21 search results for Last Supper
Includes - All in the Family: Meet the Bunkers (1971) All in the Family: Writing the President (1971) All in the Family: Archie Gives Blood (1971) All in the Family: Gloria Is Pregnant (1971) All in the Family: Lionel Moves Into the Neighborhood (1971) All in the Family: The First and Last Supper (1971) All in the Family: Success Story (1971) All in the Family: Gloria Discovers Women's Lib (1971) All in the Family: Archie Is Worried About His Job (1971) All in the Family: Edith Has Jury Duty (1971) All in the Family: Now That You Know the Way (1971) All in the Family: Judging Books By Covers (1971) All in the Family: Archie's Aching Back (1971) All in the Family: Meet the Bunkers The sitcom that changed the face of American television premiered on January 12, 1971, with the last of three pilot episodes filmed between 1968 and 1970 (during which time the property underwent two near-complete cast overhauls and three title changes). Written by series co-producer Norman Lear, "Meet the Bunkers" used the occasion of Archie and Edith Bunker's wedding anniversary to introduce the main characters and rapidly establish both the mood and tenor of all the episodes to come. Though virtually plotless, the episode is jam-packed with incident: Archie and Mike have a heated argument over "racial profiling," Edith tries to drag a recalcitrant Archie to church, Gloria and Mike are so hot for one another that they can barely wait until they get to the bedroom, and Lionel Jefferson (Mike Evans) uses broad African-American stereotypes to subtly needle the reactionary Archie. Especially worth noting in this inaugural episode is Jean Stapleton's portrayal of Edith, who comes off as a lot less stupid and a lot more sarcastic than she would in future episodes. While "Meet the Bunkers" seems somewhat tame when seen today, it packed enough of a wallop back in 1971 for CBS to issue a disclaimer at the beginning of the program, in which the network lauded All in the Family for its courage and daring and simultaneously begged the viewers' pardon for those qualities. ~ Hal Erickson, All Movie Guide All in the Family: Writing the President Incensed that Mike has written a stern and critical letter to President Nixon, super-patriotic Archie tries to set things right by penning his own missive to the Chief Executive. "Dear Mr. President...Your Honor...Sir..." -- and Archie even dons a clean shirt and tie for the occasion. Scripted by Paul Harrison, Lennie Weinrib, and Norman Lear from a story by Les Erwin and Fred Freiberger, "Writing the President" originally aired on January 19, 1971. Though withdrawn from CBS' daytime rerun package of All in the Family at the request of producer Lear (who felt that Archie's behavior was ridiculous even for him), the episode has since been restored to the series' syndicated package. ~ Hal Erickson, All Movie Guide All in the Family: Archie Gives Blood Archie balks at the notion of donating blood at the local Red Cross. When Mike accuses him of being chicken, Archie protests that he doesn't want to give up a precious pint of his own "pure" blood unless he can be certain that the recipient will not be a member of a minority group. Archie's ethnocentric monologues in this episode are so incredibly convoluted that one almost grudgingly admires his stubborn stupidity. Written by series coproducer Norman Lear, "Archie Gives Blood" first aired on February 2, 1971, replacing the originally scheduled episode "Judging Books by Covers." ~ Hal Erickson, All Movie Guide All in the Family: Gloria Is Pregnant When Gloria announces that she's pregnant, both Mike and Archie blanche in terror. Not only did Mike enter into matrimony with the understanding that there wouldn't be any children, but he just plain can't afford to be a father. As for Archie, he is dead set against Gloria bringing a "little Meathead" into the world. The ending of this episode is especially poignant, with Archie revealing a heretofore well-hidden tender and comp
Although he was not the first choice to direct it, the hit black comedy MASH established Robert Altman as one of the leading figures of Hollywood's 1970s generation of innovative and irreverent young filmmakers. Scripted by Hollywood veteran Ring Lardner, Jr., this war comedy details the exploits of military doctors and nurses at a Mobile Army Surgical Hospital in the Korean War. Between exceptionally gory hospital shifts and countless rounds of martinis, wisecracking surgeons Hawkeye Pierce (Donald Sutherland) and Trapper John McIntyre (Elliott Gould) make it their business to undercut the smug, moralistic pretensions of Bible-thumper Maj. Frank Burns (Robert Duvall) and Army true-believer Maj. "Hot Lips" Houlihan (Sally Kellerman). Abetted by such other hedonists as Duke Forrest (Tom Skerritt) and Painless Pole (John Schuck), as well as such (relative) innocents as Radar O'Reilly (Gary Burghoff), Hawkeye and Trapper John drive Burns and Houlihan crazy while engaging in such additional blasphemies as taking a medical trip to Japan to play golf, staging a mock Last Supper to cure Painless's momentary erectile dysfunction, and using any means necessary to win an inter-MASH football game. MASH creates a casual, chaotic atmosphere emphasizing the constant noise and activity of a surgical unit near battle lines; it marked the beginning of Altman's sustained formal experiments with widescreen photography, zoom lenses, and overlapping sound and dialogue, further enhancing the atmosphere with the improvisational ensemble acting for which Altman's films quickly became known. Although the on-screen war was not Vietnam, MASH's satiric target was obvious in 1970, and Vietnam War-weary and counter-culturally hip audiences responded to Altman's nose-thumbing attitude towards all kinds of authority and embraced the film's frankly tasteless yet evocative humor and its anti-war, anti-Establishment, anti-religion stance. MASH became the third most popular film of 1970 after Love Story and Airport, and it was nominated for five Academy Awards, including Best Picture and Best Director. As further evidence of the changes in Hollywood's politics, blacklist survivor Lardner won the Oscar for his screenplay. MASH began Altman's systematic 1970s effort to revise classic Hollywood genres in light of contemporary American values, and it gave him the financial clout to make even more experimental and critical films like McCabe and Mrs. Miller (1971), California Split (1974), and Nashville (1975). It also inspired the long-running TV series starring Alan Alda as Hawkeye and Burghoff as Radar. With its formal and attitudinal impudence, and its great popularity, MASH was one more confirmation in 1970 that a Hollywood "New Wave" had arrived. ~ Lucia Bozzola, All Movie Guide
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