. Super Set: ter speeds, several 8mm camcorders have NEC’s 46-inch them. Sony’s $1,650 CCD-V9 Handycam PJ4680EN rear- Pro, for instance, includes in its feature projection TV, $3,600, features surround sound package a multi-speed (1/60, 1/100, 1/500 capability. and 1/2,000 second) electronic shutter, slow motion without blurring and practical- ly jitter-free stills. The two-pound, 14- ounce camcorder also uses a new light bat- tery that permits 45 minutes of recording; a 90-minute rechargeable battery is also available. With the KD-3010V Finemovie, Yashi- ca has moved into the upper ranks of cam- corder makers. The 2.4 Ib. 8mm unit comes with 1/1,200 second high-speed shutter, 7 lux sensitivity and playback in freeze frame and slow motion. In a world where smaller is often seen continued on page 124 DECEMBER 1987 VIDEO 55

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Note: actual picture un-simulated. til ao wn ‘irst35-inch conventional-tuVbewTas hard enough. magazine bigenough to see itwas impossible. Its picture area is 86% larger than a 26-inch. Its picture — isasrich, as sharp, as bright as a 26-inch. But you can see all that. Only at an authorized Mitsubishi dealer. MITSUBISHI For the name ofyour authorized dealer call (800) 556-1234 ext. 245, In California (800) 441-2345 ext. 245. (©1987 Mitsubishi Electric Sales America, Inc.

BY MYRON BERGER GRUWN UPS A selection ofspecialeffect boxes, editing decks, lens filters and other extras that add sizzle to home tapes For hard-core videophiles, too much is screen at the same time. You need not buy a new deck or monitor, though, to get it. never enough. This makes it easy to buy MultiVision offers three black boxes that gifts for them, because they’re always can create PIP effects on any TV. The craving some new gadget. The following Multivision 3.1, for $499, provides PIP as collection of useful accessories will both well as MTS stereo, while the 2.1, for enhance video viewing and make camcord- $299, requires a second tuner (from either er shooting easier. It should prove irresist- a VCR ora TV) for PIP. The 1.1DVC, for ible to anyone with a yen for clever or $329, is a combination switcher (with four utilitarian devices. inputs and one output) and PIP generator that requires two additional tuners. Rabbit The word “accessories” covers a broad Systems’ PIP generator, the $229 Double range of video products, costing from Play, requires one external tuner and also $2.95 to several thousand dollars. Digital scans available channels in the smaller win- effect boxes, for example, give amateur dow automatically. videophiles snazzy, professional-looking special effects like picture-in-picture Rabbit also offers the VCR Rabbit, for (PIP), wipes, fades and titles. Signal switchers help connect all the gear in elab- $90, which connects a VCR to a remote orate audio/video systems, while ynified monitor. Rabbit’s transmitter sends audio remote controls let you operate all that and video from the VCR to the receiver via equipment with a single hand-held device. a 150-foot wire, while the receiver can Other accessories—tripods, lenses, mi- send remote signals back to the VCR.. Up crophones, lights—help you shoot better to five remote receivers, at $45 each, can home videos. So if you think the be daisy-chained. E] Mar’s $90 Max is simi- lar to the Rabbit, but, with additional re- videophiles in your life have everything, ceivers, at $50 each, it can feed up to four check out the gear below. You’re bound to TVs from the central transmitter and “lock find something to make their video experi- out” viewing in selected locations. ence better than ever. The dreaded tangle of wires that BLACK BOXES y A/V Wand: occurs when more than three or four au- Realistic’s Universal dio/video devices are hooked together is a One of the sexiest features on high-end Sa \\ Remote Control, familiar problem for videophiles with lots of gear. The dbx DAV-600G Audio/Video VCRs and monitor/receivers is PIP, which for $100. RRO Sat eelet Eie M | lets you watch two programs on one TV | 58 VIDEO DECEMBER 1987 mr ae

AF oe oo gf yd a Multi-Mania: MultiVision’s 1.1 DVC, for $329, is a combination switcher and PIP generator. s AUnIO7 Mone \" AURIO VIREO SELECTOR SS-VaQ. Switching Hour: Akai’s SS-V20 audio/video selector, for $699, has a built-in 4-1/2-inch color monitor. Program Route Selector, at $399, helps | computer and the $700 XV-C700 multi-col- | hand-drawn graphics and titles. solve that problem by accepting inputs or corrector. The picture computer fea- Special effects generators create pro- from up to three VCRs, a videodisc player, tures a CCD line-sensing device that per- | fessional looking effects such as screen three audio tape decks and four signal proc- mits any flat image (such as a map, drawing | wipes, tints and fades. Sansui’s VX-99, at essors. You can then switch between com- or manuscript) to be displayed ona screen, | $600, offers wipes and fades as well as ponents with the touch of a button. savinememdory, manipulated or recorded | reverse and posterized images, slanting Akai’s SS-V20U-B switcher, at $699, on tape. An optional $120 track ball canadd | and edge softening. Vidicraft’s SEG-200, has inputs for up to five VCRs (or videodisc at $530, features fades, wipes and cuts players) plus one tuner. It also incorpo- between synchronized or non-synchro- rates a speaker and a 4-1/2-inch color mon- nized sources. itor, allowing you to view the results when A new company called Videonics has copying or editing tapes. Two processor loops are provided as well. Videophiles who edit and dub their own tapes need signal processors to create the | best possible images. Radio Shack offers a number of inexpensive signal processors, beginning with a $2.95 coaxial FM trap that | ated YCor Pres\" ammer filters out overmodulating FM stations that may interfere with television signals. The Radio Shack line also includes signal atten- uators (which reduce ghosts and cut signal overload) for less than $7, signal boosters from $10.95 to $34.95, switchers from $29.95 to $89.95, a switcher/special ef- fects generator for $89.95 and a video processor for $99.95 that can handle en- hancement, stabilization, noise reduction and audio/video fading. Sony offers three more sophisticated processors: the $550 XV-T500 digital su- perimposer, the $600 XV-T600 picture DECEMBER 1987 VIDEO 59

GADGETS introduced DirectEd, an advanced video Family Album: editor and special effects generator, for Ambico’s V-0614 $499. DirectEd lets you select scenes from one videotape and record them in any or- teleprint converter, der on another tape. The special effects for $80, transfers generator creates backgrounds and text in still photos to videotape. 64 colors and features titles, fades and wipes. REMOTE NIRVANA Isn't That Special?: Every videophile has experienced a Sansui’s VX-99 SEG, for $600, allows time when his or her coffee table has disap- wipes, fades and peared under a mountain of remote con- trols. Unified remotes are part of the solu- reverse and posterized tion to the problem, allowing you to pro- images. gram the infrared codes of all your au- dio/video equipment into a single hand-held ’ device. CL9’s $199 CORE (“Controller of Remote Electronics”) not only accepts the plenty of accessories to help camcorder | only three ounces and runs 1-3/4 hours ona | codes of almost every A/V product on the fans, new and old, shoot sharper home 12-volt, 6.5-amp battery. Cool-Lux also | market but also allows you to program se- videos. Cool-Lux’s Micro-Lux camcorder offers the C4452 spring clamp for $17, the quences of instructions into a single but- light is designed to radiate heat away from C4469 scissor clip for $10 and the C4446 | ton. the camcorder, protecting its delicate elec- stand adapter for $10, which is useful for | tronic components. The $70 mini-light mounting camcorder lights. Radio Shack’s Realistic Universal Re- | mote Control, for $100, may not be as comes with a mounting bracket, weighs Lens attachments give camcorders a | sophisticated as CORE, but it is far more wider variety of shooting options. Ambi- advanced than most other universal re- co’s selection of lens attachments includes motes. The unit can control over eight de- fisheyes, hemispherics (to widen the origi- vices and five programmable seven-day nal lens’ wide angle), macros, close-ups timers with a memory of up to 26 com- and 1.5x, 2x and 4x telephotos. mands. Lens filters allow you to alter an image Advanced Video Dynamics’ Remote while you're actually shooting it. Ambico Activated VCR Programmer adds new offers three different sets of three filters meaning to the word “remote.” The $190 each. Series V-0319 includes multi-image, infrared remote controller has a sin- starburst and rainbow filters; series V- gle-event memory that can be pro- 0318 includes red, blue and yellow vignette grammed using its keyboard, or it can be filters; and series V-0317 has “fogalizer,” connected to a telephone so you can dial in | neutral density vignette and tri-color fil- your instructions when you're away from home. SHOOTING GALLERY Camcorders are likely to be among this season’s hottest gift items, and there are

Premium Processors: Sony’s black boxes include (left to right) the $550 XV-T500 digital super- imposer, the $700 XV-C700 color corrector and the $600 XV-T600 picture computer. Case Study: It’s Got Legs: o Ambico’s V-0480 RCA’s AC018 tripod aluminum case features a panning carries a camcorder and tilting fluid and accessories. head. ters. All three series include adapter rings foot brace. The CamPod is 17-1/2 inches for various camcorder lenses. long compressed and extends to 64 inches. Many home videographers yearn for RCA’s line of tripods includes the deluxe less noisy audio from camcorders, and re- AC018, with a two-way panning and tilting placement microphones offer that extra fluid head. quality. Sima’s Sound Catcher is a wireless Finally, camcorder users need some- model consisting of a receiver which thing in which to carry all this stuff. Ambico mounts on the camcorder and a transmitter offers two aluminum cases: the V-0480 for worn by the person appearing on camera. a camcorder and accessories or the V-0485 The system has an operating range of up to for a camcorder only. Ambico’s three soft 200 feet. Ambico’s V-0620 ‘‘zoom” micro- shoulder bags feature adjustable dividers phone attaches to the camcorder’s acces- | and rigid interior side panels. The V-0430 sory shoe and switches between “normal” and V-0431 carry a full-size camcorder and and “tele” pickup patterns. accessories, while the V-0434 holds a com- Tripods are also essential for taping pact. Tenba also offers a line of bags as well smooth, steady videos. Ambico offers four as the $150 V-SKI Pak, which protects models: the V-0518 and V-0520 with ex- camcorders from winter weather. tra-sturdy fluid heads, the compact fluid Any of these accessories will make head V-0525 and the fluid head V-0530. | Let it Snow: Tenba's $150 V-SKI insulated glove your videophile’s life easier—and much Sima offers the CamPod, a monopod witha | protects a camcorder from cold and moisture. more fun. a (oe a 238 REIANes Aa AS DECEMBER 1987 VIDEO 61

PREBOOK DATE DECEMBER 1+ ON SALE DATE DECEMBER 15 |Wmca5Or:nRlates WHERE ESCAPE FROM YOUR FEARS... - COLOR/ 96 MINUTES CATALOG #0618 HAS NO PAROLE! $79.95 2 GRR1CiN0Ra7SE1SS SHDLilOA)PRSMNIBAATKE a iSi : at ANY QUESTIONS ON BONUS BUCK BONANZA CLUB catt 1 (800) 521-0107 A%S:ttEeS we = Phils, TRANS WORLD ENTERTAINMENT PRESENTS A MARVIN G. LIPSCHULTZ PRODUCTION Starring ALDO RAY - VERONICA PORCHE ALI » SANDY BROOKE Also Starring SCOTT RYDER + LISA RAMIREZ * GARY GORMAN «ALISA WILSON + PETER KJENAAS » PETER RODRIGUEZ + BEA MARCUS Screenplay by DONALD LEWIS Music Editor CHARLES PAVLICH Director of Photography GREG VON BERBLINGER Executive Producers MORT GORMAN - MORRISJ.RUBIN » SID LUCKMAN d =. Producer TERRY S. WOODRUFF Produced by MARVIN G. LIPSCHULTZ Directed Associate by PHILIP MARCUS ee PLAY THE TERROR ON ALCATRAZ INSTANT WIN GAME! OVER 1000 CHANCES TO WIN! * An exciting San Francisco getaway, a close-up WAV A tour of the infamous Alcatraz, plus $500 cash! * A fabulous JVC Camcorder outfit * Pierre Cardin luggage ofFaiScNC8ondio3earn.fdrrcoivldrteimicaoetniaoln, No purchase necessary. For complete details contact your f UD Trans World Entertainment distributor sales representative. TRANS WORLD ENTERTAINMENT (U.S.A.) poe A) ga

BY LOU KESTEN VIDED GAMES BUUNGE BAGK Atari, Sega and Nintendo challenge a new generation of joystick junkies with sleek systems, light guns and 3-D Long, long ago, in the early ’80s, video games were the hottest trend in America. It seemed as though most teenagers, and more than a few adults, were spending mountains of quarters to play Asteroids, Donkey Kong, Pac-Man and the like. As Martin Amis wrote in his book Invasion of the Space Invaders, “Hospitals are fighting an epidemic of new maladies—Asteroid El- bow, Pac-Man Finger, Galaxian Spine . . Police stations maintain swelling dossi- | ers on Space Invader-related crimes. . . Worldwide, the space-game racket turns over more money than films or records.” Atari’s 2600 Video Computer System (VCS) invaded millions of homes, with machines worth $1.7 billion sold in 1982 alone. Mattel’s Intellivision and Coleco’s Colecovision were jockeying for their slices of the home video pie, while dozens of software companies were springing up overnight to fuel the mania for new games. Unfortunately, low-quality software abounded, and consumers grew dis- enchanted. Many game junkies shifted to the more sophisticated software appearing for personal computers. Still, video games held a loyal audi- ence. Atari continued to stock arcades, and Sharpshooter: Atari's XE game system, for $150, comes with a light gun as well as a joystick and a keyboard. DECEMBER 1987 VIDEO 63

VIDEO GAMES Sega, kept improving the technology and Barret introducing new arcade hits. Comin’ At Ya: Sega’s new $50 3-D glasses (above) plug into the Power Base By last year the three companies, for dazzling games like ‘Missile Defense 3-D’ (top). claiming to have learned from earlier mis- takes, were introducing new home video game systems as well. The new models are sleeker, smoother and better designed than their forebears—and all three compa- nies have vowed to keep a watchful eye on quality. Sales are solid, and America’s ro- mance with computer games has been re- kindled. WHAT'S NEW Five different video game systems are on the shelves this Christmas season. At the low end is the $50 Atari 2600 VCS, revived last year in a sleek new package. It plays all the old software, and Atari claims there’s a huge inventory of games for it, although you won't be able to find many of the games made by third-party manufac- turers years ago. A step up is the 7800 h22s:) ANtPiPn2teet.etmreanyy, ae ProSystem, which plays all VCS games as for $35, a Sports Pad trackball for $60, and Ticket to Adventure: well as newer cartridges requiring more a Control Stick for $35. Sega will also have Nintendo's $90 memory. The 7800 comes with two com- 3-D glasses for $50 and 3-D games, in Entertainment System fortable joysticks for $90. addition to its current library of over 40 (above) comes with ‘Super Mario Bros.’ and The Nintendo Entertainment System games at around $35 each. plays the challenging (NES) features a Control Deck and two The most powerful system is Atari’s adventure ‘The Legend push-button controllers for $90. Nintendo of Zelda’ (right). also offers a variety of peripherals, includ- new XE for $150. It boasts more memory ing ROB, the Robotic Operating Buddy, for $45; the Zapper light gun for $25; and than any other system and comes with a the Advantage joystick for $45. The NES light gun, a keyboard and a joystick. A disk plays some 35 cartridges, costing between drive will be available as well to access software for Atari’s XE computer. $25 and $40 apiece, and more are on the way from Nintendo and third-party manu- Just looking at the hardware won't help you decide which video game deck is best facturers. Three-D glasses are also due for you. The essence of any system is the software. The important question is: are soon. Sega’s basic system ($80) includes two touch-pad controllers and the Power Base, which accepts two kinds of software, smaller cards and more powerful car- tridges. Peripherals include a Light Phaser 64 VIDEO DECEMBER 1987

