Today in the Department of Before They Were Star Trek Stars, Majel Barrett guest stars in "Dress Rehearsal," episode 36 of the fourth season of 77 Sunset Strip (original air date May 25, 1962).
Barrett plays the long-suffering housekeeper of the detective agency's new client, a rich widow who's about to be remarried. When her dog dies under mysterious circumstances, her family believes that she was the intended target.
Other Trek connections:
The assistant director of this episode, Phil Rawlins, was the assistant director of 8 episodes of Star Trek and the production manager on Star Trek: The Motion Picture.
Richard Carlyle played the client's nephew, and went on to play ship's meteorologist Lt. Jaeger in the Star Trek episode "The Squire of Gothos."
The client's niece was portrayed by Lisabeth Hush, who provided the voice of The Companion in the Star Trek episode "Metamorphosis."
It only takes one listen for Grease to plant itself into your head and set up a permanent home. In no time, you’ll be reaching for the remote so you can watch this classic musical again. You'll make it your mission to memorize the songs so you can sing along to Summer Nights, You’re the One That I Want, Greased Lightnin’ and the other memorable tunes.
It’s back to school at Rydell High, 1958. Sweet-natured Sandy Olsson (Olivia Newton-John) is shocked to discover her summer crush, Danny Zuko (John Travolta) is not the same boy she met on the beach. A greaser and member of the T-Birds, he plays it off as if their romance meant nothing to him, but that sentiment won’t last.
Grease starts on the right note with an animated intro that recalls the cartoons of the ’50s (Rocky and Bullwinkle and Friends comes to mind). It sets the mood and, combined with Summer Nights tells you exactly what’s in store next. John Travolta and Olivia Newton-John are perfect together, the choreography and sure-thing romance get you excited for more. There's not much depth to anything we see but that's perfectly suited to this nostalgia-fuelled, breezy love story filled with teenage drama and a lot of energy.
Much of the film’s success comes from an unexpected source: Stockard Channing as Betty Rizzo, the sarcastic, cynical leader of the Pink Ladies, the clique who adopts Sandy. This movie has many moments of cheese, but Rizzo proves the screenplay by Allan Carr is also self-aware. As the audience gets ready to make a snarky remark at the “Why has he changed?” or “How can I romance her without being embarrassed in front of my friends?” sentiment, Rizzo beats you to the punch. Either by tossing a joke into the mix or introducing genuinely important teenage issues and sentiments. Ultimately the film is still a fantasy that leaves you cheering, but that slight edge prevents you from dismissing it as an airhead. That said, there is one element of the film that is dated: Danny's friends. Their toxic masculinity hints at an unintended, darker edge. For this reason, a few key lyrics have been tweaked in later production. It's easy to see why. Such is the price for enduring for this long. Ultimately, it doesn't matter. Grease is too much fun for you to be offended.
There are many big laughs and heart-fluttering moments as director Randal Kleiser paints this picture of a time when things were simpler and every conflict could be expressed, then resolved through song and dance. The leads are splendid. The supporting cast members make even their small contributions impactful thanks to some witty lines and memorable moments. Is Grease going to convert those who don’t like musicals? I don’t think so, but for those who already like it when characters express their feelings through rhyme, music and footwork, it’s a blast. (On DVD, November 24, 2017)
8 gennaio … ricordiamo …
#semprevivineiricordi #nomidaricordare #personaggiimportanti #perfettamentechic
2023: Bob Marchese, attore italiano. Attore prevalentemente teatrale, fu uno dei fondatori del Gruppo della Rocca. Apparve sugli schermi cinematografici nel film Il divo. Era padre dell’attore e doppiatore Paolo Marchese, e vedovo dell’attrice Wilma D’Eusebio. (n.1937)
2021: Alberto Terrani, pseudonimo di Alfredo Bolognesi, attore italiano. (n. 1935)
2021: Ed Bruce, William Edwin Bruce,…
‘scuse the self-indulgence, i’m in the throes of two hyperfixations; needed to tell you that i think ed would really love specifically the live/SMS version of swamp by talking heads. probably also all of speaking in tongues. maybe just their whole discography. idk. thoughts?
oh no worries, this whole blog is just me indulging myself lol. i can totally see ed being into talking heads! and swamp specifically since it's the one i'm listening to right now. i haven't heard a ton of their discography (i'm more of a tom tom club fan myself), but i do like their playful sound and very... for lack of a better word, quirky style. ed's an artsy guy so i think it works well haha. i always see ed as mostly a rocker/metalhead and a really big primus fan, and swamp kinda has a primus vibe in a really weird, reachy way. at least this live version anyway. i'm into it!
“Connie Stevens was just another Monroe-style starlet with platinum hair and a little girl voice when she first hit Hollywood in the late fifties. Had she appeared on the scene just a trifle earlier, that image probably would have stuck. However, by the time Connie started to make the rounds, the Era of the Teenager was in full flower, so Warners decided to turn her into the girl-next-door type – a sort of singing Sandra Dee.
During her first year with the studio, Connie appeared to be one of those stars who exist only in the pages of Photoplay magazine. Even with no TV or screen credits to speak of, she was nonetheless all over the movie and teen monthlies dispensing dating tips, makeup tricks and her recipe for spaghetti sauce. When the time seemed right, Warners paired her with Edd Byrnes on the aforementioned “Kookie, Kookie (Lend Me Your Comb).” She couldn’t miss, and she didn’t.
For Connie’s first solo release, Warners provided her with “Sixteen Reasons”, a formula ballad which had Connie Pledging her Ten Commandments of Love. The lyrics were corny, but it was a passable slow dance tune and as such hung around the top of the charts for twenty-four weeks. The only problem was that Warners couldn’t come up with comparable material for Connie’s subsequent releases. Her follow-up “Too Young to Go Steady” was a dud.
Although Connie’s recording career faded quickly, the studio continued to exploit her squeaky-clean image on TV in Hawaiian Eye and on the screen with roles that were even dumber than her records. (In Susan Slade, for example, Connie played an unwed mother who eludes public disgrace by pretending that her illegitimate son is her brother).
All things considered, Connie Stevens was one of the few studio-manufactured teen stars of the fifties who managed to hold onto lasting stardom. She continues to show up in things like The Hollywood Squares and Grease 2 and of course her celebrity hasn’t been hurt by her much-publicized marriages to actor James Stacey and the inimitable Eddie Fisher.”
/ Rock’n’Roll Confidential by Penny Stallings, 1984 /
Born on this day 85 years ago (8 August 1938): kitsch icon Connie Stevens.