‘Beast with a Gun,’ ‘Detroit 9000’ and ‘Dirty Mary Crazy Larry ‘ in ‘Jackie Brown’

Quentin Tarantino’s Jackie Brown isn’t a very good movie, but it’s interesting, which is not nothing. Re-watching the 1997 film — an adaptation of Elmore Leonard’s novel Rum Punch — on HBO Max, I was struck, first, by how self-indulgent Tarantino is and, second, how he carries self-indulgence off better than most. Much of the film’s two hour and thirty-four-minute running time is occupied by Tarantino sticking a camera in front of two or three of his formidable cast (Pam Grier, Robert Forster, Samuel L. Jackson, Bridget Fonda, Michael Keaton, Robert De Niro), and then not turning it off for a long time. Far from being boring, the long takes usually foment a kind of fascination.

The thing I found most interesting about the movie was how, despite being set in the mid-’90s present tense, it is firmly planted in the 1970s. That applies to the soundtrack, which kicks off with Bobby Womack’s rousing “Across 100th Street” and includes a couple of great Philadelphia soul tunes from the Delfonics, “Didn’t I (Blow Your Mind This Time)” and “La-la Means I Love You.” The characters played by Grier and Forster actually bond over the Delfonics, and another feature of the film is how Tarantino’s camera lingers over the interesting faces of those two ’70s icons, neither in the first bloom of youth.

The other really ’70s thing about Jackie Brown is the movies-in-movie aspect. Jackson plays a two-bit gun smuggler named Ordell Robbie and Fonda his surfer-girl girlfriend. At one point Ordell walks in on her smoking a bong:

Ordell: Goddamn girl, you gettin’ high already? It’s just 2 o’clock!

Melanie: [chuckling] It’s that late?

Ordell: You know you smoke too much of that shit, that shit gonna rob you of your own ambition.

Melanie: Not if your ambition is to get high and watch TV.

Indeed, the TV is always on in the apartment, and what do you know, it’s tuned to a channel whose continuous fare, somehow, is 1970s grindhouse flicks. The first we glimpse is Beast with a Gun (1977). IMDB’s plot summary: “In Italy, escaped sadistic killer Nanni Vitali and his henchmen terrorize the populace and seek revenge against those responsible for Vitali’s incarceration.”

And right, Helmut Berger it is.

Later, Jackie Brown (Grier), in a red dress, walks by the TV as it’s playing Detroit 9000, a 1973 blaxploitation flick which Tarantrino likes so much he sponsored its reissue on DVD a few years back.

The most delicious moment is Fonda watching Dirty Mary Crazy Larry (1973). How come? Well, it stars her dad, Peter — shown here with Susan George, kind of a ’70s icon herself.

‘Easy Living’ in ‘After the Fox’

If I say “mid-’60s madcap Peter Sellers comedy, with a theme song by Burt Bacharach and poster art by Frank Frazetta,” what movie comes to mind? Most likely it’s What’s New, Pussycat? (1965), but today’s topic is Pussycat‘s sort of sequel, After the Fox.

I say “sort of” because the movies don’t have common characters or plot elements, just the features listed above and United Artists as a production company. And that allowed the Pussycat reference in the After the Fox poster.

The movie was recommended to me by Eric Hanson, who was inspired to stream it on Amazon Prime because of its noteworthy creators: Sellers as star, Neil Simon as writer (this was his first screenplay), and Vittorio De Sica as director. De Sica also has a cameo as himself, directing a biblical epic with “John Huston” playing Moses. It’s not the real John Huston, just one of many cinematic in-jokes in After the Fox. Earlier in 1966, Huston had played Noah in his own epic, The Bible.

Anyway, Eric had commended it to my attention because of yet another in-joke, the movie-in-movie scene. I will set it up as simply as possible. The movie takes place in Italy and Sellers plays a criminal on the run from the law. Britt Ekland (his wife at the time) is his sister. Victor Mature is Tony Powell, a washed-up American actor who happens to be in Rome at the time and has just been set on by a mob of adoring fans.