America is rekindling its romance with video games. Maximum Overdrive: ‘Out Run’ (left) is an | appealing driving game for the $80 Sega system (above). the games fun to play? Here are my picks air-to-air battles. Sega’s most eagerly and pans for each company. awaited games include Out Run, a beauti- fully designed driving game, and an adapta- SEGA tion of Parker Brothers’ Monopoly. Picks. The most addictive is Choplif- Pans. Sega’s most disappointing car- ter, a translation of Broderbund’s hugely tridges are its sports games, especially the popular game for home computers. You’re ill-named Great Baseball and Great Foot- a copter pilot whose mission is to rescue ball. Baseball's clumsy graphics make it Americans held hostage on land, at sea and impossible to master fielding and hitting. underground. The combined challenge of knocking out the enemy without killing the Base runners, as a rule, commit such faux hostages is incredibly satisfying. (Choplif- pas as running full-tilt on infield pop-ups, ter is available for Atari’s 7200 and XE and on the cartridge I played it was impos- systems too.) sible to bring in a pinch-hitter. Football has a tedious two-player mode, and its | Sega’s best original game is Alex Kidd one-player mode never lets you play de- in Miracle World, which is cute but also fense. Great Volleyball, Great Ice Hockey challenging. While it’s derivative of Ninten- and Pro Wrestling are equally disappoint- do’s legendary Super Mario Bros., Alex ing. Kidd engages more than simple reflexes. A dependable rule of thumb among ar- | Other absorbing Sega entries include cade habitues is to avoid games with movie Astro Warrior, a fast-paced space shoot- tie-ins, and Sega’s two Sylvester Stallone ‘em-up, and Action Fighter, a Spy Hunter knock-offs are no exception. Rambo is as imitator that combines road warfare with simple-minded as its namesake, and Rocky’s graphics are so bad that it’s hard to tell whether Rocky or his opponent is about to kiss the canvas. NINTENDO Picks. Nintendo’s library reflects its seasoned arcade experience. The most ad- dictive game in the lineup is Super Mario Bros., in which Mario runs and leaps through a shifting landscape of bizarre | scenes. It’s an elegant, absorbing game. Nintendo also has a strong sports in- ventory. Baseball and 10-Yard Fight (foot- ball) are somewhat limited, but the pro- grammers made the right choices about DECEMBER 1987 VIDEO 65

VIDEO GAMES using ROB—Gyromite and Stack-Up—are ball and Electronic Arts’ classic mixture of | dull affairs that waste the appeal of having a which elements of each game are the most cute li’l robot to help you out. The Light chess-like strategy and arcade action, important. Even though the graphics are Gun series—Duck Hunt, Hogan’s Alley, clunky, you can tell a ball from a strike and Wild Gunman and Gumshoe—become Archon. Soon to come is Lode Runner, a accurately gauge the best time to throw a predictable after two or three plays. pass (as you can’t do with Sega’s compet- fascinating maze game with 150 (!) increas- ing cartridges). Tennis and Golf are simi- ATARI larly good, and Punch-Out!! adds humor to Picks. There’s a ton of software for ingly difficult levels. a worthy boxing simulation. the 7800, and the games specifically de- Pans. Atari got in trouble the first time Nintendo’s most important entry is The signed for it are of consistent quality. Legend of Zelda, the first video game witha Atari’s main advantage is its aggressive around because it released so many poor “save game” feature—something long ago acquisition of titles that were hits with Ap- added to computer games. Thankfully, ple and Commodore buffs. Among the win- games for the 2600—duds like Raiders of too, because it takes months to actually ners are Choplifter, One-on-One Basket- “win” Zelda. Your character, Link, travels ball (a realistic duel between Larry Bird the Lost Ark, Superman, Hangman and through a wilderness and a series of dun- and Dr. J) and Summer Games and Winter geons, killing monsters, collecting cash Games (two lively batches of Olympic Circus Atari. In some places, they’re still and assembling the parts of the Triforce events). The 7800 also plays durable ar- amulet. Zelda requires clever strategy cade classics like Deluxe Asteroids, Centt- available, but I advise sticking to the more rather than quick reflexes, making it simi- pede and Ms. Pac-Man, which have re- lar to popular computer adventures like retained their charm and remain addictive. satisfying 7800 series. Ultima and Wizardry. The XE system I tested was hot off the Even games that did well with the com- Pans. Though exciting three or four first production line, so new software is years ago, arcade chestnuts like Donkey still skimpy. However, its keyboard and puter audience are not necessarily good for Kong and Popeye seem stale now. The Nin- jacked-up memory allow it to play the most tendo games that depend on peripherals sophisticated software for any video game the XE. For example, Electronic Arts’ Sky- are disappointing as well. The two games console. The best titles announced so far include the thrilling Flight Simulator IT, the fox and Lucasfilm’s weird action game Ball- high-resolution baseball simulation Hard- blazer look great, but are frustrating and dull in play. Atari’s own Star Raiders II, which comes with the XE, looks great, too, but suffers from repetitiveness. The system you buy should depend on the kind of games you like best. The NES has the best sports action, while the Sega and the 7800 are stronger on arcade action. The XE holds the promise of more sophis- ticated play than the others, but at a price. All four machines, though, accomplish what they set out to do—provide a new generation of joystick jockeys with good, clean, addictive fun. rT] Itonly performs like a heavyweight. At only 2.6 pounds, the with CCD imaging device. Olympus VX-802 Movie 8 Olympus VX-802 Movie 8 is A 6X power zoom lens with one of the world’s lightest 8mm camcorder. For record/play 8mm camcorders. macro and 7 lux low-light literature, call toll-free: sensitivity. TV recording 1-800-433-0880. With built-in automation, and playback. Hi-fi sound. And a host of features to let it can make your videomaking your creativity soar. as easy as point-and-shoot. Give wings to But if you're looking for your imagina- tion. With the even more performance, the VX-802 Movie 8 really packs a wallop. Multi-speed, fast- action shutter. Advanced Piezo auto focus system OLYMPUS Olympus Corporation WCoonosdumbeurryPrN,oYdu1c1t7s97 Group CSi4NFRcaoaieond9enr.rfdacdvoidl.irteecimreoantailon, DECEMBER 1987 66 VIDEO

BY MARK FLEISCHMANN UGH STUFFERS Affordable tapes to solve last-minute gift dilemmas You must get your holiday shopping done Great Escapes: you with yogurt and granola. She does it before the roads ice over completely. The Disney's animated quin- problem, as usual, is what to get for that tet (top comes in a because she loves you. Return the favor special someone who has everything or gold-tinged display case with The Windham Hill Gift Pack (Para- likes nothing. for $150; Paramount's mount): four tapes of stunning nature pho- ‘Star Trek IV’ is avail- tography and relaxing music. The set goes Try atape. The major video labels have able for $30. for $99.95; individual volumes (Winter realized that consumers like to buy tapes, would be an appropriate choice) are availa- especially at year’s end, and boy, are they ble for $29.95. For a more direct emotional ready to cooperate. Holiday price pro- appeal, consider the home-and-hearth motions proliferate in what is now an annu- values of Sally Field’s Places in the Heart, al ritual. But which tapes? which has a place in CBS/Fox’s $29. 98 Five Star Collection V. Video Magazine to the rescue. Here’s a brief guide on what to get for the especially Mild-Mannered Brother: He’s qui- hard-to-please, personality by personality. et-spoken. Inaudible, in fact. If he’s under Mind, you have far more choices than are mentioned here, even in the under-$30 12 he'll still find his role model in.ACharlie range. The selection is incredible—further proof that videos make fine gifts. Brown Celebration, one of adozen Peanuts titles from Kartes ($11.95), or inA Charlie ALL IN THE FAMILY Brown Christmas, one of four from Hi- Tweedy Dad: Even back in high Tops ($14.95). Later in life he qualifies for a dip into Key’s Woody Allen Collection. school your father was voted the guy most He’d no doubt appreciate his own copy of likely to end up in a comfy chair, smoking a Annie Hall ($19.98). pipe, reading Field & Stream. But he also likes to dream a little, so get him The Right Talented Sister: This one is headed Stuff (Warner, $29.98) just to let him know for the big time. For inspiration, give her you think he’s still got it. An alternate pick That's Entertainment ($29.95), one of in the great-men vein would be Citizen MGM/UA’s Great Musicals. For a mes- Kane (VidAmerica, $14.95). sage on the darker side of fame, consider All About Eve ($19.98) from Key’s Bette New-Age Mom: She’s always stuffing Davis Collection. Nostalgic Grandparents: They long DECEMBER 1987 VIDEO 67

Rooftop Hoofers: The musical romance of ‘West Side Story’ (above) is part of CBS/ Fox's Five Star V collec- tion at $19.98 each. for Miller and Dorsey, or Ellington and LPeatr'ts Get Political: Raul Julia rages at Sonia Braga sticks, they need something to occupy Basie. They’d love MCA’s Swing—The themselves. Only total culture shock will Best of the Big Bands series ($24.95 per in ‘Kiss of the Spider Woman,’ $24.95. prevent them from trashing the house. Quick—give them The Little Rascals. Re- tape; $79.95 for all four). Also worth con- New Age Rage: public has reduced its four compilations to sidering: Kartes’ The Big Bands series Paramount's popular $19.95 each. If that doesn’t leave ’em mes- ($14.95 each). Windham Hill series is merized, try Gumby’s Holiday Special available in a four-tape (Family, $9.95). Shady Uncle: He’s short, muscular gift pack for $100. and secretive. A threatening cigar- COLORFUL FRIENDS chomper. This is a hard person to shop for. You’ve done the family. Now for the Although you might consider The Godfa- friends. This shouldn’t be hard. ther (Paramount, $29.95), you-finally de- Gold Card Carriers: Either you have cide to err on the side of diplomacy and go for Clint Eastwood instead—either recent alot to spend or you want someone to think (Sudden Impact) or classic (Dirty Harry). you do. You need something big. The big- Warner has each for $19.98. gest-ticket economy item we’ve run across is Disney’s 1987 Classics Collection, fea- Ex-Hippie Aunt: Long ago, she dem- turing Lady and the Tramp, Sleeping Beau- onstrated to make the world a better place. ty, Sword in the Stone, Alice in Wonderland and Dumbo. They come together in a gold- She even introduced your mother to grano- tinged display case, this season only, for la. At first you think of Woodstock (Warner, $149.75. Classic Disney animation appeals $29.98). Too obvious? Kiss of the Spider to a wide range of ages and tastes. Woman (Charter, $24.95) would appeal to her political instincts, but lately her inter- Green Card Carriers: If Disney ests have turned inward. Get her one of seems like the right gift idea but the pack- Jane Fonda’s Workout tapes (Lorimar, age price is too high, the newly-released $39.95) so she can become fit while re- Lady and the Tramp is available separately maining politically correct. for $29.95. The story begins and ends, appropriately enough, around a Christmas Punk Cousins: On rainy days, when these mohawked terrors can’t run around continued on page 125 the neighborhood knocking hood orna- ments off Oldsmobiles with their hockey 68 VIDEO DECEMBER 1987

BY FRANK VIZARD- Video telephones, OR VIDED As New York City police officer long a dream, are finally affordable Steven McDonald lay in a hospital bed last January, paralyzed by a gunman’s | bullet in his spine, his wife gave birth to their first baby. Although McDon- See Me, Feel Me: ald couldn’t be at his wife’s side dur- Luma’s video telephone ing delivery, he was able to see and talk to (above) can be connected | her—and see his newborn son—by video to a video printer (left) telephone. DECEMBER 1987 VIDEO 69 McDonald’s bedside video phone was among the first physical manifestations of a product that the general public accepted in principle almost a generation ago when AT&T introduced the Picturephone at the 1964 World’s Fair in New York. In the years since the fair, the video phone has | helped resolve fictional crises on The Jet- sons’ cartoon show and eased intergalactic tensions on Star Trek. For the average earthling, however, it has remained una- vailable. Only well-heeled corporations with access to special phone lines and sat- ellite relays have been able to see as well as hear the party at the other end of the line. Although the reality of a “picture telephone” in every home never ma- terialized and is probably still sev- eral years away, video phones are now afforda- \\ ble enough to be used as communication links between hospital patients and their families, advertising agencies and their clients, corporate mana- gers and plant foremen, and many others. These new video phones are cost-effective because they use technology suited to the information-carrying capabilities of exist- ing telephone lines. Instead of trying to transmit continuous moving pictures (im-

