We now join the following program, already in progress.
Didn't you hear her? She's been screaming for I don't know how long.
Guess it's difficult with Ella Fitzgerald in one ear and her in the other.
Ultimately, I think it's the predictability of this piece that scuttles it.
We never believe his initial reaction of the child, which is precisely what feels every obvious turn of the rest of the story.
Richard E. Grant turns in a solid performance. Samantha Mathis is fine, too.
But the conventional story is just too much to handle as Jack and Sarah goes in one eye and out the other for me.
Well, I understand how it goes in one eye, but I'm not quite sure how it goes out the other.
I'll tell you what saved the movie for me. I'm giving it a marginal thumbs up.
You're generous.
Richard E. Grant. He usually plays the heavy. He has an edge. He often plays unlikable characters.
He makes this work. It would have been kind of unbearable if it had been kind of a squeaky clean, real positive kind of actor.
But then it would have been an American comedy.
Then it would have been an American comedy, yes. You can believe that he has dark tones to his soul.
You can understand how his rage at the fact that his wife has died is going to be taken out on this child.
That's hard to believe, Roger.
Well, but it happens. It happens. It does happen.
And the fact that he turns around, of course, is predictable.
And many of the other, we know that he's going to fall in love with the man.
You're talking about major chunks of the movie.
What we have here is that Richard Grant as an actor brings a texture to the material that makes it risky.
He's good, Roger. The point is that this story, you know every second of the way what's going to happen.
You know that he's not going to throw the baby away. You know that. Come on.
You know 95 percent of this will be exactly what's going to happen.
I know that he's not going to throw the baby away, but I'm also interested in the fact that he has a change of heart and learns to be a different kind of person than he was before.
Never saw that before. Never saw that before.
Okay. When we come back, Robert Duvall discovers that James Earl Jones is his brother in a family thing.
Earl, put that picture in your pocket. Don't bend it and don't lose it. It's your mother.
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Oh, hang on. My aunt and uncle are on vacation. I got to go feed their cat.
Where'd they go?
Somebody's goofy, I bet.
Yeah, what thought they'd go?
Rocking chairs and shuffleboard.
Maybe they went to some seminar.
Queen ups love that educational stuff.
Hey, I guess if you have to work all year, you're just too tired to party.
Yeah, it's scary. You hit a certain age and boom, you don't know how to have fun anymore.
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Why does your grilled cheese taste so good?
Because I invented it.
Daddy!
When I was a kid.
I couldn't have done it without Kraft Singles.
So warm and crispy.
All the neighbors wanted one.
So gooey, it made the front page.
What makes a grilled cheese sandwich rich and creamy?
Kraft Singles, made with the magic of milk.
Even the president wanted a taste.
The president. Last time it was the queen.
The great grilled cheese tastes the magic Kraft Singles make.
Bum-bum-ba-dum-bum.
Says, dear Earl, we had a colored woman named Willie Mae that worked for us.
She cried one day and told me that your daddy had been with her a while back.
She come up pregnant.
Hmm, geez.
Willie Mae is your real mama by blood.
Robert DeVall plays a garage owner from Arkansas there who learned after his mother's death that he has a half-brother he never knew about.
Now he has traveled north to meet the brother, a Chicago cop played by James Earl Jones in that early scene that we saw from A Family Thing.
This is the kind of movie where once you accept the premise, which in this case is that they both have the same mother,
all the rest falls into place because DeVall and Jones create such likable and plausible characters.
I knew the story. I knew all about it. I knew all about your sorry daddy.
Why'd you think I'd want to see you?
Like I said, I did it for my mom.
As the movie opens, both men are far from happy to acknowledge their relationship,
but gradually they grow closer and share old memories, some of them quite painful.
That's about three years old and this little old colored kid threw something at me.
It's coming back to you.
Anyway, this kid hit me with a rock right there.
You were coming out of Brooks grocery store on Apple Street with your daddy.
How do you know that?
Another key character in the movie is the blind aunt who shares a home with Jones.
You boys want me to pick you out some tea?
We'll take my advice. Tell her you ain't hungry.
Ray, get in here.
One time she brushed her teeth with Preparation H.
Aunt T is played by Irma P. Hall, who is wonderful in this movie,
stealing every scene she's in like this one.
You set me all messed up, Miss T. I don't know what to think of it.
I mean, you don't know what it's like that you don't like.
You're right about that. I don't know what it's like for you.
Nobody ever knows what it's like for somebody else. That's always the problem.
A family thing is basically a fantasy, I suppose, since in real life a situation like this
couldn't be expected to turn out quite so warm-heartedly.
But it's the kind of fantasy that makes us feel good while we're watching it,
and I'm glad they wrote in the character of that blind old aunt
who says things that need to be said and cuts right through the thicket of resentment
and reluctance in the two brothers.
The movie grew on me and I really enjoyed the chemistry between the two men.
I had the exact same reaction, which is an absurd premise, but you go for it.
And frankly, you go for it because of her character and also the two players.
If I have to give an edge to it, I'd say Duvall really makes the story sing,
because when we see the introduction of the James Earl Jones character,
we sort of think, oh, that's a convention here.