A couple of things to unpack. The first poster they see is for Crimine a Due, a real 1964 Italian horror film. The poster for the movie they do see says Il Giocatore (“The Player.”) There is no such movie but it fits with the film that’s being screened in the theater, Easy Living, a 1949 melodrama starring Lizabeth Scott and Mature as a washed-up football player. Then we see Mature as Tony Powell in the present day, in a hotel room with his agent, played by Martin Balsam, whom it’s always good to see.

And finally, full credit to Mature. He came out of retirement (his first of several) to spoof himself, even consenting to submit himself to egregious hair dye. That’s what I call taking one for the team.

‘The Egg and I’ in ‘Brute Force’

Contrast is almost a prerequisite when it comes to effective movie-in-movies. It would be hard to find one more pronounced than in Jules Dassin’s 1947 prison melodrama from Universal Brute Force. Actually, you’d think that whoever does the cinematic programming at this pen should be fired, as probably the last movie Burt Lancaster and his fellow hardened cons would be expected to enjoy would be The Egg and I. That comedy is also from Universal and was released just a few months before Brute Force. It’s also unlikely that a prison would get its hands on such a recent movie, but chalk that up to poetic license.

The Egg and I is about the wacky misadventures of a couple from the city (Fred MacMurray and Claudette Colbert) when they decide to go into the chicken-farming business. The inmates have a surprising reaction.


The appreciative chuckles at this fluff either the ultimate poetic license, or the prisoners are so starved for entertainment that they’d lap up anything.

Incidentally, looking into this pairing led me to a funny anecdote told by one of my favorite DJs, Jonathan Schwartz, and recounted by blogger Peter Filichia. It seems that long ago, a TV programmer in the Midwest

“decided one night to show both films — first Brute Force, until the moment where the men go to see the movie, at which point he interpolated The Egg and I in its entirety. Yes, all 104 minutes of it. During commercials, he’d intone, “You are watching Brute Force, starring Burt Lancaster and Hume Cronyn” — though someone who’d tuned in late would swear that he was watching The Egg and I.

“Finally, after that light comedy finished up, our programmer returned to the scene in Brute Force where the guys are getting up from the table after having watched the movie…. The programmer then continued with the rest of Brute Force, giving viewers a 199-minute orgy of 1947 Hollywood!”

Thanks to Eric Hanson for the suggestion.

‘Snow White’ (and a lot more) in ‘Gremlins’

If asked to name to the most movie-conscious movie, I probably wouldn’t select Gremlins. But Joe Dante’s 1984 horror-comedy belongs in the discussion.

The film’s best-known movie-in-movie scene occurs when the apparently cute, but actually viciously destructive, title creatures have taken over the local cinema. Initially, there’s some trouble in the projection booth, but that gets sorted out.

The movie the gremlins are watching, of course, is Snow White and the Seven Dwarfs (1937). It’s a knowing choice, showing the striking transition in animated sidekicks from Disney’s lovable dwarfs to Dante’s disgusting critters. But gross as they are, they’re also — in their rapt involvement with what they’re watching — the sort of audience a director can only dream of.

And if you think it’s odd that a 1937 movie should be on offer in an early ’80s cinema, you shouldn’t: Disney re-released Snow White in the Christmas season roughly every decade, the last time in 1983. Gremlins is a Christmas movie as well (though it was rushed to a June release, apparently so that its studio could have some blockbuster competition against Ghostbusters and the second Indiana Jones movie). It has lots of nods to the ultimate Christmas movie, It’s a Wonderful Life, including the fact that the main character, Billy (Zack Galligan), works in a bank, and both the look and the name (the Bedford Falls-sounding Kingston Falls) of the town where it’s set.

An early movie-in-movie scene is a more explicit shout-out to Frank Capra’s classic. Billy and his mother (Frances Lee McCain) are in the family kitchen.