Video phones send and receive B&W images and have a variety of lenses. Hello, It’s Me: el transmits pictures at a rate eight times Videophone’s device transmits a new 128- slower than the 9,600 bd unit, or one ev- line image every half- ery four seconds, but the $695 price tag second. may compensate for the time loss and video compression circuitry to eliminate redundant information. Although its older, makes it competitive with Luma’s video low-end Videophone offers a horizontal resolution comparable to Luma’s, its top- phone. (The latter carries a suggested end model delivers a horizontal resolution of 128 lines. And, if judged solely by its price of $1,095 but sells for as low as ability to transmit pictures rapidly, it is probably the most advanced video phone $750.) The transmission rate of both the available to consumers. Its 9,600 baud model can transmit a picture every half Luma and the 1,200 bd Videophone is second. roughly the same. “Refreshing,” an industry term that re- fers to the taking of a new picture, occurs The Videophone and Luma machines automatically. This technology makes call- ers look like black & white versions of TV’s vary in other ways as well. One important Max Headroom, continually moving in a slightly disjointed fashion. This top-line difference is the number of phone lines video phone lists for $1,895. required. Since the Videophone continually Videophone’s lower-end 1,200 bd mod- refreshes the picture to transmit the latest image, it uses the phone line to its fullest capacity and requires a second phone line for voice transmission. Although this requirement may not concern businesses with numerous phone lines, the approach developed by Luma seems better suited for individual consum- ers. With the Luma video phone, you press a “send” button to manually transmit a black & white “snapshot” that appears on the receiver’s video display. Transmission takes between one and five seconds, de- pending on the size of the picture. During this period, voice transmission is not possi- ble. So, while you avoid the expense of a second phone line, you cannot transmit au- dio and video information simultaneously. On the other hand, Luma’s video transmit- ting ability adds nothing to your phone bill. The Luma video phone does have one feature not found on Videophone models: caller and receiver can see each other simultaneously on its three-inch screen. possible over common telephone lines, It’s easier for the user to properly frame a which cannot handle the tremendous amount of data involved), they transmit picture before transmission. On the other still black & white images that are updated every few seconds. hand, the video camera used by Video- PROS AND CONS phone is detachable (Luma’s is not), mak- The two leading companies in the video ing it more useful for security purposes. phone field, Luma Telecom, Inc. and Videophone, Inc., take two entirely differ- Both video cameras can be fitted with ent approaches to data transmission. Luma eliminates many of the “dots” that com- an assortment of lenses for detailed or prise black & white television pictures to avoid building costly video compression wide angled work. Video printers are also circuitry into its Luma phone. Although the resulting image, with a horizontal resolu- available for hard copies of transmitted im- tion of 96 lines, is viewable, it lacks sharp- ages. Teleconferencing with three or more Videophone’s two phone units use people is also possible. Video phones are along way from being as common as today’s touch-tone tele- phones, but they are likely to be used in- creasingly in business, from manufacturing to medicine. So the next time you walk into someone’s office, don’t be surprised if he’s wildly gesticulating at someone hundreds of miles away. P] 70 VIDEO DECEMBER 1987

STANIEY KUBRICK'SBYRICHARD GEHR DISTURBING VISIONS From “Dr. Strangelove’ to ‘Full Metal Jacket,’ the Bronx expatriate turns a uniquely bleak outlook into | unforgettable films For all of their much-deserved fame, witnessed in the past several years.”’) Stanley Kubrick’s films have rarely been In spite of their regular critical drub- praised upon their initial release. The redoubtable Pauline Kael castigated 2001: bing, Kubrick’s films have always been re- A Space Odyssey (1968) as “a monumentally deemed in the long run. Even those who unimaginative movie.” Andrew Sarris criticize his work recognize his genius. A called it “a disaster.” In a particularly tell- self-confessed control freak, the Bronx- ing review, Variety suggested that “Film born London-based director’s aversion costs too much for so personal a film.” to the press and celebrity trappings, his talent for chess and ping pong With the exception of A Clockwork (games often figure in his Orange (1971), Kubrick’s subsequent pic- films) and his dark, in- tures—Barry Lyndon (1975), The Shining tense features meet (1980) and, to a lesser extent, 1987’s Full the basic require- Metal Jacket—have all been trashed by ments for a most of the critical establishment. (Sarris, brooding ge- however, seems to be warming: ina recent nius. That Village Voice review he characterized the im pres- first 40 minutes of Full Metal Jacket as “the sion of most brilliant piece of filmmaking I have him alll Heeeere’s Stanley!: Director Kubrick (right); Shelley Duvall and Jack Nicholson in ‘The Shin- ing’ (left). PSWKTHUEHAIBLORNRETINIVNOECIGTKRS:E:IQOUNE; DECEMBER 1987 VIDEO 71

KUBRICK Pick a War: Peter Sellers (left) in Grimace and Bear It: ‘Dr. Strangelove’; Kirk Douglas leads the thousands of extras charge in ‘Spartacus’ fighting the Napoleonic (above). Wars in ‘Barry Lyndon’ (right). is too simplistic, however: this expatriate’s-eye view from abroad in- Uniforms: cludes a steady intake of new American The harsh disciplines of movies, books and taped football games. Marine basic training in Perhaps he’s no more remote than the ‘Full Metal Jacket’ (left) average American couch potato. and outer space in ‘2001’ (below). Amid the self-serving, nutritionless spread that comprises contemporary film- ing) and Full Metal Jacket are presently making’s high-concept/low-content smor- unavailable. gasbord of yupscale comedies, dead teen- agers and MTV-derived stylings, Ku- OF HUMAN BONDAGE brick’s films display integrity, intelli- In Kubrick’s universe, man is given the gence and a classical sensibility. This alone makes him a radical among his peers. Yet opportunity to prove himself something over the course of 11 feature films he has more than a variant on his beastly prede- mapped out a complex and intricately codi- cessors; invariably, he fails to do so. To be fied private universe, employing an elegant human, suggests Kubrick, is to fight a nev- vocabulary of cinematic moves that rever- er-ending battle against irrational, libidinal berate from one film to the next. Like the forces. This results in sexual suicide, such | games and mazes that so frequently appear as Humbert Humbert (James Mason) suc- in it, Kubrick’s work provides the perfect cumbs to in Lolita (1962); nuclear destruc- fodder for viewers who delight in discover- tion, as in Dr. Strangelove, or How I ing repetitions, details and private jokes in Learned to Stop Worrying and Love the a director’s oeuvre. Bomb (1964); irrational violence (A Clock- work Orange) and even attempted family- Videophiles can make or renew their cide (The Shining). acquaintance with Kubrick through eight movies that have found their way to tape. If the individual can’t humanize himself, Only three early documentary shorts (Day society steps in to batter him—so far, it’s of the Fight, Flying Padre and The Seafar- always been a him—back into line. In ers), his first two features from the mid- A Clockwork Orange Alex de Large (a 50s (the noirish Killer's Kiss and The Kill- brilliantly obnoxious performance by the young Malcolm McDowell) is the “ul- 72 VIDEO DECEMBER 1987 traviolent” anti-hero whose malicious urges are nipped in the bud by the behav- ior-shaping ‘‘Ludovico”’ technique. Through negative reinforcement, Alex be- comes violently ill whenever he encoun- ters sex, violence or, as part of an unfore- seen “punishment factor,” the music of SLL2PWTOPT0YEHAL0ARNLOIR1RADETT:NTONVAOEA,NIGTR:CSEEIUL

those soldiers are fighting. During a long track backward through those trenches, the general mouths empty platitudes de- | signed to keep those soldiers obedient. The first shot in Lolita is a view seen from Humbert’s car as he barrels through | the British fog on his way to kill his rival, Clare Quilty (Peter Sellers). The space- | ship in 2001 has a large ringed walkway around which astronaut Frank Poole (Gary Lockwood) runs, past the frozen bodies of his fellow crew members. The ship’s other | mobile crew member, David Bowman (Keir Dullea), is sucked back inside from Pretty Young Thing: James Mason as Humbert Humbert ogles Sue Lyo in ‘Lolita.’ space through an airless passage. In A Clockwork Orange, Alex waxes rhapsodic Beethoven. This leaves him at the mercy practiced by the Marines, an organization over the joys of ultraviolence as he races of those he tormented in the first half of the that specializes in the transformation of through the night (“playing hogs of the film. After Alex attempts suicide, the Ludo- men into killing machines, is successful. road”) in a stolen car. vico treatment is reversed and he becomes Much of Barry Lyndon takes place on as evil as ever. Free will is ambiguously THE STRAIGHT AND NARROW | scenic country roads, as Barry (Ryan | affirmed. “I was cured all right,” Alex pro- One predominant image symbolizes O’Neal, in his only decent role besides claims with evil glee. He knows the goy- the individual’s lack of choice in Kubrick’s What's Up Doc?) travels across Europe, ernment will provide him with job security, work: the passage that defines his charac- seeking a home he will never find. After so he can rape and pillage as before. ters’ fixed, almost mechanical, destiny. setting two films in the high-tech future, The last words in Full Metal Jacket are As Paths (!) of Glory begins, a blindly Kubrick’s point in this 18th-century cos- equally cynical and resigned. Having just ambitious general struts past two rows of tume epic is that the passions and restric- executed a young female sniper, Private soldiers into an 18th-century chateau. Af- tions that compel us now were just as inex- Joker (Matthew Modine) affirms his “free- ter a decision that will cause the unneces- orably confining during the so-called Age of dom,” stating: “I am alive, and I am not sary deaths of many soldiers is made there, Reason. afraid.” This behavior modification, as the action switches to the trenches where continued on page 126 | J DECEMBER 1987 VIDEO 73

PIHTOTTOOOKGTRHAEPMHIYTNDO CTOHNACTREEIVVOELUTHTEIOUNLTIIZMEADTE CAMCORDER. Only the mind of Minolta would even imagine acamcorder as revolutionary as our Maxxum® SLR. Yet like Maxxum, the Master VHS-C Camcorder isa giant leap forward. The advances begin with Multi-Dimensional Autofocusing. The first system to maintain a Ae 4 focus smoothly from infinity right to the surface of buy i the lens. And ifyour subject leaves the center of t\\ your frame, the Master’s widening focus area will a _ @. iam never be fooled into focusing on the background. eer gamance From there, Minolta brought in its light meter expertise to conquetrhe problems of different light sources. Now you can master color in any light. Then Minolta re-invented autoexposure, so the Master would automatically adjust to give you perfectly lit scenes even in shadows or with |= | Wena strong backlighting. i MASTER'S AUTOEXPOSURE SYSTEM VS. CONVENTIONAL METERING UNIQUE MULTI-DIMENSIONAL AUTOFOCUS And where the Master is most . —— —— surprisingly like the Maxxum is in design. It’s the first camcorder that’s held comfortably like an SLR, with a 6x zoom placed right at your fingertips. So it’s the easiest one to operate. The Minolta Master. Until now, a camcordetrhat makes video photography this easy has been difficult to conceive. Be certain that the valuable Minolta USA limited warranty cards are packaged with your products. For more information, see your Minolta dealer or write: Minolta Corporation, 10 Williams Drive,Ramsey, NJ 07446, in Canada: Minolta CanadaI,nc.,Ontario. © 1987 Minolta Corporation, MASTER’ ‘J\"BU“AO/4P/dUaOZ0edlNIpO4UdeANO/g CAMCORDERS MINOLTA ONLY FROM THE MIND OF MINOLTA

pet MARTIN PORTER AES COMPACT VIDEOMOVIE “Easy-to-use equipment makes you slop- | which to choose: two each from JVC, Ze- nith and Sony, and one each from Toshiba, py,” film guru Haig Manoogian frequently GE Quasar and Panasonic. They each com- bine a video camera and a video recorder, told his New York University classes be- reduce operational necessities to a mini- mum, offer automatic or switchable focus, fore turning them loose to make movies iris, and white balance and lack direct play- back capability. with no-frills Bell & Howell 16 mm film Most also look alike. In fact, from an industrial design standpoint, little diff- cameras. A generation of directors, includ- erentiates JVC’s GRC-9, for $1,150, from Zenith’s VM6150, for $1,000, Toshiba’s ing Martin Scorcese, followed his teach- SK-40 for $1,149, Panasonic’s PV-50 | and Quasar’s VM-40 and GE’s ings. Today, as the number of ultra-simple 9-9705, each for $999. The plas- | tic shells are alike, as are the | point-and-shoot camcorders continues to specifications. All use the BJARYENNER VHS-Compact format with HQ, have multiply, his advice seems more relevant through-the-lens (TTL) viewfinders, half-inch CCD imagers, f/1.6 lenses, than ever. automatic irises, focus and white balance, and 20- or 60-minute re- Following the path blazed by popular cord times in switchable SP/EP Point-and-shoot —| point-and-shoot 35 mm still cameras, the modes. None has a zoom. All | simple new camcorders are fully auto- camcorders take the. | matic, and sometimes require little weigh just more than the push of a single button guesswork out of to turn on the power and set the over two | recording heads in motion. All are videotaping. lightweight, work well at low illumi- nation levels, and set focus, iris and white balance with little or no ef- fort. Although they have subtle differences, overall, they operate in the same way: stick the viewfin- der to your eyeball, point, thumb- print the trigger and fire. What more is there to say about camcorders that, by their very nature, are dedicated to simplicity? Quite a bit. | First, there’s the pressing _ issue of what to look Instant Video: ' for when shopping The JVC VHS-Compact and what to buy. GRC-11 (above), for There are now $1,150, requires virtually a number of point- ee no manual adjustment | and-shooters from

READY, AIM Point-and-shoot camcorders offer no-frills video. lar version from Zenith, the VM6175 | Sharpshooter, is expected to sell for about $1,000, which may cause the price on Ze- nith’s VM6150 to drop. THE 8MM APPROACH Despite the recent proliferation of VHS-C point-and-shoots, it was the 8mm format that introduced the concept of cam- corder simplicity. The original Sony CCD- | M8U Handycam proved that a camcorder | could be significantly lightened by putting | its playback component into a separate de- | vice. Otherwise, it was a small, us- | er-friendly box with a two-zone focus switch, a three-position auto iris, and a two-position color temperature switch. Originally priced at $1,800, the Handycam can still be found in some stores for well under $1,000. | A second generation point-and-shoot Side Shows: Handycam, the CCD-M7JU, also includes a Toshiba's SK-40 uses record-only camcorder and a portable 8mm a side mounted TTL VCR, weighing just over three pounds, in | viewfinder. the Pak 7 8mm System for $1,450. The camcorder has been streamlined and light- pounds with battery, are record-only mo- may not see this perk in its literature about ened to two pounds, two ounces with bat- dels and play back their tapes in tabletop the product.) | tery and cassette. The iris and the white VCRs using VHS shell adapters. Adding to the point-and-shoot formula | balance are automatic. The portable VCR GE, Quasar and Panasonic models site without making the machines trickier to | was enhanced with their TTLs down the middle and atop the use has become a prime design objective. high-speed picture camcorder box, while JVC, Zenith and JVC has led the way with a zoom lens. Its search, Toshiba place them to the side, above the GR-Cl11 adds a 3:1 manual zoom which microphone. From using both types, I’ve adds four ounces to the weight, slows the found that a top viewfinder uncomfortably lens speed down to f/1.7 and raises presses your nose to the camcorder and the minimum illumination to makes you feel as though you're taping 12 lux. The unit was with your sinuses rather than with your initially priced at eyes. The side-mounted viewfinder is $1,149, while slightly easier to look through. a simi- There are other subtle differences. For example, the JVC, Zenith and Toshiba models provide a 10 lux minimum illumina- tion while the GE, Quasar and Panasonic models rate slightly better at 7 lux. The JVC, Zenith and Toshiba models have a close-up button for subjects nearer than three feet, while GE, Quasar and Pana- sonic load otherwise stripped-down ma- chines with automatic index and address search. Index search marks the control track with a signal that can be located in a linear fashion in either rewind or fast for- | ward. Address search marks the control | Zoom With a View: track in one-minute intervals that can be Zenith’s VM6175 Sharp- accessed on compatible playback decks. shooter features a (GE doesn’t make one, which is why you 3:1 manual zoom lens. 76 VIDEO DECEMBER 1987

fabetterTV. If you still think all videotapes are the same, | astounding signal-to-noise ratio, What that Sony invites you to look at our new videotapes. means to you is terrific color and ternific Because the same thing that makes Sony T'Vs better makes Sony Beta or VHS videotapes better: sound at an affordable price. Sony technology. And for high-grade fans, our new The best VCR is only as good as the best Sony * SONY ; videotape: PRO-X. Its ultra-fine Vivax™ io | Sony ES-HG is a perfect example of how | particles deliver extraordinary video Sony Vivax magnetic particles hold more and audio recording characteristics. video “information” to give you better » SONY f Theres simply no better Sony videotape = than PRO-X. picture quality, even at the slowest speeds. ! * SONY, So, you see, the standard for buying But no videotape is more TVs applies to videotape, too. When you reliable than Sony Dynamicron®. You can ; record on it over and over and geta say, ‘Till take the Sony,’ youll be getting coc crisp, clear Sony picture over and over. the finest picture possible. »£750 i New Sony ESX-HiFi has a truly Because Sony videotape is as advanced as today's equipment. Better SONTYY. videotape, from the people who invented better video. 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. 84 on Reader Service Card.

