Skip to main content

I Blame Evan Williams: Thomas&Moranis's STRANGE BREW

 Rick Moranis, Dave Thomas, Max Von Sydow, Paul Dooley. Dir. Dave Thomas & Rick Moranis, MGM, 1983


Evan Williams is a bastard. More accurately, Evan Williams black label turns me into a surly bastard, but if I go with my first sentence I get to blame him rather than myself for my underwhelmed response to STRANGE BREW, one of my more embarrassing '80s oversights, when I finally saw it last year. It had to have been the bourbon, because I finally re-watched it today, stoned, and laughed my ass off. Of course, the last time I got super high after a few sober days and watched movies, I gave THE GREAT OUTDOORS an ecstatic writeup and criticized UNCLE BUCK for being too dark, so...yeah. That happened.

As I've said before, my movie fandom blossomed in the '80s when I was a teenager/young adult and I pride myself on having seen most of the '80s-movie staples at the multiplex or on VHS by the end of the decade. It's inevitable to miss a few, I suppose, but I'm always a little embarrassed by some of my blank spots, like BATTLE BEYOND THE STARS, or THE LAST EMPORER, or Dave Thomas & Rick Moranis's Bob&Doug MacKenzie-comedy, STRANGE BREW.

STRANGE BREW particularly embarrasses me, as I was a big SCTV fan, a big fan of the MacKenzie Brothers skits, and of their 1981 comedy album, THE GREAT WHITE NORTH, particularly its hit single, "Take Off," featuring Rush's Geddy Lee on vocals. The MacKenzies returned the favor, appearing in a short video screened during tour stops on Rush's SIGNALS tour (which I saw in Cincinnati in the winter of '83.) Given all that, somehow missing the movie for 37 years, only to finally see it in a whiskey stupor and not find it at all funny not only is embarrassing, it ought to be. What can I tell you - bourbon is not my friend.

I asked Our Man in the Valley, Marc Edward Heuck (follow him on twitter @the_hoyk - he's awesome) to lie for me so I could start out saying I finally saw STRANGE BREW and it was hilarious, rather than I finally saw STRANGE BREW in the right state of mind to understand it IS hilarious, but I can't do that to a friend, even in a writeup this silly.

I write for GenXers and Boomers, mostly, because they get my jokes, so I assume most reading this already know about the MacKenzies, Great White North, SCTV, and STRANGE BREW. If not, Bob&Doug MacKenzie were characters created by Dave Thomas and Rick Moranis for a series of sketches on SCTV, whose popularity led to a record which sold a million copies, and parlayed that success into a deal with MGM for a feature film. Basically, the MacKenzie brothers created the template for SNL's "Wayne's World" and, arguably, such stoner-comedy duos as Bill&Ted and Beavis&Butthead, sort of a beer-soaked, Ontario riff on Vancouver-bred Cheech&Chong.

Their film, STRANGE BREW, loosely parallels HAMLET, recasting Prince Hamlet as Pamela Elsinore (Lynne Griffin), heiress to the Elsinore Brewing fortune, whose mother has married Elsinore's new CEO (Paul Dooley), who schemes with Brewmaster Smith (Von Sydow) to steal the company from her to sell a new, addictive form of their beer which will enslave its drinkers to Smith's will. The MacKenzies more or less play Rosencrantz&Guildenstern, and STAR WARS: A NEW HOPE's Angus MacInnes ("We're too close!") plays Ophelia, drowning along with the MacKenzies at the end of Act I, thus following the story that far. Act II finds the Brothers and McInnes resurrected, of course, and from there the movie pretty much abandons the Bard and lets its Hamlet and Ophelia kick ass and save the world, or Toronto, from Smith's nefarious scheme. Personally, I hate that HAMLET's four best characters all die, and I guess Thomas&Moranis did, too. If STRANGE BREW is clearly no threat to HAMLET, I think I like its ending a little better. I know its climax, involving a flying dog painted up as a skunk, moved me almost as much as HAMLET's "Watch me drink poison and stab people."

I laughed pretty much nonstop today. If the above doesn't convince someone who's also missed STRANGE BREW to give it a look, I don't think anything else I could say will. I'm so glad I stopped drinking.



Comments

Popular posts from this blog

Fill in the '80s: Peter Bogdonovich's Mask

 Cher, Eric Stoltz, Sam Elliott, Laura Dern. Dir. Peter Bogdonovich, Universal, 1985 As I've noted, my movie addiction starts with my parents taking me to see Disney's Bedknobs&Broomsticks when I was four years old. I spent the '70s seeing any movie I could, mostly Disney and other kid-friendly fare, peppered by notable exceptions like The Sting, Jaws, and The Outlaw Josey Wales. In the '80s, my teenage and young adult years, I began to see more adult-themed movies and started watching with a somewhat more critical eye. I have since compiled a list of every '80s movie I've seen.  It's a long list. All the usual suspects are on it. The classic '80s fare, the Purple Rains and Red Dawns and Top Guns and so forth predominate. Whenever I go out scavenging, I always keep an eye out for '80s titles I have not seen or have but do not own. I regard the unseen ones as pieces of a picture puzzle I've been filling in for 40 years. Last night, I fitted ...

Breaking Even: Adam Sigal's When the Starlight Ends

 Sam Heughan, Arabella Oz, David Arquette. Dir. Adam Sigal, Cinedigm, 2016 Along with The Beast, When the Starlight Ends was my great-unknown buy on my last trip. Found for $2 in the Dollar General clearance bin, it looked like some micro-indie romantic drama, maybe an ensemble piece, that somehow got enough distribution to turn up in an Oxford DG. Might be a cool discovery. Might stink. $2 made it worth the gamble. Watching it, not as much. First off, When the Starlight Ends is exactly what it appears, a microindie rom-dram, starring a star of Starz's Outlander series and his two famous friends, Sean Patrick Flanery and David Arquette, in cameos lending what looks like a student film with a good grant some dubious accociation with celebrity. Its best moments all owe to cool cinematography moreso than performance or story. A driving scene either resurrects real rear projection or some digital version thereof, but looks really cool either way. The story - I mean, it's more...

Ev'rybody wants to be a kid: Walt Disney's The Aristocats

 Voices of Eva Gabor, Phil Harris, Scatman Crothers, Paul Winchell. Dir. Wolfgang Reitherman, Disney, 1970 Little kids love receiving mail. I've had friends with young children ask if I'll send them mail - a postcard, a greeting card - just because it makes them feel special. I was no different. I suppose it gave me an early sign of individuality, of being a real person apart from my parents and, conversely, of belonging to a larger world. The grownups get mail. If I get mail, it's some small step toward adulthood. Not that I could have articulated that at age five. Then, it was pure novelty, long before life - and my parents - taught me to fear new experiences.  When I was a child, Disney used to release lps of their movies. Not soundtrack albums, these were a condensed version of the film, itself, featuring the actual dialog and sound from each picture. They came as gatefold albums with a full-color booklet attached to their inner spine so a listener could read along with...