I love it that she doesn’t have the sound on: at this point,Wonderful Life is so familiar that it’s really not necessary. And is she crying at the ending of the movie (which would be happy tears, not sad ones, right?), or from the big pile of onions she’s just chopped?

Here are the other movies in the movie, in no particular order. I find all but one of them clever and fun.

Billy and Gizmo, the Mogwai who inadvertently spawned the gremlins, watch Invasion of the Body Snatchers (1956) on TV. The parallels are obvious.

Playing in the classroom of the high school science teacher (Glynn Turman) is Hemo the Magnificent, a 1956 documentary about the circulatory system directed by none other than Frank Capra.

Mr. Futterman (Dick Miller), who is bitter at foreign imports up to and including the gremlins taking over from American-made products, finds that his TV will only play kind of the ultimate foreign film, Jean Cocteau’s 1950 Orpheus.

My favorite Easter egg takes places in the local bar, where the TV is barely visible. IMDB informs me that what’s showing on it is the 1949 Pepe Le Peu cartoon For Scent-imental Reasons, directed by Chuck Jones. And guess who’s the customer walking along the bar, looking at it? Chuck Jones himself. (Phoebe Cates is the waitress, Judge Reinhold the dude on the left.)

The one movie-in-this-movie whose point I can’t quite figure out is To Please a Lady (1950), which looks to be a pretty bad car-racing movie starring Clark Gable and Barbara Stanwyck. But Gizmo and Billy’s dog clearly don’t share my opinion. There’s probably an in-joke in there somewhere, and if anyone can spot it, please let me know.

“Her Hour of Love” in “Taxi”

I was looking around on the invaluable Films in Films site and came on an entry for Roy Del Ruth’s 1932 movie Taxi. (Films in Films lists it as Taxi! but the original posters and such do not have an exclamation mark.) FIF says the film includes scenes from the same director’s Side Show, released the previous year. This was exciting to me because, up till now, the earliest example I’ve found of a sound film using clips from another sound film is Wild Boys of the Road (1933), which uses Footlight Parade. And Taxi came out more than a year earlier.

The movie-in-movie situation turned out to be a bit more complicated than that, which I’ll get to in a minute. But to start, Taxi (available for rental on Amazon Prime) is a weird, wonderful, and disturbing movie. The bread and butter of impressionists used to be James Cagney saying, “You dirty rat. You killed my brother.” And that started with Taxi, where Cagney plays New York City cabdriver Matt Nolan. As with many famous lines, he didn’t say exactly those words. A bad guy does indeed kill his brother, and in one improbable plot turn, Matt’s wife, Sue (Loretta Young), gives some assistance to the killer. Matt shoves Sue around (he’s always socking people, dames included) and says, “The dirty rat kills Danny and you help him get away with it!” Later, a la R. Kelly, the killer is locked in a closet and Matt exclaims, “Come out and take it, you dirty yellow-bellied rat or I’ll give it to ya through the door!” Spoiler alert: he goes ahead and shoots. Matt’s a true sociopath, and the disturbing thing is the movie pretty much gives him a pass on that.

Taxi also has this kind of amazing scene:

Cagney was born on the Lower East Side and really did speak Yiddish. An article in the Forward summarizes what’s going on here:

The man tells the policeman that he urgently needs to go to Ellis Island because his wife and children are due to arrive and becomes incensed that the cop cannot understand his “plain Mame-Loshn.” After insulting the cop, calling him fat and a dummy — literally: a “gentile head” — the Jewish man asks Matt if he is a fellow member of the tribe. “What else would I be, a sheygets?,” Cagney’s character responds. (Sheygets is the male equivalent of a shiksa.)

And one more little sidelight. In another amazing scene, Sue and Matt enter a foxtrot contest, and who should beat them out but an uncredited George Raft, in one of his first roles?