READY, AIM 8mm introduced — 4 simplicity to 4 camcorders. | | still frame and an edit switch. Its battery, the NP-22, is nearly 50 percent lighter than the earlier version. The simplicity, elegant design and cre- ative miniaturization of point-and-shoot camcorders make them excellent choices for home videographers who want to make their tapes as painlessly as possible. In some cases, the shortage of advanced fea- tures may prompt some users to rely more on their ingenuity. But their simplicity has a price. SIMPLICITY’S PRICE | Handypak: Video, unlike film, offers instant access | Sony's CCD-M7U 8mm to imagery. It allows on-the-scene viewing || Handycam, part of with either an instant replay or a scene review function that plays back the last few the Pak 7 system, weighs only two seconds of a recording with a single button pounds, two ounces. push. This way, if you blow a shot or wish to erase a scene, you can decide before it’s fice, and point-and-shoot models are | shooting style accordingly. For example, too late—or review the entire video among the least expensive camcorders | don’t compensate for the lack of a zoom through an electronic viewfinder (EVF). around, which makes them extremely pop- | lens by manually moving the camera to- However, current point-and-shooters ular. ward and away from your subject. This is | come with TTLs only—which let you com- You can still obtain superior tapes with | difficult to do without jiggling the camera. | pose and target shots but offer no review capabilities. But an EVF is a modest sacri- point-and-shoot camcorders by recogniz- | You are better off combining short, sepa- ing their limitations and adjusting your | rate segments that employ classic combi- nations of wide-angle, medium and close- up shots. Take advantage of the unit’s light weight by using otherwise difficult shoot- ing angles. Give yourself a workout while you shoot: bend, stretch, reach with the lens. Otherwise, always shoot with the | light coming over your back and remember | that, of all available shooting positions, | close-ups come out the best on TV. | Keep the camera steady. Camera jiggle | is tough to watch and even the slightest jolt is magnified considerably when played | back on TV. Larger camcorders usually | have shoulder rests to stabilize shooting | somewhat. Since point-and-shoot camcorders are made to fit in the palm of your hand, practice keeping the camera still with one or, preferably, two hands. This will work for short scenes, but for | longer sequences prop the camcorder ona | tripod or some other support. For optimum visuals, operate the cam- | corder with as much available light as pos- | sible. Don’t push the close-ups in low-light situations and keep most of your composi- | Search Me: tions at least three feet from the lens. Use | Panasonic’s PV-50 features automatic index | the SP mode with VHS-C models: 20-min- | and address search. utes of shooting time is usually more than | | sufficient. i] 78 VIDEO DECEMBER 1987

Take the Team Homie... With Radio Shack’'s New Full-Featured VHS Camcorder /VCR Enjoy the winning drive, or your family’s Sunday Best of all, you can capture it all, up to two hours, ona drive .. . over and over! Radio Shack’s new Model 100 single VHS cassette. Complete with rechargeable bat- MovieCorder™ puts you in the director’s chair as you tery pack, charger/AC adapter, A/V output cable, hard capture the action in full radiant color and sound. You case and shoulder strap. And at only $1299 you’re sure to choose the setting—the “big game’, vacation, holiday, come in under budget. or your own backyard. Pick your cast from your favorite ® team, or family and friends and start the magic. Best of all, you can screen your movies immediately because the MovieCorder is also a feature-packed VCR. Connect ™ it to any TV/monitor, sit back and enjoy the show. The MovieCorder’s pro-features and ‘“point-and- A DIVISION OF TANDY CORPORATION shoot” convenience deliver the high-quality and operat- Send for Your Free 1988 Catalog | ing ease aspiring directors demand. The 2/3” MOS | imaging system, variable-speed shutter, infrared auto- Mail to Radio Shack, Department 88-A-220 focusing, 6-to-1 power zoom lens, self-timer, built-in mike, 300 One Tandy Center, Fort Worth, TX 76102 | auto white balance and iris combine for hassle-free mov- iemaking. With sensitive 7-lux recording, your pictures NAME : will be sharp and crisp, even in low-light “locations”. You also get HQ for superior detail, high-speed forward/ STREET | | reverse visual search for easy scanning, and an adjusta- ad ble 2/3” electronic viewfinder. Credit plans available. Price applies at participating Radio Shack stores and dealers For additional information, circle No. 73 on Reader Service Card.

BYJAMES LARDNER TNEBIRTHThe Roots ofVideo: Part 1 On Sept. 27, 1951, David Sarnoff marked Speeding the machine up was the obvi- his 45th anniversary in the radio business ous solution. At RCA, the videotape re- by presenting to the engineers at the RCA corder quest became the in-house equiva- Laboratories in Princeton, N.J. a list of lent of the Manhattan Project: the proto- gadgets he wanted them to invent by his typical tape was soon hurtling past the pro- 50th anniversary. One was a machine that totypical recording head at 30 feet per sec- would “record the video signals of televi- ond, or 20 miles an hour. sion on an inexpensive tape’”—that is, a Unfortunately, it took over a mile of videotape recorder, the forerunner of the tape on one of RCA’s early videotape re- VCR. corders to hold a four-minute program. The only way to store a TV program The arithmetic was impossible. The pic- then was by kinescope recording, which ture wasn’t much better. When Sarnoff amounted to putting a movie camera in complained of image fuzziness, his engi- front of a TV screen. The networks, in- neers, for want of a better remedy, stayed cluding RCA’s subsidiary NBC, were des- up late the night before a press demonstra- perate for a simpler way to bridge the time tion removing the front row of seats in the gap between east and west coast. The auditorium—to keep the press, and Sar- Video Seer: audio tape recorder, a technology snatched noff, at a visually safe distance from the Akio Morita, Sony co- founder and a driving from Nazi Germany as war booty, looked monitors. force behind the develop- like an attractive model to work from. But At the Ampex Corporation in Califor- ment of the VCR. the challenge was to figure out how to nia, a few young engineers were taking a adapt it to the greater density of informa- different approach. Led by Charles Gins- tion involved in video. burg, they decided to make the recording head a moving part to achieve a high “writ- This article is PartIofa three-part series on ing speed”—the relative speed with which the roots of home video. Look for Parts II the tape and head go past each oth- er—even as they kept the speed of the tape itself at amore manageable rate. They also decided, wisely, to stick to black & OFTHEVGRand LIT, covering thegreat Beta/VHS format war and the rise of tape rentals, in future ISSUES. The U.S.-Japanese drama behind the leeLJIUsMDTKE revolution in home viewing 80 VIDEO DECEMBER 1987



BIRTH OF VER Mark llVideoHead refurbisbhyeCdMC i i 1 “Say Let i 4 oia Pe \\e Room with a View: Joseph Roizen with the first videotape recorder, Ampex’s room-sized VR1000, which it Old Gold: introduced in 1956. Roizen, now president of Telegen, was part of Charles Ginsburg's development team. Sony's 1965 CV-2000 SONY STEPS IN Roberts and his people were livid. By (above), the first home For several years Ampex basked in the then, though, Japan had become a source | video recorder, and its of many headaches for Ampex. After an 1974 SL-6300 Betamax afterglow of its triumph, selling many more (below), the first half- VTRs than it had anticipated. By 1960, initial rush of orders, Ampex’s attempts to inch VCR. however, the broadcasting industry was sell VTRs to Japanese broadcasters were feeling the need for a smaller, less expen- going nowhere, and its applications for Jap- sive VT R—a transistorized model that anese patents had ground to a mysterious wouldn’t have to stay inside a TV station or halt in their march through the government production studio. Philip Gundy, an Ampex bureaucracy. More alarming, several Japa- vice president, worried that his engineers nese companies were marketing unauthor- didn’t have the necessary know-how. ized clones of the Ampex VTR. One was so To Gundy, it was only natural to seek exact it included a set of useless holes in help from the company that had been most the top plate that Ampex had drilled by successful in making transistorized prod- mistake. ucts for the consumer market—even if it When Ampex’s lawyers complained, was a little-known Japanese outfit, born in they were coolly informed that Ampex had the charred recesses of a bombed-out To- better share its technology if it wanted to white so as not to complicate their task. kyo department store in the autumn of do any more business in that part of the The RCA engineers, by contrast, were 1945. In June, 1960, Gundy met with world. Having no real choice, Ampex under orders to build a machine that could Masaru Ibuka and Akio Morita, co-foun- agreed to license its patents to the very record in color. ders of the Sony Corporation, and the companies that had been pirating them. At three men signed a letter of agreement. the same time, Ampex set up a joint ven- In April, 1956, at the National Associa- Sony would design and supply transistor- ture with Toshiba to assemble and market tion of Radio and Television Broadcasters convention in Chicago, Ampex unveiled ized circuits for a “portable” version of the VTRs for the Japanese market. the first practical videotape recorder. Us- Ampex VTR. In return, Sony would get HELICAL DAWN Toshiba had already made a major con- ing the so-called “quad” system, four rotat- the right to make VTRs for non-broadcast tribution to the VTR. In 1959, it had devel- ing heads recorded the video signal in short customers. oped a new recording technique called heli- cal scanning: tape was wrapped in a spiral swipes across the two-inch width of the To Ampex, this seemed like a small around the drum and the recording head laid down a track that ran diagonally along tape, instead of along a continuous length- concession. To Sony, however, it was the tape. Each swipe across the tape was considerably longer than in a quad machine wise track, as in the RCA design. The all-important. While Ampex specialized in and could handle half, rather than one- thirty-second, of a frame. This simplified Ampex VTR—almost as big as a room and making sophisticated machines for profes- the circuitry and permitted a VTR with one costing more than $50,000—admirably sionals, Sony was devoted to bringing high or two heads instead of Ampex’s four. served the purpose for which it was intend- technology to ordinary consumers. In 1963 Sony’s first helical-scanning ed: time-zone delay. Incidentally, and un- In 1961, Ampex’s new president, Wil- VTR, the PV-100, appeared. The machine was about the size of a two-drawer filing expectedly, it ended the age of live TV. | liam Roberts, decided to make Ampex a force in the consumer market. Roberts re- James Lardner is a staff writer for The New nounced the agreement with Sony, dis- Yorker. This article is adapted from his missing itas a preliminary memo. But Sony book, Fast Forward: Hollywood, the Japa- thought otherwise and, later that year, put nese and the Onslaught of the VCR (Nor- its first VIR on the market—a transistor- ton; 1987). ized quad machine known as the SV-201. 82 VIDEO DECEMBER 1987

cabinet, and American and Pan-American transistor back in 1947. Airlines soon adopted it for in-flight enter- Size was the difficulty. A home VTR would have to record at least an hour of tainment. Sony’s VTRs evolved quickly. A programming in color on a cassette. But no year later came the company’s first EV one had managed to make a machine that could record that much material on any- series, a smaller system that used one-inch thing less than an eight-inch reel of one- inch tape. Obviously, a cassette able to instead of two-inch-wide tape and was in- hold two such reels—for supply and takeup—would be prohibitively large. And tended for use in schools. Then, in 1965, it would be no mean feat, either, to con- struct a mechanism capable of loading the came the half-inch, $1,000 CV-2000, bally- tape (and wrapping it around the recording head) without human intervention. hooed as the world’s first ‘‘home In the late ’60s, several developments videocorder.” that contributed to more space-efficient video recording came together. Iron oxide The CV-2000 came in two models, as a tape coating gave way to finer, more sensitive magnetic powders, while new each with a built-in TV. A seven-inch reel materials and advances in micromanu- facturing paved the way for a smaller re- of tape could hold an hour of original pro- cording head. gramming, shot with the six-pound camera PEE ree. In the fall of 1969, Nobutoshi Kihara, a that came as an accessory, or TV shows Sony engineer instrumental in developing recorded off the air. The more expensive The appeal of the company’s audio tape recorders, and version came in a walnut cabinet “manufac- his team came up with a cassette that used tured in the United States, ” as Sony proud- cassettes grew as three-quarter-inch-wide tape and a U-load- ly proclaimed. It even had a timer, “to ing mechanism in which a series of pins record a television program while the own- engineers created mounted on a ring pulled a length of tape er is away from home.” free of the cassette and wrapped it in a narrower tapes. sidways “U” around the drum. Akio Morita regarded the CV-2000 as a declaration of independence against the To properly launch the new sys- tyranny of time. “People do not have to tem—and to fend off competition—Sony uncharacteristically offered two of its ma- read a book when it’s delivered,” Morita jor Japanese competitors, JVC and Mat- sushita, free access to its patents. And liked to say. “Why should they have to see world as we know it could not have been after the format was modified in negotia- tions among the three companies, it went a TV program when it’s delivered?” imagined from their forecasts: that the am- on the market at the end of 1971—the first videocassette recorder or VCR. But the CV-2000 didn’t find customers. bitious plans of more than a dozen Ameri- It had the misfortune to record in black & can companies—including CBS, RCA, “This time we had nice color and a nice white when color was gaining favor. And it Magnavox, Motorola, Kodak, Bell & cassette,” Tsunoda recalled. “So we thought, ‘All the fear is gone. Now we can was an open-reel machine, which intimidat- Howell, Fairchild, Zenith, MCA and come into the consumer market.’ ” ed many potential buyers. Koichi Tsunoda Polaroid—would go up in smoke, and that They came, but they didn’t conquer. spent a good part of the ’60s selling Sony’s With oil prices and inflation on the rise, the VTRs in the U.S.—largely to schools. He when the’smoke cleared, the Japanese U-matic wound up costing over $1,000 in would control the field. its simplest version, and the cassettes cost $30 apiece. To the ordinary consumer, the noticed that teachers shied away from The prevailing wisdom in the American U-matic was too big and too expensive. To Sony’s surprise, however, the machine threading a reel of tape. “I’m afraid to do electronics industry was that videotape aroused strong interest from educational, industrial and even broadcast custom- it—why don’t you?” they would say. In was too expensive for a consumer product. ers—and the company was adroit enough to adapt its product in ways that made it 1964, Tsunoda sent a memo to Tokyo urg- A dramatic leap forward—to some com- still more attractive to such users. (In ing a cassette-format VTR. pletely new process, such as CBS elec- continued on page 147 “Sony felt that the home market would tronic video recording, RCA’s HoloTape or be the biggest market,” Tsunoda said, “so MCA’s DiscoVision—was needed. None we tried to make a simpler machine.” _of these systems, of course, gave the con- Ampex’s one-inch VTRs were heavier than sumer the power to record; they were for their Sony counterparts, and a program playback only. But that, too, was seenas a recorded on one Ampex machine wouldn’t virtue, since it meant that the companies always play back on another. “People who developing the hardware could expect to were actually using videotape recorders derive healthy earnings from the sale (or felt the Sony machine didn’t have all the rental) of prerecorded software. bells and whistles, but it was more reliable At Sony, however, cost was seen as and more convenient,” Tsunoda recalled. just another problem to overcome. Ga- “Gradually we were replacing Ampex.” man, or persistence, is a highly valued INVENTING THE FUTURE quality in Japanese culture. It had paid off for Sony on several occasions—in the early Newspapers and magazines did their ‘50s, for example, when the company had best to prepare the public for the advent of committed itself to making a transistor ra- something like today’s VCR. Indeed, only dio against the fatherly advice of Western one important feature of the home video Electric, the company that invented the DECEMBER 1987 VIDEO 83