Duvall is a wonderful actor.
He finds a truth in this story so that we go for it, and I liked it.
And one nice thing, when they first meet each other,
and Jones is confronted with the fact, hey, this is my brother,
there are ways that that is handled in a standard way in the movies.
And here, the way they edge up on each other, they're older guys now.
They were in their 60s. They've been through a lot.
If they were in their 40s when this happened, it would be different.
They both had a lot of experience of life, and that's what carries them through.
But it's true, the James Earl Jones character doesn't want to go anywhere near this.
And he waits, and the screenplay waits and waits before they do connect.
Coming up next, Dennis Hopper plays a schoolteacher
whose life is rejuvenated by a sexy student and carried away.
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How long has this been going on?
I don't know.
Three months, maybe four.
It was her idea.
You're 17, you're 47. It was her idea. You're cracking up, boy.
A schoolteacher in a rural town is warned about conducting an affair
with a beautiful young student and carried away a fine film
that is significant in many ways.
First, it's a breath of fresh air for the career of Dennis Hopper.
Something totally different from his increasingly common
freaked-out monster roles.
In the film, which is set in the Midwest in the 1960s,
Hopper plays a teacher who is undone when a lovely new high school student
comes on to him.
She's played by Amy Lo Cain in a breakthrough role.
You know that you're good at teaching and farming, right?
No. I'm a mediocre teacher.
I'm even the worst farmer.
There goes your theory.
I don't think so.
But even if that's true, there's got to be something that you're good at.
They do sleep together, and for Hopper's character,
it reinvigorates him.
He's in a sexually-tired relationship with a longtime widow
played by Amy Irving.
You know what else I'd like to do?
I'd like to fuck you with all the lights on.
I'd like to do everything I ever thought of.
I am tired of fucking you in the dark on Friday and Sunday nights
and sometimes on Wednesday.
The moments between Hopper and Lo Cain are supercharged
with eroticism and sadness.
I think it would bother me more if it had been your first time.
I don't think it was, was it?
No. I've done with other guys.
I see.
Carried Away is based on a novel by Jim Harrison
and was directed by Amy Irving's husband Bruno Beretto,
who has created a marvelous film that argues for enlivening one's life with sex.
Hardly a radical idea, but rarely has it been presented
so maturely in an American movie.
I thoroughly enjoyed Carried Away.
Congratulations to the director and his three risk-taking stars.
I also thought it was a very good movie, Gene,
although I'm surprised to say that it argues,
you seem to feel that it argues for enlivening your life with sex.
Not extramarital sex.
The movie is very ambiguous here because I think it's wrong
that he has a relationship with this young student
who is obviously troubled.
That isn't what I'm saying.
I'm saying that what is very clear,
the passion, the real passion in this film
is between Dennis Hopper and Amy Irving,
and he is pleading with her to let's lighten up our life,
our sex life, because literally he wants the lights turned on
in their relationship.
Those are very good scenes, but of course the scenes
between he and Amy Locan are the crux of the movie,
and they're fascinating.
I think that one of the most interesting characters in the movie
is played by Gary Busey, who is her father,
and who actually says to Dennis Hopper at one point,
I believe that this was more than half her idea,
because he knows his daughter.
She is a troubled girl, and the fact that that is put into the mix,
so it isn't just made some kind of a simple sort of sex romp
or trading partner sort of thing.
Very mature.
Makes it into a very interesting picture.
Very interesting picture, and these stars did take risks
with their body and with their emotions.
They could have looked very foolish in this picture.
This is the kind of movie that we say never gets made in America
with some real ideas about sex.
And great to see Dennis Hopper.
You bet.
When we come back, the story of the Iowa teenager
who was picked out of nowhere to become a movie star
from the journals of Gene Seberg is next.
Coming soon to video, he's one of Disney's best loved characters
in the motion picture that's delighted families for generations,
the many adventures of Winnie the Pooh.
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a masterpiece of Disney imagination.
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Pardon me, would you have any Grey Poo-Poo?
But of course.
Oh, thank you.
Are you putting Grey Poo-Poo on a wiener?
No, no, it's not a wiener.
It's a French footer.
Oh.
Why?
Is that a bologna sandwich you're applying my Grey Poo-Pant on?
That's bologna.
Bologna wiener.
Grey Poo-Pant, also in a squeeze bottle.
Gene Seberg was a small town Iowa teenager
when she was discovered by movie director Otto Preminger
and cast as the lead in his 1957 film, St. Joan.
It was not successful, but Preminger pressed on,
casting Seberg in his next film,
and then Jean-Luc Godard used her in his 1959 film, Breathless,
right at the start of the French New Wave.
She was on her way then to becoming a movie star,
but she was never happy in the role,
and a fascinating new film,
named From the Journals of Gene Seberg,
follows her career from St. Joan to her death at 40 in 1979.
The movie is shot like a documentary,
but it's a fictionalized documentary,
with the actress, Mary Beth Hurt,
playing Gene Seberg, speaking from the grave.
I had starred in two widely publicized Hollywood flops,
and at the age of 19, I was internationally recognized as a has-been.
At the age of 21, with Breathless, a Buddhist souffle,
the second act of my life.