Nord Nord Mord

e11, not yet aired

Anna Lena Schwing

(and others)


Check Other Crap for updates in real time, or close to it.


1991, 1920x1080

Erika Anderson

"Spin City"

Spin City is a comedy series set in the local government of New York City. It went for 145 episodes over 6 seasons. Michael J. Fox starred in the first four seasons, replaced by Charlie Sheen for the last two. From the FH point-of-view, there is no nudity but there are some lovely, sexy women and sometimes they were partially dressed.

Season 3 Episode 11 Local Hero (1998)

Connie Britton

The 1970s

Lovin' Molly


Blythe Danner

Last Gasp


Mimi Craven film clip (collage below)

Joanna Pacula film clip (sample below)

Diana Tudor film clip (sample below)

Leonie Benesch in Persische Stunden (2019) in 1080hd

Alicia Clark in Kill Granny Kill (2014) in dvd quality

Mariah Kanninen in Dust Box (2012) in 720p

Polly Walker in Journey of Honor (1991) in vhs

Belinda Bauer and Helen Curry in Winter Kills (1979) in 1080hd

I don’t think I can top the summary written by Richard Jameson for He nailed it, and he did so articulately.

"This exhilarating kaleidoscope of a movie, from a surreally layered novel by Richard Condon (The Manchurian Candidate), combines post-Watergate paranoia, gallows humor, political sci-fi, dazzling suspense set pieces, something we might call postmodern historical burlesque, and gonzo performances by a truly all-star cast. It’s held together by Jeff Bridges as the surviving scion of a Kennedy-like dynasty who reluctantly sets out to solve his brother’s assassination. John Huston’s own dynastic credentials and rough-hewn aristocracy make him perfect casting as the family patriarch, a simultaneously genial and appalling American monster. Writer-director William Richert, a virtual unknown, somehow corraled an amazing ensemble, including an unbilled Liz Taylor, North by Northwest production designer Robert Boyle (who also contributes a delicious cameo), composer Maurice Jarre, and the great cinematographer Vilmos Zsigmond. The widescreen camerawork and zesty primary-color palette make this the quintessential ’70s film that the ’70s just weren’t ready for."

The Huston role that Jameson is writing about is a thinly-disguised version of Joe Kennedy: profane, conniving, amoral, horny to the end. The plot of the film centers around a 1979 investigation of the JFK assassination (the names have been changed, and the facts altered slightly), as conducted by the President’s fictional half-brother. It would not be completely unfair to say that the film is a comedy. It’s not a lowbrow comedy or a farce, and you may not laugh very much, but it is a comedy in the sense that it retells the story of the assassination with the most jaded possible perspective, as if written by Ionesco, or another one of those Theater of the Absurd masters. In some ways, it is similar to that classic conspiracy movie, The President’s Analyst.

The premise: What if all the JFK conspiracy theories are true? What if it was the mob and the communists and the Cubans and the FBI and the rich industrialists and everybody else who has ever been suspected. How can that be? What if there was an even deeper conspiracy beneath the outer layers of the onion? What if the crime was arranged by a power cartel who placed JFK in power and later had to dispose of him because he wasn’t following orders like a good soldier. That whole Presidency thing made him think he really was important, and his masters didn’t like that, so they had him offed, and left behind a bewildering entanglement of contradictory clues that pointed to everyone and no one, and could never be penetrated.

Do you remember who it was who placed JFK in office in the first place? It was his father.

Did his own father kill him? Maybe. Or maybe even old Joe Kennedy had masters to answer to.

I guess if you want to be really picky, you could argue that when the plot is finally unraveled, the explanation makes no sense at all. Once I knew the secret, I looked back on some of the earlier scenes and couldn’t figure out why they happened. When you try to do that, you end up against the wall of “but if X is true, then so-and-so wouldn’t have done Y”. I fully agree with the people who proffer that criticism, but I don’t really care because the plot is impossible to follow in the first place, and the film still fascinates. This is a crazy, lunatic movie. The director Bill Richert never did anything before this film, and he didn’t do much after it, but he pulled off a minor miracle here. He managed to land the right to write and direct a movie from a novel by Richard Condon (The Manchurian Candidate, Prizzi’s Honor). He managed to land some superstars: John Huston, Jeff Bridges, and Elizabeth Taylor, in addition to cinematographer Szigmond, set designer Boyle, composer Jarre. He landed some incredible character actors: Toshiro Mifune, Eli Wallach, Anthony Perkins, Sterling Hayden and Richard Boone. And everyone connected to the film had the time of their life filming it.

The film itself is good, but not great. In fact, it bombed completely at the box office, grossing only a million dollars on a six million dollar budget, and effectively delivering Richert’s career stillborn. The world was not really ready for a dark, dark comedy about the Kennedy assassination in 1979. After 1979, it would be nearly a decade before Richert would get another film, and he would never make another film of any real significance.

I have not seen the Blu-Ray, but the DVD was absolutely magnificent. It is one of the best examples of an older film given a proper release on DVD. It’s packed with interviews and commentaries, and it’s obvious that everyone liked and respected everyone else. They tell stories on each other constantly, and they all tell stories on that ultimate colorful character, the late John Huston. (Both Bridges and Richert do good impersonations of Huston and Zsigmond.) In addition to the commentary track, there is one entire disk of additional special features. I recommend it heartily for anyone interested in an accurate and fascinating account of how the novel became a film, and how Richert pulled off his little recruiting miracles.

The details behind the production are as weird as the film itself:

Per Wikipedia:

“The film’s original producers were wealthy marijuana dealers Robert Sterling and Leonard Goldberg, who had previously worked on releasing the French softcore Emmanuelle films in the U.S. Many of the film’s interior scenes were shot in 1977 at the Greystone Mansion in Beverly Hills, then home to the American Film Institute’s film school. The production went so far over budget that it was shut down three times, having declared bankruptcy. Goldberg was murdered (most likely by the Mafia) in the middle of production, for failure to pay his debts, and Sterling was later sentenced to 40 years in prison for marijuana smuggling.

Director Richert and stars Bridges and Bauer went to Germany and filmed a comedy called The American Success Company (released in 1980), whose distribution rights made enough money for Richert to fund a resumption of Winter Kills two years later. Director of photography Vilmos Zsigmond had moved on to other projects, and was replaced by John Bailey.

The film’s distributor, Embassy Pictures, controlled the final cut, but a few years later, Richert acquired the rights to the film and re-released a director’s cut, with a new ending, in 1983.”

Belinda Bauer

Helen Curry