OU'RE GONNA LOVE HARRY IN A BIG WAY. Meet Harry, the lovable 400 pound encounter with the legendary creature. i o)(em(e.0)amiane)a\\-ne)mial-me)(e(e(-1a-laleme)ge lait Soll al-7-(oMe)'/-1m (oR (0]6] mail-1-1f-1-) m1(0(=10) comedy smash hits of the year. retailer and pick up a copy of Harry And The whole family is going to be wild The Hendersons starring John Lithgow, Flele)0)amii-(aavalamialicmallt-Us(eleiom- tale melicial Melinda Dillon and Don Ameche. From touching story of atypical American family’s ONMCA VHIoDmEeOVCiAdeSoS. ETTE MCA; 70 Universal City Plaza Universal City, CA 91608 —S NRK ‘ Lime, ~<. 5 MELIN\"DBARUmDJ~C¢I-OJRELWSLOIIHOHCLnNBULNaHRsAIAsAOUe[RMaUDTRDOGHUNAEHGL.DTLVOAEOOAMWMNNYANE_.RECD\".TAtH»HL.VIAEe\\AINIWA:RNIUIRELEaLYsZDRIcAIRKA.VCAAMAIKNDDZD.DA*EBSRNsAAUTAWR.KHCP.IEEHPKLR°EEALV:HTPII\"EONAsNRWMzDTIMPLEAELDRTRIJESEGAAAROMAMRNREHSEDSA'ETLBALIRSLSAENLGLRICK = 2 22ers: Sema tonsa ne :zs:-:E HiFi Stereo Surround digitally recorded 5 CC Yelle To@r-lo)i(olael h(elmig-aal- Une allelic p ©1987 Universal City Studios, inc ©1987 MCA Home Video, Inc. Ali Rights Reserved.

me 4 ’ me eorge Carlin break the gender barrier in ‘Outrageous Fortune.’ Outrageous Fortune | hearta typical spy-chase romp—in the vein co, they unwittingly unravel a simplemind- of such celluloid dispensables as Spies Like ed espionage-doublecross-extortion-bio- 1987. Shelley Long, Bette Midler, Peter Us and Ishtar—with much predictable logical warfare plot and abandon their dif- Coyote, George Carlin; dir. Arthur Hiller. business and often-pedestrian writing, it ferences in the face of danger. Subse- 105m. (R) Hi St $89.95. Touchstone. Im- has the notable distinction of taking a thor- quent events alternate between inordi- age: good. ough, unapologetic female stand. So if this nately silly and reasonably clever as Hope and Crosby. Martin and Lewis. isn’t quite feminist filmmaking, at least it George Carlin, playing a blotto fake Indian Newman and Redford. Long and Midler? breaks the male-only barrier in buddy pic- ex-hippie, joins the merriment. The funni- Much has been made of the male Amer- tures. est scene takes place in a brothel where ican psyche’s representation in buddy Lauren (Long) and Sandy (Midler) they put on cowboy duds, Lucille Ball films, wherein two guys take on the world meet ina New York acting class and take an style, to get past the intimidating madam. by sticking together through thick and thin. immediate dislike to each other. The for- Before the fat lady—not meaning Midler The subtext of such tales is invariably that mer is effete and uptight, a serious student —sings, there are more chases, culmi- no outsiders—especially women—can of theater; the latter flouncy and blunt, a nating in a suspenseful showdown on a come between two Real Close Men. foul-mouthed porno performer and bar- picturesque mesa. So it makes perfect sense that this maid. Unbeknownst to each other, they Midler and Long play variations on archetypal female bonding movie has no are both involved with the same man (Coy- their usual characters but develop a real sympathetic male characters, and that ote), making their rivalry far more enthusi- sisterly warmth through their travails, Shelley Long and Bette Midler overcome astic when his two-timing is discovered. Outrageous Fortune is not extraordinary all their differences to jointly, ingeniously Unfortunately, that occurs at the morgue, filmmaking, but there are certainly far less and courageously vanquish absurd chal- where they both appear to identify a likable comedies around. Keep this one in lenges neither thought she was prepared body—which turns out not to be his. | mind the next time you plan a Men Are to face. The two immediately set off after him, Complete Bastards video festival. Although Outrageous Fortune is at | to learn which one he loves. In New Mexi- —TIra Robbins DECEMBER 1987 VIDEO 85

Theatrical Releases Big Feet: John Lithgow loses his cool in ‘Harry and the Hendersons’ (left); the cartoon Beatles Sem ' stroll through N ' Pepperland in ‘Yellow Submarine’ (above). Ha and the ah (Margaret Langrick) creates the most animation have lost their novelty appeal. absurd conflict as a finicky teen who views Hendersons Harry simply as a grossly malodorous in- Worse, the whole project is mired in late- trusion. Complicating the story is the fact 60s trendiness—or, as the New York 1987. John Lithgow, Melinda Dillon, Don that Harry is a large secret to keep, simul- Times put it so elegantly, “informed by Ameche; co-wr./dir. William Dear. 111m. taneously drawing the interest of both a marijuana.” Today’s viewers may be more (PG) Hi St ss $89.95. MCA. Image: good. Sasquatch-obsessessed naturalist bemused than amused at the Beatles char- (Ameche) and a big-game hunter (David acters’ constant sub-droll one-liners. Harry and the Hendersons is a double Suchet). winner: an uproarious black comedy for The threadbare plot concerns the lads’ children and a benignly dry children’s film Can the Hendersons chauffeur Harry journey in the titular vehicle from Liver- for adults. In fact, were it not for the cloy- safely back to his natural habitat? Can Har- pool to the utopian Pepperland, where they ingly cutesy title, one suspects that this ry give up afternoons of daytime TV and repulse an attack of the music-hating Blue shaggy beast of a film would have found a the other civilized accoutrements (except much larger theatrical audience than it did. meat) he’s come to know and love? This Meanies. (This required four writers, in- wild mixture makes Harry and the Hender- cluding Erich Segal. Perhaps that’s what “Harry” is the name bestowed on the sons a perfect combination of hallucinogen- happens when you use a nonsensical song legendary Sasquatch (a.k.a. Bigfoot), a ic humor and humanistic sentiment. for inspiration.) It’s hardly Chekhov, but hapless missing link who has a painfully then, what do you want from a cartoon? literal run-in with a station wagon belong- —John Walker ing to a Seattle family led by the slightly If your answer is “eye candy,” Yellow crazed George Henderson (Lithgow). Yellow Submarine Submarine delivers. The neo-Victorian Having encountered Harry on the way Pepperland makes a charming contrast to home from a camping trip, George figures 1968. Anim. Dir. George Dunning. 85m. the gritty photographic textures of Liver- there might be a lucrative market for the Hi St $29.95. MGMI/UA. Image: good. hirsute corpse. However, once back in civ- pool. On their journey, the Beatles en- ilization, Harry miraculously revives and It was 19 years ago today, more or counter a number of surreal creatures proceeds to methodically win the Hender- less, that the world first beheld the Be- seemingly updated from Porky in Wacky- son’s hearts as he enthusiastically destroys atles’ third feature film—more or less. Al- land. The Blue Meanies and their weapons their house. though the Fab Four receive top billing in are imaginatively rendered. A further bo- Yellow Submarine, this is, as you undoubt- nus is the music: a dozen Beatles: songs The chemistry between the Hender- edly know, a cartoon starring their bell- (only three of which were debuted in the sons and Harry is what gives this film ener- bottomed, Sgt. Pepper-era likenesses. film soundtrack) used for set-pieces that gy and humor. Nancy (Dillon) is the quin- disrupt what little plot there is. MGM/UA tessential mother, Ernie Jloshua Ruddy) Like the Sgt. Pepper LP, Yellow Sub- has priced the Yellow Submarine videotape the chip off the old block who quickly be- marine has to battle time to hold on to its comes Harry’s staunchest supporter. Sar- reputation. The once-dazzling drawing and to appeal to all fanciers of whimsy, not just devoted Beatlemaniacs. The transfer is good, with negative dirt only at the end of the 35 mm reels. Ironically, a live-action 86 VIDEO DECEMBER 1987

shot of the Beatles at the very end threat- ens to steal the show from the preceding visual panoply. How can an animated fanta- sy hope to compete against a real one? —Scott Isler Extreme Prejudice 1987. Nick Nolte, Powers Boothe, Maria Se Conchita Alonso; dir. Walter Hill. 104m. (R) $89.95. IVE. Image: excel. French Undressing: Beatrice Dalle, star of Jean-Jacques Beineix’s ‘Betty Blue. Ever since he wrote the screenplay for edly deceased group of super-patriots who baby. Also, she believes he’s a brilliant Sam Peckinpah’s The Getaway, Walter Hill are dead set on taking out narcotics kingpin writer, types his manuscripts and takes has tried to live up to the late director’s Cash Bailey (Boothe). Caught in the ensu- rejections from publishers personally. I’m style. The Warriors, 48 Hrs. and Streets of ing war zone is Texas Ranger Jack Benteen a writer. This is my kind of movie. Fire amply demonstrated that Hill could (Nolte), whose stony expression never mimic Peckinpah’s jackhammer editing, wavers as he combats the explosive There is a downside to Betty, howev- excessive violence and world-weary pessi- schemes. er: she’s a little impulsive. She burns down mism in his own tangy action films. But the house. On a slender story of Betty’s affection gives way to outright imitation in While the convoluted plot makes little inexorable decline into madness, Beineix Extreme Prejudice, a nihilistic bloodbath sense, Hill runs with its incessant double- fashions a scintillatingly beautiful movie. that seems to have been made by Peckin- crosses to create an excitingly sly parody pah from beyond the grave. (2?) of Peckinpah’s hyperviolence. Every His first film, Diva, was the original bullet yields a gallon of blood during the punk thriller—a certifiable zen-comic mas- The twist here is the transfer of Old climactic battle. Justice is always meted terpiece. (When Betty throws all Zorg’s West macho attitudes to our age of high- out with guns, possessions out the window in a fit of tech weaponry and drug running. The wild pique, a neighbor notes approvingly, “Your bunch that rides into town here is a suppos- Boothe is completely over the top in an pad will look very zen.”) The Moon in the hysterically corrupt performance, all sweat Gutter, a glossy meditation on sex and Sam’s Son: Nick Nolte and Maria Conchita and bulging eyes, as a bad guy who crushes death, didn’t work as well. However, Betty Alonso take on the bad guys in ‘Extreme Prejudice.’ a scorpion with his bare hand and shows Blue is sensuous, firmly downbeat, funny affection by blowing a person’s head off. in spots and warmed with a painterly glow Nolte appears comatose in comparison. in every frame. Maria Conchita Alonso, relegated to chat- tel, is completely wasted in this man’s film. Beineix does cop out with an ending Even more slighted is “The Zombie that stretches credulity, but it’s not bad Squad,” a fascinating bunch of commandos enough to reveal or revile here. Any film who aren't given nearly enough to do. that remains riveting until the final minute is entitled to high praise. CBS/Fox de- —Daniel Schweiger serves mention for supplementing the French dialogue with subtitles rather than Betty Blue settling for bad dubbing. This is one of the year’s most daring and rewarding 1986. Beatrice Dalle, Jean-Hughes An- films on tape. —Mark Fleischmann glade; dir. Jean-Jacques Beineix. 121m. Hi St cc sub. $79.98. CBS/Fox. Image: good. Tin Men The title character of Betty Blue (Dalle) 1987. Danny DeVito, Richard Dreyfuss, is gorgeous. She has an odd smile with big Barbara Hershey; wr./dir. Barry Levinson. teeth. She thinks Zorg (Anglade) is hand- 112m. (R) Hi St $89.95. Touchstone. Im- some. She and Zorg have great sex—most age: excel. of it onscreen. She shouts “I love him!” to the sun as it winks through passing trees. Although the title and the casting of She cooks for him. She wants to have his DeVito and Dreyfuss may suggest a loud, DECEMBER 1987 VIDEO 87