I came to Taxi after watching Footlight Parade and a bunch of other Warner Brothers pre-Code musicals, and it’s fun to watch members of the Warners stock company like Guy Kibbee and George E. Stone show up in non-musical roles. In this sequence, Matt and Sue go to the movies with Stone (as fellow cabbie Skeets) and Leila Bennett, playing a wise-cracking waitress, Ruby (and stealing the picture).

Gentle fun is poked at Warners star John Barrymore, and slightly less gentle at Paramount’s Fredric March, who had just played a Barrymore-like thespian in The Royal Family of Broadway. Ruby’s favorite, Joe E. Brown, was a comedy star at Warners.

Here’s the movie-in-movie:

In the entire history of movie-in-movies scenes, from silent days up through Mad Men, the predominant theme for the trope has been a contrast between the idealized or hokey, “Hollywood” world that the characters watch, and their own “real” world. (And the enduring richness of the trope, of course, derives from the fact that their world isn’t really real, either.) Here, what’s onscreen is hokey and Hollywood to the max: with stilted acting, lousy synchronization, and melodramatic lines like, “My life seems misspent. The meaning has gone out of everything and left only … ashes.” (The dialogue brings to mind the scene in Harold Pinter’s The Last Tycoon script where Robert DeNiro, playing an Irving Thalberg-like executive, rips a screenwriter for the line he’s penned in response to “I love you” — “And I you!”)

The Taxi characters’ reaction eliminates any doubt we might have about the badness of the movie they and we are watching. And by the way, Cagney’s line in reference to the male lead, Donald Cook –“His ears are too big” — is another in-joke. That was commonly said about another actor from a rival studio, MGM’s Clark Gable.

Now as to the identity of that crummy movie. The marquee says it’s Her Hour of Love — “GREATEST PICTURE OF ALL TIME.” (Hardy har har.) There is no such film, though One Hour of Love was a 1927 silent. Both Films in Films and IMDB say the actual footage is from Side Show, directed by Del Ruth in 1931. That is not true, as I can attest now that I’ve seen Side Show, which is available for rental on YouTube. That film does indeed feature Cook and Evalyn Knapp (the onscreen lovers) but it’s a circus-set comic adventure. Del Ruth, Cook, and Knapp worked up this scene especially for Taxi.

So Wild Boys of the Road still hasn’t been displaced. Taxi does, however, hold the distinction of being the first movie to include clips from a fake movie, and that is not nothing.

‘Planet of the Apes’ and ‘McHale’s Navy’ in ‘Mad Men’ (Spoiler alert)

Don Draper reads one of the promotional newspapers that were actually distributed in theaters where “Planet of the Apes” was playing.

The trope of TV characters watching TV has been remarked on, including here and here ). It’s especially common in the angsty cable dramas of the 200s and 2010s, like Breaking Bad, Better Call Saul, Mad Men, and The Sopranos, where the fakery and cheesiness of what’s on the screen-within-the-screen not only contrasts ironically with the struggles of Tony Soprano, Walter White, et al., but works as clever branding: Look how fake old-time TV is! Our show is real!

It’s rarer on these shows when characters hie themselves to a cinema and watch a movie. One such instance comes in the 2013 Mad Men episode “The Flood,” directed by Chris Manley, set on the day and aftermath of Martin Luther King’s assassination in 1968.

And here’s the complete spoiler alert. This post will not only reveal plot elements of “The Flood” but also the ending of the movie Don Draper and his son watch. I take pains to point that out, because when the episode first appeared in 2013, people got mad!

At this point in the series, Don (Jon Hamm) is divorced from his first wife, Betty. As the scene opens, his new wife, Megan, has taken two of his kids to Central Park memorial for King. (Such a vigil really took place. It was attended by 20,000 people and it was peaceful, though still doesn’t seem quite the right place to bring a baby.) Bobby Draper (Mason Vale Cotton) stays in the apartment with Don. Even though Bobby has been punished by his mother and isn’t allowed to watch TV, he is in fact watching TV — already, he’s taken on some of the trademark Draper rule-bending. The particular TV show he’s watching is the sitcom McHale’s Navy, with Ernest Borgnine and Joe Flynn, presumably chosen for maximum cheesiness and fakery. (At least it wasn’t Hogan’s Heroes.)