| | | Theatrical Releases screechy comedy, Tin Men has the warm seduces Tilley’s wife (Hershey). The prob- comprehend why his hard work and hustle grace of the Nat King Cole song that opens lem is that Tilley cares less about his wife the movie. This is one of the year’s pleas- than he does about his car. haven't paid off. This touching perform- ant surprises, a rich, resonant movie that The revenge plot, however, is not the ance from an actor not known for delicate marks Barry Levinson’s return to the work movie’s heart. Tin Men is a movie about he explored in Diner. the American salesman and a comedy, like work is typical of this smooth, deeply-felt Diner, about boys shooting the breeze. After directing two relatively imper- There are wonderfully comic scenes of comedy. —David Schwartz sonal entertainments, The Natural and men just hanging out, talking about every- The Young Sherlock Holmes, Levinson is thing from the lack of realism on Bonanza The Evil Dead II: back in 1963 Baltimore, depicting the ritu- to the many scams and con games they use Dead by Dawn als of male camaraderie he knows so well. to peddle siding. Instead of a group of young men on the 1987. Bruce Campbell, Sarah Berry; dir. verge of adulthood, Tin Men depicts a Levinson knows how to satirize his group of aluminum siding salesmen. characters to find the comedy in their ban- Sam Raimi. 84m. (NR) $79.98. Vestron. ter, and in their archaic form of salesman- A car accident at the beginning of the ship. But he also grants them dignity. De- Image: good. movie, between BB (Dreyfuss) and Tilley Vito gives what is easily the most moving Evil Dead IT, like most horror movies (DeVito), introduces the two main charac- performance of his career. The nebbishy ters. After Tilley’s car collides with BB’s salesman doesn’t understand his wife and these days, is not deeply concerned with brand-new Caddie, they ‘become locked is losing his ability to sell. He’s hounded by narrative logic. Some college-age kids in an escalating war that begins with the IRS and a government commission, spending a weekend in a decrepit cabin in and is plagued by a stiff neck. Tilley can’t the mountains discover old books and late-night assaults on each other’s cars. tapes and inadvertently summon ancient Aiming for the ultimate revenge, BB Stick and Tin: Sumerian spirits. One by one, they are Danny DeVito assaults possessed by the demons and start chomp- his foe’s auto in ‘Tin ing and clawing on each other. Men.’ This plot is almost identical to its pred- “I ecessor’s (Video Oct. ’86), ED II is less a sequel than a remake of the original. It even features the same lead (Campbell) playing the same role, a yuppie named Ash who has absolutely no recollection of his previous grueling experience. Evil Dead I, with its weird camera angles and goofy visual gimmicks, reflects a film student’s glee in moviemaking. The inventive tracking shots may remind some of Raising Arizona, made by Raimi’s pals Joel and Ethan Coen (both of whom cut their teeth on the original Evil Dead). There are plenty of memorable images: Ash being attacked by his headless, chainsaw-wielding girlfriend; Ash being taunted by a mounted deer head; and best of all, aduel between Ash and his own right hand. As the hero himself observes, “Groovy.” Some of the gags—a woman attacked by trees, the constant chatter from the demons in the basement—are a little too reminiscent of the first film, suggesting that Raimi is low on ideas. The movie is bogged down by the introduction of two redneck characters—obvious demon fod- der. Still, Raimi displays more imagination than most Hollywood blockbusters, and he caps the mayhem with the wildest twist ending I’ve ever seen in a horror movie. Even if you don’t dig splatter, fans of exu- berant independent filmmaking shouldn't miss Evil Dead II. —Louis Kesten 88 VIDEO DECEMBER 1987

Project X device you'd knock the cigarette out of his folk get up in arms when this outsider hand and threaten to tell his parents. That starts doing things his own way, which 1987. Matthew Broderick, Helen Hunt; he’s facing a routinely evil bureaucracy full means treating the kids as if they’re in the dir. Jonathan Kaplan. 107m. (PG) St cc of villains and cowards only adds to the army. Dale aims to build a winning team $89.98. CBS/Fox. Image: good. heavy-handed clunk as this film plods and even though Jimmy, his star player, has preaches its way to an inevitable conclu- opted for early retirement. For the former This probably sounded great on paper sion. —Marianne Meyer college coach, this is his last chance. The —an animal-lover’s tale exposing needless town’s against him. Jimmy ignores him. military vivisection, mixing Spielbergian Hoosiers And Myra (Hershey), the assistant princi- adventure and Top Gun hardware. Add a pal, warns Dale to stay away from the bit of WarGames for the youngsters—and 1987. Gene Hackman, Dennis Hopper, bring back that cute Broderick kid—plus a Barbara Hershey; dir. David Anspaugh. young star. little National Geographic for their folks. 115m. (PG) cc $89.95. HBO. Image: good. Dennis Hopper gives a bravura per- ProjectXmeans well, but it tries too hard and plummets into an absurd tailspin. In Indiana, they take their basketball formance as Shooter, the town drunk (and seriously. Hoops hang from barns and local former hoop star) hired as assistant coach. Don’t blame it on Virgil, our simian farm boys shoot baskets after picking corn Hopper steals several scenes— hero. He’s a heartbreaking little chimp and before hitting the books. At least that’s sometimes with screams and shotgun plucked from the jungle and, under the what Hoosiers would have you believe. blasts, sometimes by conveying the shame tutelage of a sincere and pretty psych ma- of a failed father and pathetic loser. jor (Hunt), taught sign language We're talking about the two-minutes- quicker that you can say “pass me that left-in-the-game-with-the-underdogs- What ensues isn’t exactly shocking. apple.” Just as quickly, he’s transferred to down-by-five school of moviemaking There are chalk talks, pep rallies, court- | a secret Air Force endurance experiment here. And at a pace far off that of the side dramas and on-court thrills as the | that consists of training chimps to fly simu- Lakers’ championship-winning fastbreak. Hickory Huskers advance to the state fi- lated aircraft and then dousing them with But like a Celtics drive, Hoosiers is steady, nals. All the performances are solid and radiation. rarely breathtaking, virtually error-free you can’t help but root for the good guys. and a gas to watch. Like the music of rock’s preeminent Hoo- As the restless young pilot who slowly sier, John Cougar Mellencamp, Hoosiers is (very slowly) realizes what’s going on and It’s small-town Indiana, 1951. Hickory hard not to like. comes to the chimps’ aid, Broderick lacks High’s popular basketball coach has kicked the cynical edge that could make the con- the bucket, and Norman Dale (Hackman) is —Robert Seidenberg version meaningful. He looks so innocent that if he didn’t have to smoke as a plot Time Out: Gene Hackman, as coach Norman Dale, calls a team meeting in ‘Hoosiers.’ DECEMBER 1987 VIDEO 89

Quick Takes Malone 1987. Burt Reynolds, Kenneth McMillan, Cliff Robertson, Lauren Hutton; dir. Har- ley Cokliss. 92m. (R) Hi St cc $79.98. Or- ion. Image: good. Burt Reynolds and his hairpiece try some Bronson/Eastwood moves in this dreary hodgepodge loosely combining es- pionage with the basic white-hatted strang- er scenario. Reynolds plays a CIA defector searching for a little peace and quiet in the Oregon countryside. Wouldn’t you know it? His car breaks down in a burg that is under the thumb of a rich right-wing sur- vivalist (Robertson) and his merry band of homicidal maniacs. When the heavies kill Burt's former partner (Hutton) and threat- Dreary Hodgepodge: Burt Reynolds as one of the good guys in another tired gunfest, ‘Malone.’ en the kindly gas station attendant and lovely teen who’ve put him up, someone’s meeting. However, this sad little film is un- movie. There are also several radio ads and a plug-your-local-DJ-here interview, got to pay. The ensuing revenge fest is less believably dull, except when leavened by all cleverly matched to soundless film foot- age. The sides end logically and, except for than cathartic. —Richard Gehr unintentional humor. Starting immediately Chapter 18 (which claims to be the start of the trailer but isn’t), the stops are appro- after World War II and working up to the priate. The only shortcoming in this loving- ly crafted treasure trove is the shortage of present, the story focuses on Helene Hanff close-ups in the memorabilia sequence. Gothic (Bancroft), an aggressively upbeat New —Frank Lovece 1987. Julian Sands, Gabriel Byrne, Yorker who develops a friendship of sorts Scene of the Crime Natasha Richardson; dir. Ken Russell. 87m. (R) $79.98. Vestron. Image: good. by corresponding with a London book- 1986. Catherine Deneuve, Danielle Dar- rieux, Wadeuk Stanczak; dir. Andre Tech- Gothic purports to answer the question seller (Hopkins). Problem is, there’s never ine. 90m. sub. $79.95. Vista. Image: good. of how a sweet young thing like Mary Shel- ley came to write a novel as dark and grisly any real exchange of intimacies that would Counting tragedies may be the only fun as Frankenstein. Once you've seen Mary to be found in watching this morose French Shelley through the eyes of Ken Russell, justify the drama—the letters are merely film. To wit: an escaped convict attempts however, the question is “How could she to strangle a young boy (a rather irritating not have?” Russell's lurid portrayal of the breezy literary banter in historical context. lad—score only half a tragedy). The deed Shelleys’ shenanigans during a visit to the is cut short by a knife in the stomach (score estate of the decadent Lord Byron is one And the characters inspire little affection to one full tragedy), strategically placed by long nightmare as the guests, joined by Dr. Martin, another escaped convict. Shortly Polidari, set about trying to top each oth- boot. She’san obnoxious extrovert; he’s thereafter, Martin encounters the boy’s er’s horrific tales of terror. Surely if Rus- mother (Deneuve), a lonely, disturbed di- sell had had to compete with Mary Shel- thoroughly bland. By the time Bancroft vorcee, who wants a permanent spot on ley’s vision, he’d have come in a poor sec- Martin’s dance card (score half a tragedy). ond. —John Walker starts speaking directly to the camera, The new arrangement angers a young fille who also hoped for a do-si-do with him. Ina 84 Charing Cross Road don’t be surprised if you come down with fit of rage, she kills him (score one trage- dy) and herself (score another tragedy). 1986. Anne Bancroft, Anthony Hopkins; the giggles: she’s like a Woody Allen ver- The list of despair goes on and on (to a dir. David Jones. 100m. (PG) Hi $79.95. total of seven tragedies) and, unfortunate- RCA/Columbia. Image: good. sion of the ultimate bore. Amazing, in an ly, so does this soporific film fatale. Tiresome and implausible from start to awful way. —Jon Young —Mary Coyle finish, 84 Charing Cross Road uses the tried-and-true plot device of pen pals who Help! grow closer and closer without actually 1965. The Beatles, Leo McKern, Victor Spinetti; dir. Richard Lester. LV (CAV) St CX 110m. (approx.) $79.95. Criterion. Im- age: excel. This extraordinary two-disc set is worth a whole day’s pickings at a Beatles convention. Along with the inimitable mov- ie, the discs contain a couple of theatrical trailers and historical footage, one stop-ac- tion sequence of He/p!-related memorabilia such as record sleeves, sheet music and lobby cards, and another of production stills, including scenes that didn’t make the 90 VIDEO DECEMBER 1987



ee Non-Theatrical Releases The Andy the national Andy Griffith Rerun Watchers Griffith Show organization. The other three episodes find Barney buying a used car from a con artist, 1961-65. B&W. Andy Griffith, Don encountering a run of bad luck, which he (of Knotts, Jim Nabors, Ron Howard; various directors. 6 cas. Approx. 90m. ea. V only course) attributes to his discarding a chain | $39.95 ea. Premier Promotions (Box 19022, Charlotte, NC 28219). Image: letter, and being evicted from his room ina good. maudlin depiction of his lonely life. Instead Hey, Ope. Hey, Barn. Hey, Thelma Lou. The Andy Griffith Show, that wonder- of four delightful samples of one of situation ful low-key classic of rural mores, is now available on video. Six tapes, each contain- comedy’s great characters in action, the ing four episodes, are out: The Best of Barney, The Best of Ernest T. Bass, The tape paints an unhappy portrait of his psy- Best ofFloyd, The Best of Otis, The Best of Gomer and The Vintage Years. chology, from ineffectual boob to frustrat- Don Knotts played high-strung deputy ed loner. —Randy Dolnick Barney Fife to Griffith’s laid-back sheriff for six seasons and won five of the series’ Best of Bandstand: seven Emmy awards. Knotts had created The Superstars his trademark persona—a man neurotically Fired Up: A moving moment at the hearth in this frightened of everything—on The Steve Al- 1987 comp. B&W/Color. Supremes, Jack- KHFNROOAWTNATKRS year’s video yule log. len Show in the ’50s as the nervous Man on son 5, Beach Boys. 45m. St $29.98. Ves- the Street who worked in a bomb factory, Your Christmas Yule and he brought much of the same tension to tron. Image: good. Barney when The Andy Griffith Show de- The Superstars is the second home vid- Log Fireplace buted in 1960. eo culled from Dick Clark’s seminal rock 1987. Pr. S. Steven Siporin. 59m. Hi St The four episodes on Barney’s collec- variety show, American Bandstand, as $19.95. Video Naturals (2590 Glen Green, tion are intended to constitute the best of well as The Dick Clark Saturday Night Los Angeles, CA 90068). Image: fair. Knotts’ work as the bumbling deputy, but Beechnut Show and Where the Action Is. only one presents the essential Barney. In Your Christmas Yule Log Fireplace was Barney’s Side Car (1964), the deputy picks After a brief voice-over, Clark is seen only probably even more boring to make than it up a World War Imotorcycle and side car at in the archivally grainy Bandstand kine- is to watch. To be fair, excitement was not a war surplus auction in Mount Pilot, then scopes. The sole segment in color—and the producer’s likely goal. As the sound- sets out to terrorize the community as its only actual live performance—is the Jack- track blares ‘What Child Is This,” a poker self-appointed traffic cop. In addition to son 5 playing an electrifying “I Want You ominously juts into the frame and nudges plenty of visual humor (Barney’s uniform Back” and “ABC” in 1970. the portly log. Then, during “The 12 Days includes huge goggles and gloves he slaps of Christmas, ” the poker leans in and gives around a lot), there are abundant examples One clip shows the nervous Beach it a vicious jab. Finally, during “Dance of of verbal Fife-isms: “It belongs in the Boys lip-synching “Don’t Worry Baby” the Sugar Plum Fairies,” the poker gives Smith Brothers Institute in Washington, with is-my-fly-down expressions on their the yule log a nasty whomp and knocks offa D.C.” Barney also demonstrates his crowd faces. (After a few short words about surf- big chunk of bark! In the middle of “Come dispersal behavior. This show was named ing in Australia, Dick dutifully interns them All Ye Faithful,” someone tosses what the number-one favorite by members of at the autograph table.)In addition to songs looks to be the remains of an orange crate by Jackie Wilson, the Supremes and Roy on top of the crackling heap. I mean, are Hey, Barn: Orbison, The Superstars features Sam you allowed to do that? What next? Ween- Don Knotts as Barney Cooke performing “Good News” in 1964. ies? Where I come from, you just light the Fife in ‘The Andy The doomed soul legend is engaging and sucker and let it burn—anything else au- Griffith Show.” well-spoken, a sharp contrast to the mum- gurs bad luck. Tradition aside, Your Christmas Yule Log Fireplace is framed in bling Beach Boys. such a way that it looks less like a holiday Not all the perfomers are of the same hearth and more like the inside of your TV artistic stature. The Four Seasons doing —John Walker “Big Girls Don't Cry” in 66 may be fine, but it’s stretching the “superstar” tag a bit BIMAANGKE to include “At the Hop” by Danny and the Juniors or “Who’s Sorry Now” by Connie Francis. And there is simply no need for the hideous 1959 clip of “Tall Paul” sung by Annette Funicello, former Mouseketeer and current peanut-butter pusher. There must be greater superstars than these in Dick Clark’s vault. |.—Drew Wheeler 92 VIDEO DECEMBER 1987

Thumbs Down: Two reptiles spoof Gene Siskel and Roger Ebert in the ‘Best of the Fes- tival of Claymation.’ Best of the tle that makes you sit up in your chair and sagging. McCartney talks candidly about Festival of Claymation shout, “Wow! Now that’s Claymation!” all phases of his career. Gentlemanly, affa- 1987 comp. Anim. Pr. Will Vinton. 57m. Come back, Pokey. All is forgiven. ble, he gets his points across a little self- $59.95. Pacific Arts. Image: good. —John Walker servingly but without rancor. McCartney’s contributions to the Beatles have often By far the most appealing aspect of the Fight for Your Life been underestimated; the recent compact Festival of Claymation is its presentation in disc release of The White Album, and this the guise of an installment of Freak Pre- 1987. Dr. Bernie S. Siegel. 146m. Hi videotape, go a long way toward setting views, a disarming parody of Sneak Pre- $65.00. Fight for Your Life Company (800- the record straight. views featuring reptilian equivalents of Sis- 225-5669). Image: excel. kel and Ebert noshing and battling their —Mark Fleischmann way around an endless series of “Clayma- Says Dr. Siegel, “I want to heal people, tion” shorts (a term registered by animator not tell them what day they're going to Elton John Live Will Vinton). Otherwise, apart from some die.” In this unusual how-to tape, this ex- occasionally inspired plasticene dazzle, traordinary doctor advises cancer patients in Australia most of the presentation is less visually who are determined to beat the disease. adventurous than your average Gumby epi- Lengthy talking-head footage of Siegel and 1987. The Melbourne Symphony Orchestra; sode. As these shorts unfold, the emphasis various survivors reveals lots of useful in- is less on action than on artsy exposition. formation, some of it surprising: someone, dir. Mark Fitzgerald. 97m. Hi St $29.95. Legacy—A Short History of Natural Re- somewhere has survived every major form sources features a good fish-into-dinosaur of cancer. Most important, the ones who J2. Image: good. transfiguration, while Dinosaur features a survive are the ones who refuse to lose good dinosaur-into-dinosaur metamorpho- hope. Sensible and inspiring. Elton John’s concerts with the Mel- sis. The best of the lot, The Great Cognito, stars a fluid-featured impressionist whose —Mark Fleischmann bourne Symphony are typical of his curious head effortlessly matches the WW II celeb- rities in his routine. The McCartney dual role as gifted hitmaker and pop Special But some of the material barely moves schmaltzmonger. Sitting at his white Stein- at all, at least in a three-dimensional realm. 1986. Paul McCartney; dir. David G. The Creation boasts thunderous narration Croft. 60m. Hi St $29.95. Sony. Image: way bedecked in jewels, sequins and a mul- by James Earl Jones, but the visuals are good. more reminiscent of two-dimensional fin- ti-colored frightwig, Elton (accompanied ger-painting. Apart from a preponderance Paul’s not dead—he’s made it to mid- of the ponderous, much of the Festival dle-aged greying eminence. Recent clips by a 13-piece band) reels off a medley of his lacks freshness—there’s certainly very lit- on this song-studded interview tape show the voice is still versatile even if the face is biggest songs, including “I’m Still Stand- ing,” “Song for You,” “Daniel” and extend- ed arrangements of “Rocket Man” and “Benny and the Jets.’ Midway through the tape, a screen lifts to reveal the orchestra behind the bandstand. Elton changes into a white antique Amadeus get-up (right down to the mole on his cheek). One is tempted to call Elton John the Liberace of his gener- ation, but Liberace never wrote tunes this good. —Drew Wheeler DECEMBER 1987 VIDEO 93

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Kidvid Pro picks for worthwhile suggestions: the holidays At Parents’ Choice, the Massachu- BY MARIANNE MEYER setts-based organization that monitors children’s media for appropriateness and ’Tis the season to be buying, says the video values, president Diana Huss Green offers industry, which expects kidvid to play a big a few of her all-time favorites. “For the part in this year’s holiday gift giving. Are very young, I’d suggest The Three Robbers the biggest holiday hits necessarily the or The Moon Man, both by Tomi Ungerer best? First, let’s see what’s hot. from CC Studios, because of their humor and high artistic standards.” For those a Waldenvideo, the nationwide chain of little older, she offers Gary Coleman for 1,100 stores, has already done its holiday Safety's Sake (LCA) “for its practicality,” buying, so winners can be declared. The The Steadfast Tin Soldier (Random House) top five titles are An American Tail, Lady as told by Jeremy Irons (“sentiment, not and the Tramp, Winnie the Pooh: A Day for sentimentality”) and the Macmillan Video Eeyore, Sleeping Beauty and Charlotte’s Almanac for Kids, which she calls “irresist- Web. Disney and Sesame Street compila- ible fun.” tions are also stocked in abundance. Cathi Rosenberg-Turow, a staff writer At Billboard magazine, home video ed- for Sesame Street, is partial to the Chil- itor Al Stewart seconds Disney’s expected dren's Television Workshop video line but triumph: “They will always be strong.” His also gives high marks to Random House’s other predictions are for licensed charac- version of The Velveteen Rabbit (“beautiful- ters, because “children like to go with what lydone”) and to some episodes in the Char- they know best.” He cites two new releas- lie Brown/Peanuts series. (Kartes and es from Hi-Tops, Barbie and Captain Paramount both offer titles). Power, the latter an interactive action toy and video line. Katy Dobbs is editorial director for the company which publishes Muppet Maga- Joanne Singer, director of chil- dren’s media for New Video, a Man- zine, Mickey Mouse Magazine, Snoopy hattan retail chain with a strong ¢ Magazine and others based on Thunder- kidvid presence, confirms that “the biggies are supposed to be Barbie, Cap- cats, He-Man, Barbie and GI Joe. Be- tain Power and Disney. They’re the sides videos that may have been in- ones with the money to go all out.” But spired by these characters, she big promotion budgets don’t mean says, “I like to give the video clas- that much to her. “I run a very dif- sic with the book classic, like ferent kind of set-up here,” admits Pollyanna or Little Women. Singer. “I don’t carry licensed That’s a nice double whammy.” characters so I don’t really care Back at Manhattan’s New about Captain Power or Bar- ¢ bie. The one thing we'll all have in * Video, director Joanne Singer common, whether us or K-Mart, is Lady and the Tramp, which has —who makes her choices less as a wonderful animation.” And yes, retailer than as a parent with a back- Singer says, An American Tail is truly “a biggie, especially at ground in psychology and educa- $29.95.” tion—recommends these for the youngest on your list: Kidsongs But what about (ViewMaster), The Animal Al- high-quality alternatives phabet (Scholastic) and Baby- that might otherwise slip songs (Hi-Tops). She also cites past parents? An infor- book adaptations and modern film mal poll brought some adventures like Indiana Jones and BPOAUGLAENTTE (> Close Encounters for older chil- ‘ dren, but admits that “pre-ado- lescent to early teens are tough,” preferring clothes and music to video. Still, “my 12-year-old daughter loves Stop Making Sense,” the Talking Heads con- cert film (RCA/Columbia). DECEMBER 1987 VIDEO 95

Kidvid Joan Lunden, TV talk show host and Christmas High-Tech: ee star of her own home video on parenting, Santa's familiar mode of says her children love the Mother Goose transportation gets a Christmas Eve on Treasury (J2 Communications) and have futuristic touch in Sesame Street nearly worn out their version of Neverend- ‘George and the Christ- ing Story (Warner), “a truly imaginative mas Star,’ $14.95. 1987. 60m. $19.95 (approx.) Random presentation in which a child reading a pic- House. Image: good. All ages. ture book literally tumbles into the action.” over the counter and keep the story mov- She also acknowledges a preference for ing. Otherwise, there’s nothing in this holi- The first holiday special produced by Hollywood musicals like The King and I, day sales pitch you can’t get better else- the renowned CTW group starts off slow, Sound ofMusic and vintage Shirley Temple where. Not recommended. with a seemingly obligatory appearance by films. “One of the delightful benefits of the skaters of the Sesame Street on Ice having classic films on videotape,” she Mickey’s Christmas Carol revue. But once it settles into the main says, “is that we can watch them as a story—Big Bird’s attempt to discover how family.” 1983. anim. 25m. $14.95. Disney. Image: Santa fits down the chimney—things move excel. Ages: 3 and up. on in fine Sesame Street style. If your eyes As a writer and parent I can’t quibble don’t mist over at Bert and Ernie’s version with any of these choices, so I'll just add a Mr. Magoo’s of the classic Gift of the Magi tale, you're few of my own. For youngest viewers, A Christmas Carol Oscar the Grouch. Recommended. Young Children’s Concert with Raffi (A&M) is a delightful singalong fest. And 1962. anim. 53m. $14.95. Paramount. Happy New Year, I'll second Singer, who also praised The Image: good. Ages: 5 and up. Charlie Brown Elephant’s Child (Random House), a won- derful adaptation for ages four and up of the Either of these two superb versions of Yr. n.a. anim. 25m. $11.95. Kartes. Im- Kipling story featuring Bobby McFerrin’s Dickens’ holiday perennial would make a music and Jack Nicholson’s narration. great addition to your seasonal library. age: excel. Ages: 4-10. Mickey’s features a slew of Disney favor- George and the ites in supporting roles; its shorter length Why does poor Charlie Brown have to and less intimidating ghosts make it better Christmas Star for younger children. But you can’t beat read War and Peace over the holiday vaca- Magoo’s rousing original score (by Jule 1985. anim. 25m. $14.95. Paramount. Styne, no less). With less sugar and more tion while all his friends get to plan for the Image: excel. All ages. emotional depth, it remains my hands- down champ. Both highly recommended. big New Year’s party? The lovable loser is Here’s a little holiday gem from up north about a lonely guy who sets out to Season’s Greeting: as endearing as ever in this seasonal take a star from the sky for his Christmas Mister Magoo as tree and finds adventure and friends in- Ebenezer Scrooge in charmer, which is full of the sweet stylings stead. It’s full of action and exciting image- ‘Mr. Magoo’s Christmas ry, yet holds to a gentle spirit and offers Carol,’ $14.95. that have made the Schulz/Mendelson/ real laughs. Highly recommended. Melendez TV productions so popular over Glo Friends Save Christmas the years. And dare we call the plot line, in 1986. anim. 23m. $19.95. Vestron. Image: which the various Peanuts try to make good. Ages: 3-7. dates for the dance, a lesson in post-femi- Why are licensed characters so dull? If it weren't for lines like “Yes, Baby Glo- nist relationships? Don’t worry, though— worm” or “Let’s go, Shuttlebug’”’ you wouldn't be able to tell one personality-less it’s all fun, too. Recommended. a Hasbro toy from another in this how- the-witch-almost-stole-the-holiday show made for TV (and a quick buck). Ironically, the supporting characters—a lovable moose that couldn’t get a job with Santa, and the Cruella DeVille-like witch—are reasonably charming, can’t be purchased 96 VIDEO DECEMBER 1987

EDITED BY STEVE DALY Directory COMEDY The Allnighter 1987. Susanna Hoffs, Joan Cusack, Michael Ontkean; pr./dir. Tamar Simon Hoffs. College chums face graduation. 95m. (PG-13) Hi ss $79.95. MCA. The Best of Chevy Chase 1987 comp. Chase, John Belushi, Gilda Radner. Saturday Night Live sketches. 60m. cc $19.95. Lorimar. Blind Date 1987. Bruce Willis, Kim Basinger, John Lar- roquette; dir. Blake Edwards. Financial ana- lyst’s tipsy companion makes shambles of business dinner. 95m. (PG-13) Hi ss $89.95. RCA/Columbia. The Canterville Ghost 1986. John Gielgud, Ted Wass, Andrea Mar- covicci; dir. Paul Bogart. Spirit doomed to purgatory until descendent performs heroic deed. 96m. Hi $69.95. RCA/Columbia. Catch as Catch Can Ghost Fever turing obnoxious hick Ernest P. Worrell, plus 1970. Vittorio Gassman, Martha Hyer, Gila 1987. Sherman Hemsley, Luis Avalos, Pep- look at filming of Ernest Goes to Camp (see Golan; dir. Franco Indovina. Pesky animals per Martin; dir. Alan Smithee. Cops serve separate entry). 60m. $19.95. KnoWhutl- ruin male model’s fashion shoots. 95m. Hi eviction notice to residents of haunted man- Mean? Home Video, 1219 McGavock St., $59.95. Charter. sion. 86m. (PG) Hi $79.95. Charter. Nashville, TN 37203; 615-254-0119. Dutch Treat Harry and the Hendersons Making Mr. Right 1986. David Landsberg, Lorin Dreyfuss; dir. 1987. John Lithgow, Melinda Dillon, Don 1987. John Malkovich, Ann Magnuson; dir. Boaz Davidson. Female rock group’s bum- Ameche; dir. William Dear. Family on camp- Susan Seidelman. Image consultant hired to bling promoters. 95m. (R) Hi St $79.95. ing trip adopts Bigfoot-like creature. 111m. teach android human values. 101m. (PG) Hi MGM/UA. (PG) Hi ss cc $89.95. MCA. ss cc $79.95. HBO. Ernest Goes to Camp Hey, Vern! Win $10,000 The Passionate Thief 1987. Jim Varney; dir. John Cherry III. Dim- 1987 comp. Jim Varney. TV commercials fea- 1962. Anna Magnani, Ben Gazarra; dir. Mario witted counselor and beastly charges. 92m. Monicelli. Pickpocket plants stolen necklace (PG) Hi ss $79.95. Touchstone. on girlfriend. 100m. Hi $59.95. Charter. PROGRAM DATE | AUDIO ae) Radio Days LEGEND 1987. Julie Kavner, Michael Tucker, Dianne Varies according to type All available audio in- ETCETERA Wiest, Mia Farrow; wr./dir. Woody Allen. | of program. Films: ori- formation is provided. Fond memoir of late 30s Brooklyn family life. ginal theatrical release. Dolby noise reduction, Official MPAA ratings 96m. (PG) Hi cc $89.95. HBO. Made-for-broad- used on virtually all (G, PG, PG-13, R, X) cast: first telecast. VHS tapes, is not are noted when avail- Shadey Made-for-video: first noted. able. All programs are 1987. Antony Sher, Patrick MacNee, Kathe- release in any format. in color unless noted. rine Helmond; dir. Philip Saville. British intel- Compilations: produc- St: stereo ligence agents court clairvoyant able to proj- tion of collected work. Hi: Hi-Fi anim.: animated ect thoughts on to film. 90m. (PG-13) Hi St ss: Dolby surround B&W: black & white | (simulated) cc $79.98. Key. FORMAT cas.: videocassette stereo comp.: compilation She Done Him Wrong All programs are avail- cc: closed-captioned ezd.: colorized 1933. B&W. Mae West, Cary Grant, Noah able in Beta and VHS CX: CX encoded dig.: digital Beery; dir. Lowell Sherman. Sendup of Gay unless noted. All pro- dir.: directed by 90s melodramas; features West’s immortal grams on disc are also IMAGE RATING dub.: dubbed line, “Why don’t you come up sometime available on tape unless For theatrical releases, m.: minutes and...see me?” 65m. Hi $29.95. MCA. noted. this rating refers to the n.a.: not available transfer quality and vi- nar.: narrated by Summer B: Beta cassette sual appearance. For NR: not rated 1986. Marie Riviere, Lisa Heredia, Beatrice V: VHS cassette non-theatrical programs, pr.: produced by Romand; dir. Eric Rohmer. Young woman 8: 8mm cassette it refers to overall visu- RE: reissue copes with loneliness during solitary vacation. LV: LaserVision al quality. sub.: subtitled 98m. (R) Hi sub. $79.95. Pacific. TVM: made for videodisc in excel. CLV or television CAV format. good wr.: written by fair poor DECEMBER 1987 VIDEO 97