In the last few seconds of the clip, you can see Don’s mental gears trying to figure out how he can bend the no-TV rule, and an audio clue to his solution. We cut to (and here’s one final spoiler alert):

Right, it’s the famous, shocking ending of POTA. You can see how people who hadn’t gotten around to seeing the movie, even after 45 years, might be annoyed.

In any case, it’s a nice moment in Mad Men. There should be a word for the phenomenon at the end of a really good movie when the audience sits in silence for a few seconds — letting it all sink in, maybe drying a tear or two — before saying anything to their companions. That’s what’s going on here, as well as Don’s appreciation of Bobby’s appreciation of the film. As he acknowledges later in the episode, for him, such paternal moments don’t come easily or often.

‘The Outlaw’ in ‘Citizens of the World’

My wife is obsessed with all things Italian, and through one of her email subscriptions heard about an online showing of a 2019 film called Citizens of the World (Italian title: Lontano Lontano), to benefit the Martha’s Vineyard Film Society. It seemed like a good cause and a good film, so we paid our $12.50 and streamed it.

Good choice. The movie, directed by Gianni Di Gregorio, is a very well-observed, funny, gentle and (most important) un-cliched character study of three Roman retirees who decide that the only way to make their pensions cover their living costs would be to move abroad. Complications ensue. (By the way, it’s also available for rental on Amazon.)

As a bonus, there’s an early movie-in-movie scene. One of the guys, played by the director, is a retired teacher known only as “Il Profesore.” We see him in his apartment, preparing dinner. And then:

The choice of movie serves a couple of purposes: one, the comedy of the professor’s sleeping through a shoot-’em-up and, two, more subtly, the implication that perhaps that his time, the time of black and white westerns, has passed by.

My only problem is that I can’t i.d. the movie. It’s listed neither in the Films in Films website nor the user-generated “Connections” sections of IMDB. If anyone can name the movie the professor is dozing to, I’ll put it up on IMDB myself.

Update: Shortly after posting this, I made a plea on Facebook and Twitter for help in identifying the movie. Within minutes, three separate people — Francie Halderman, Lewis Beale and Nancy Friedman (Twitter @fritinancy) — had pegged it as Howard Hughes’s infamous The Outlaw (1943), starring Jane Russell. That adds to the joke, as the Professor even sleeps through Russell’s va-va-voomitude.

I immediately filed the Connection with UMDB. Grazie tutti!

‘The Creature Walks Among Us’ in ‘WandaVision’

As anyone who’s seen it or even read about it knows, the Disney TV series WandaVision is heavily into “Easter eggs,” in jokes, arcane references, and all sorts of meta stuff. Now, part of the deal with Easter eggs is that they’re not easy to to spot, which in movies and TV shows often translates into going by really fast. That’s the case in episode eight, “Previously On” (even the episode titles are meta!), where, in addition to seeing characters watching old episodes of The Dick Van Dyke Show and Malcolm in the Middle, we’re shown an extremely brief shot of a movie marquee. I had to go through the scene four or five times, pausing and starting, before I finally snagged this fuzzy screen shot.

I had no idea what “Tannhauser Gate” signified, until I googled it and discovered it’s not the title of a movie nor areal place but a reference to some lines in the 1982 film Blade Runner: “I’ve seen things you people wouldn’t believe. Attack ships on fire off the shoulder of Orion. I watched C-beams glitter in the dark near the Tannhäuser Gate. All those moments will be lost in time, like tears in rain. Time to die.” The indispensable website TVTropes reports that “References to the Gate crop up repeatedly in other [science fiction] media as a Shout-Out to Blade Runner.”

The movie-in-movie scene I’m here to tell you about takes place in episode six, “All-New Halloween Spooktacular,” directed by Matt Shakman, and is also short enough to qualify as an Easter egg. There’s a Halloween festival going on in the town where WandaVision takes place, Westview, and projected against a building is a black and white movie. We see a second and a half of it, tops, and most of the time only a fraction of the screen in the background. (If you want to know what’s going on in the foreground, with the kid and the lady in the witch costume, you have to watch the show.)

Other than the fact that it looked like some kind of monster was walking around, I had no idea what the movie was. The usually reliable Connections feature of IMDB was no help, probably because the episode was so new. So I made an appeal on Twitter, and sure enough, in 53 minutes, I had an answer, courtesy of Andrea Fiamma (@failflame). She reported that the website Nerds and Beyond had i.d.-ed the movie as The Creature Walks Among Us (1956).

Now why did director Matt Shakman choose this movie, which was the second sequel to The Creature from The Black Lagoon? Nerds and Beyond, after identifying the film, makes the cryptic comment, “And suddenly it all makes sense.” But how? Why? If any nerd out there has an answer, I’d be happy to hear it.

‘Mogambo’ in ‘The Courtship of Eddie’s Father’

When my daughter Maria was little, after reading her a bedtime story, I’d hang around in her room and we’d have what she dubbed “chat time,” where we’d talk about this and that. At the end, we’d sometimes recap what she (again) called “the train” — how the first subject led to the next, and so on, to the end. A Movies-in-Other-Movies train starts with Bombshell, where the movie-in-movies was Red Dust. Then Bombshell was used in The Prize.

And today we have The Courtship of Eddie’s Father (1963), directed by Vincente Minelli, who was previously represented on this blog by his clever use of The Bad and the Beautiful in Two Weeks in Another Town. I had never seen The Courtship of Eddie’s Father, only the Bill Bixby sitcom that based on it, one of a bewildering number of late ’50s and ’60s shows about widowers or other single father figures raising kids — Bachelor Father, My Three Sons, Family Affair, Bonanza. (Widowed mothers — demographically more common — didn’t arrive till Diahann Carroll’s Julia in 1968. And divorced people … forget about it.)

The train is that the film Minelli chooses to have lonely and wistful Tom Corbett (Glenn Ford) watch on TV is John Ford’s Mogambo (1953), a remake of Red Dawn in which Clark Gable recreated his original role and (older guys being okay as Hollywood love interests, older women not so much) Ava Gardner and Grace Kelly (shown here) took the Jean Harlow and Mary Astor parts. The scene is notable for having Tom use a wireless remote control, just as Jack Lemmon did in The Apartment.


And just to finish up the train, Eddie is of course played by Ronny (later) Ron Howard, whose birthday is today!

‘Bombshell’ in ‘The Prize’

So screenwriter Ernest Lehman cooks up a scene for the Hitchockian The Prize (1963) in which Nobel-winning novelist Andrew Craig (Paul Newman), having arrived in Stockholm and gotten involved in some skullduggery, gets a tip to go see a particular guy in his apartment. There’s no answer to a knock on the door, and Andrew walks in to find the television is on.

What should be playing? One can imagine the discussion between Lehman and director Mark Robson. A movie is more interesting than some Swedish TV show, but which one? Should be something from the studio behind The Prize, MGM, for the sake of economy. Beyond that, I can only think that Lehman and Robson opted for a film as dissimilar as can be from theirs.

What they came up with, in any case, was Jean Harlow’s Bombshell, which I discussed here because it has a scene from Red Dust, and which therefore earns this post and that one a “Double dip” tag. To make it even more discordant, it’s the scene where Harlow is telling Lee Tracy how much she wants a baby. (I can figure that out because the Swedish voice artists keeps saying “baby” and “mama.”)

I’d offer a trigger warning for the scene, but if you’ve seen more than a couple of suspense films, you know exactly what’s coming.