Bean eee teen MAIN Directory They Still Call Me Bruce Labels MCA spotlights five titles in the latest “Movie Mogul’ cam- 1987. Johnny Yune, Robert Guillaume, Pat paign: $24.95 each for Mask, Missing, The River and Mass Paulsen. Spoof of kung-fu movies. 91m. (PG) Hi $79.95. New World. For Appeal; $19.95 for Joe Kidd. @ Warner reissues “The Great Eight,” a selection of DRAMA Oscar-winning films, at $29.98 each. The titles are A All My Sons Less Streetcar Named Desire, Around the World in 80 Days, Bar- 1986. James Whitmore, Aidan Quinn, Joan Al- len; dir. Jack O’Brien. From Arthur Miller ry Lyndon, A Star Is Born (1954), Camelot, Giant, Wood- stock and The Right Stuff. play: family discovers father sold defective e HBO offers “Hot Christmas Gift Properties” at three | planes during WW II. 122m. Hi $39.95. MCA. prices. On sale for $29.95 you'll find Amadeus, One Flew All the Rivers Run Over the Cuckoo's Nest, The Dark Crystal, The Lord of the Rings, Rambo—First Blood Part II and The Terminator. 1987. Sigfrid Thornton. 19th-century Austra- For thriller fans there’s the $24.95-per-title “Murderer’s lian woman rejects traditional upbringing to Row’ collection, including Endless Night, Evil Under the become artist. 274m. 2 cas. V only. Hi $79.95. HBO. Sun, Death on the Nile and The Mirror Crack’d. For mod- } Anna Karenina est budgets, $19.95 buys The Hitcher, F/X, The Mean Sea- son, Raw Deal, Remo Williams, Sweet Dreams, All of Me, 1935. B&W. Greta Garbo, Fredric March, Code of Silence, First Blood, Desperately Seeking Susan and Maureen O’Sullivan; dir. Clarence Brown. Glossy Hollywood adaptation of Tolstoy with Volunteers. clunky script, great performances. 96m. Hi ® MGM/UA offers music titles at bargain prices. For $24.95. MGM/UA. $19.95 you get The Compleat Beatles, Motown 25—Yester- | The Chalk Garden day, Today and Forever or Pink Floyd: The Wall. For clas- i 1964. Deborah Kerr, Hayley Mills; dir. Ron- sical tastes there’s Horowitz in Moscow, Vladimir Horowitz: iI ald Neame. Governess takes charge of rebel- The Last Romantic and Frank Sinatra—Portrait of an Al- lious young girl. 106m. Hi $29.95. MCA. bum, each $29.95. A selection of movies is also available The Court-Martial of Billy Mitchell at $24.95, including Diner, Kelly’s Heroes, North by North- 1955. Gary Cooper, Charles Bickford, Eliza- west, Poltergeist, 2001: A Space Odyssey, 2010, Where beth Montgomery; dir. Otto Preminger. Case Eagles Dare and 9-1/2 Weeks. A roster of action films are of pilot who accused U.S. War Department of reduced to $19.98 each, including Death Wish 3, Invasion negligence. 100m. $29.95. Republic. U.S.A., The Long Riders, Poltergeist II, Red Dawn and Fantasies Runaway Train. 1987. Lauvie Carr, Teri Weigel, Barbara Ed- © CBS/Fox’s fifth “Five Star Collection” includes 16 ti- wards. Ten erotic vignettes. 60m. Hi St cc tles, each on sale for $29.98. Among them: Cocoon, Jewel $59.95. Playboy. of the Nile, Places in the Heart, Return of the Jedi, Rocky The Far Pavillions IV, The Great Escape, The Greatest Story Ever Told, Fid- 1985. Amy Irving, Omar Sharif, Christopher Clint Eastwood dler on the Roof, My Fair Lady, Patton, The Sound of Mu- Lee. Adaptation of M.M. Kaye best-seller: as Joe Kidd. sic, West Side Story and The Good, The Bad and the Ugly. British orphan raised in India. 108m. V only. Hi $59.95. HBO. —SD Forbidden Games Durning; wr./dir. Fred Walton. High school Kangaroo 1952. B&W. Brigitte Fossey, Georges Pou- wrestler. 96m. Hi cc $59.98. Playhouse. 1986. Judy Davis, Colin Friels; dir. Tim Bur- jouly; dir. Rene Clement. Affecting anti-war Hoosiers stall. D.H. Lawrence novel: English writer tract of two children whose games reflect 1987. Gene Hackman, Barbara Hershey, in’20s Australia. 105m. (R) Hiss $79.95. MCA. frightening reality. 87m. sub. or dub. Hi Dennis Hopper; dir. David Anspaugh. Coach $29.95. Embassy. guides high school basketball team to Kings of the Road (In the Course of Time) 1976. B&W. Rudiger Vogler, Hanns Zischler; | Forbidden Love championship. 115m. (PG) Hi cc $89.95. dir. Wim Wenders. Two men on odyssey | 1982. Yvette Mimieux, Andrew Stevens, Lisa HBO. through modern Germany. 176m. 2 cas. Hi | Lucas; dir. Steven H. Stern. TVM: older Island of Desire (a.k.a. Saturday’s Island) sub. $59.95. Pacific. woman in love with hospital intern. 96m. Hi $79.95. HBO. 1952. Tab Hunter, Linda Darnell, Donald Kiss Tomorrow Goodbye Gray; dir. Stuart Heisler. Two wounded men 1950. B&W. James Cagney, Barbara Payton, Getting Physical compete for nurse’s attentions. 91m. Hi Ward Bond; dir. Gordon Douglas. Ex-con ris- 1984. Alexandra Paul, Sandahl Bergman, Da- $59.95. Fox. es through mob. 102m. $29.95. Republic. vid Naughton; dir. Steve Stern. Mugged The Jigsaw Man Little Gloria...Happy at Last woman becomes competetive bodybuilder. 1984. Michael Caine, Laurence Olivier, Susan 1982. Bette Davis, Angela Lansbury, Christo- 95m. Hi cc $59.98. Key. George; dir. Terence Young. KGB plots de- pher Plummer; dir. Warus Hussein. TVM: Hadley’s Rebellion mise of British double agent. 90m. (PG) V ’30s custody trial over Gloria Vanderbilt. 1982. Griffin O’Neal, William Devane, Charles 180m. 2 cas. $79.95. Prism. 98 VIDEO DECEMBER 1987

a ee Ra OU Meta. Ne Ce meny VIDEO RETAILERS LOUISIANA Shore Road Video, Brooklyn | Video Biz, Metarie Video Star, Flushing Have trouble finding copies of VIDEO at your Video Biz of Slidell, Slidell Video Cinema, Bayside | local newsstand? Want to know where to send a Movies Ill, Littleneck | friend to pick up a copy? The following will help MAINE Future Video, Mineola —it's a list of retail stores across the country, Video Store, Auburn All Cast Video, Hewlett that carry VIDEO every month. 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Pleasant Video Magic, Chester Pik A Flick Co,, Toms River Lee Hartman & Sons Inc., Roanoke Home Country, Kennesaw Bound Brook Video Studio, Bound Brook Hi Fi Buys, Atlanta Video Biz, New Brunswick Action Video, Floyd Home Video, Dunwoody NEW YORK Family Video Shop, Brookmeal HAWAII New Video, New York Jack Wada Electronics, Lihue WASHINGTON Paradise Video Inc., Wailuku VRiardeeo BiSrtdopViIdneco.,, NNeeww YYoorrkk Video Factory, Everett CGliafsfseinc VViiddeeoo, CoNrep.w, YSotratken Island Video Depot, Bellingham ILLINOIS Stardust Video, Tacoma Video Extraveganza, Des Plaines Captain Video, Staten Island Video Investers Inc., Staten Island WEST VIRGINIA State Electronic, Mount Prospect Video Station, Huntington Popcorn & Movies, Bronx Video Alternatives, Palatine Bay Electronics, Bronx WISCONSIN Laser Audio Video Inc, Park Ridge Little Buddah Enterprises Ltd., Milwaukee Video Hotline, Winnetka Naber-Hood Video, Riverdale Adventure Video, Waupaca Westchester Video, Westchester Prime Video, Bronx B & B Video, Carol Stream Star Video, Larchmont CANADA Georgetown Video, Woodale Plaza Video, Pleasantville Basement Video, Pembroke OT Video Basics Inc,, Joliet Video Scape, Middletown Video In Motion Inc., Aurora Countryside Home Video, Countryside 3FuCtuVriedeVoi,deMo,onrNoeew Hyde Park Video Sixty Six, Countryside Diaca Video, Niles Parkway Video & Electron Mart, Brooklyn Larrys Book Store, Chicago J&L Video, Mt Sterling INDIANA Mr. Video, Franklin Mr, Video East, Indianapolis Video Biz, Portage Merrillville Video, Merrillville VIiOdWeoA City Rental Inc., Waterloo Pick A Show Video, Council Bluff Video Station, Cedar Rapids KANSAS Duncan's Movie, Magic, Topeka KENTUCKY Home Video, Louisville Video Fantastic, Richmond Classic Videos, Henderson DECEMBER 1987 VIDEO 99

MAIL-ORDER GUIDELINES At VIDEO Magazine, we believe must be cancelled by the advertiser un- of your credit card companies.) our readers should get what they order less you inform the advertiser in writing from our mail-order advertisers at the that you still want the merchandise. 7. If you receive damaged or im- prices indicated and in a timely fashion. proper merchandise, contact the adver- We stand behind that belief by taking If the advertiser is unable to meet tiser as soon as possible. steps to determine that an advertiser is the new shipping date, the option pro- reputable and reliable before accepting cess starts again—except that, regard- 8. Get a receipt from the shipper an advertisement. Additionally, if we less of the length of the second delay, whenever you return merchandise. learn that an advertiser engages in a the order must be cancelled unless you regular pattern of unfair or improper inform the advertiser in writing that you 9. Since VIDEO Magazine will not business practices, we will deny that ad- consent to the delay. If you accept an in- continue to accept advertising from busi- vertiser the opportunity to advertise in definite delay, you may change your nesses that have engaged in a regular VIDEO Magazine. mind at any time and so notify the ad- pattern of unfair or improper dealing vertiser in writing. with our readers, try to determine which Nonetheless, the responsibility for have been long-standing advertisers in fair dealing ultimately lies with the ad- Note: The 30-day time period does VIDEO Magazine. vertisers themselves, and unfortunately not begin to run on a credit card sale VIDEO Magazine cannot guarantee their until the advertiser charges your ac- WHAT TO DO IF YOU HAVE A PROBLEM behavior. Therefore, we feel it is impor- count. Also, these regulations do not ap- tant for our readers to know what their ply to C.O.D. orders. 1. Allow 30 days for receipt of or- rights are and to follow the tips set forth der or delay notification. below for purchasing merchandise by If your order is cancelled, a refund mail. Further, we are prepared to use must be made within 7 days on cash 2. Contact the advertiser in writing, our best efforts to assist any customer purchases or within one billing cycle on stating the merchandise ordered, the who has been improperly or unfairly credit card purchases. price and date of order, and the nature dealt with by one of our advertisers. of your complaint. Include proof of pay- You may keep any unordered mer- ment (copy of cancelled check, showing Our requirements for advertising in chandise sent to you; you need not pay both sides, credit card statement, etc.). VIDEO Magazine and our offer of assist- for it or send it back. An advertiser who Keep a copy for your records. ance to aggrieved purchasers do not in sends you a bill or otherwise attempts to any way limit either the obligation of an collect any money from you for unor- 3. Allow two weeks for a response advertiser to comply with all applicable dered merchandise is in violation of fed- from the advertiser. federal, state and local laws and regula- eral law. tions or our customers’ ability to enforce 4. If your complaint is still not re- their rights under those laws. Note: These regulations do not per- solved, contact us in writing (no phone tain to orders placed over the telephone calls, please), enclosing copies of all cor- MAIL-ORDER BILL OF RIGHTS and charged to a credit card. respondence and proof of payment along with an explanation of what has Under federal law, if you order ad- SUGGESTIONS FOR MAIL-ORDER PURCHASERS transpired. vertised merchandise by mail, the adver- tiser must ship your order when prom- 1. Read the ad carefully. Mail to: ised in the advertisement—or, if no de- VIDEO Magazine livery date is promised, within 30 days 2. Whether you place your order by Advertiser Complaint Dept. of receiving your order. If the advertiser mail or by telephone, confirm the exact 460 West 34th Street fails to ship your order in a timely fash- price (including any rebates) and any ad- New York, NY 10001 ion, you may cancel your order and are ditional costs such as warranties, ship- entitled to a prompt refund. ping, handling and insurance before you Other organizations that can assist you if place your order. you have a problem. If the initial shipping date cannot be met, the advertiser must notify you in 3. Check with the advertiser re- The Direct Mail Marketing Association writing and give you the option of either garding any warranties offered or availa- Mail Order Action Line cancelling your order and receiving a full ble for purchase. 6 East 43rd Street refund or agreeing to a new shipping New York, NY 10017 date. 4. Check whether the advertiser has a return policy. Your local postmaster If the new shipping date is Jess than (Ask for the name and address of the 30 days after the original shipping date, 5. Keep a record of your order and appropriate “Inspector-in-Charge.”) the merchandise may be shipped to you all other transactions and get the names unless you notify the advertiser in writ- of all persons with whom you speak. Your state or local consumer protection ing of your desire to cancel. If the new office or the office closest to the adver- shipping date is more than 30 days after 6. Never send cash. Pay by check tiser. the original shipping date, or no new or money order or with a credit card so shipping date is provided, your order you will have a record of your transac- The Better Business Bureau. tion. If you pay by credit card, you may 100 VIDEO DECEMBER 1987 have a greater measure of recourse in Your state Attorney General’s office. the event the advertiser does not per- form. (Check the complaint procedures