TV Round-Up

Naked News is basically on vacation this week, but their clips "from the vault" were interesting yesterday. This brief excerpt shows former anchor Gia Gomez interviewing all of the other anchors from the 2005 era, including a much younger and thinner Victoria Sinclair.

The Man Who Loved Cat Dancing


The "man" in the title was played by Burt Reynolds, who is probably best remembered for quips, but plays it completely straight here in an uncharacteristic role as a laconic cowboy. It seems that this cowboy, Jay Grobart by name, will do anything to reclaim his half-Shoshone children who were cared for by their mother's tribe while Jay was in prison for murdering the man who raped and killed his wife, the titular Cat Dancing.

As the story begins, Jay has turned into a train robber who needs a suitable amount of money to repay the Shoshone man who has been caring for the two parentless children. As he and his gang make their escape from a highly lucrative heist ($100,000 - roughly equivalent to $2 million 2014 dollars. What a train!), they stumble upon a cultured, somewhat prissy housewife (Sarah Miles) who is running away from her wealthy but cruel husband, who has a helluva salon tan, since the actor playing him is George Hamilton.

Sarah Miles alone was sufficient to make any film shoot interesting, as much for her antics off-screen as on. You probably know about her extracurricular hanky-panky with Kris Kristofferson while filming a movie called The Sailor Who Fell From Grace With The Sea in 1976. They enjoyed their sex scenes in that movie so much that they staged some additional ones for a Playboy pictorial. Kristofferson's wife, Rita Coolidge, was not impressed by their devotion to the craft and ended their marriage soon after, a development which Kris professed to regret deeply. Sarah engaged in similar shenanigans on the set of Cat Dancing. During the shoot, her personal assistant and secret lover, David Whiting, was found dead in his hotel room under mysterious circumstances. The resulting investigation and the attendant publicity served to expose the affair between the actress and her assistant, which ultimately broke the back of her marriage to Robert Bolt, a highly respected playwright (A Man for All Seasons) and screenwriter (Lawrence of Arabia).

As far as the movie itself goes, I guess you've probably already figured out that outlaw Jay and the housewife will fall in love, after she does an appropriate amount of acting stuffy, then loosening up. The dramatic tension in the film is not a result of the love story between the mismatched couple, but the danger inherent in their trek, as they flee from the site of the robbery to the Shoshone encampment while being pursued and/or threatened by renegade Indians, the woman's husband, a tough Wells Fargo enforcer (Lee J. Cobb), the hostile desert, and dissension within the outlaw band. Since this is a 1970's film, it is also mandatory that the housewife get slapped around by her husband, and raped or nearly raped several times by various outlaws and Indians. That was probably not an inaccurate representation of the West after the Civil War. Let's face it, the "Wild West" sucked for women.

As is typical in many 1970s films, the screenplay spends a great deal of time on character development at the expense of pacing and plot. That element of 1970s zeitgeist is perhaps exacerbated still further by the fact that the screenplay was adapted by a woman from a novel written by another woman, which lends a certain feminist attitude, although scenarist Eleanor Perry claimed that her work was heavily rewritten. Perhaps that is so, because she wrote some other films which were widely praised, like David and Lisa and Diary of a Mad Housewife, while The man Who Loved Cat Dancing was greeted unenthusiastically by critics and was so generally forgotten that it didn't make it onto DVD until 2009, and even then merely onto one of those no-frills Warner catalog issues. To be fair, the plot is not all bad. While the outcome of the love story and the chase are quite predictable, there is a very surprising plot twist when ol' Jay arrives at the Shoshone camp and meets his children, an encounter which allows the script to demonstrate some wisdom and depth which lift the film above the level of its other cliches.

The film score is also a plus, or a least an interesting historical footnote. It's an early effort from future superstar composer John Williams, who was nominated for something like 35 Oscars and wrote just about every familiar mainstream score from every blockbuster you can name: Jaws, Star Wars, E.T., Raiders, Superman, etc. (In fact, he's still churning out scores as I write this in 2014.) While the music from Cat Dancing is not one of his more memorable efforts, one of his melodies from this film, with the addition of some lyrics by Paul Williams, became a beautiful and semi-famous Sinatra song called "Dream Away," from the "Ol' Blue Eyes is Back" album.

There's also plenty of 1970's nostalgia to be had in this film. You'll not only get a dose of 70s sensibility, but you'll see all your old friends in the process. In addition to those already mentioned, the cast includes Bo Hopkins, Jack Warden, Jay "Tonto" Silverheels, Robert "Exidor" Donner and James Hampton (who must have been a good buddy of Burt Reynolds, because they never seemed to get too far apart).


Two major plot problems:

(1) It turns out that Jay did not exactly kill the man who raped his wife. He killed him because he thought the guy was his wife's lover. He also killed his wife in front of his children, because he thought incorrectly that she was a voluntary participant in the sexual encounter, despite the fact that his son was tearfully trying to tell him the truth.

I don't mention this because I have any objection to that dark and downbeat plot twist. In fact, as I implied in the main body of my review above, it thought it was a great relief from the predictability of the remainder of the script.


It created a serious plot hole. The housewife fell in love with Jay because he she thought he was actually such a noble man in his dealings with his wife and children. When she found out that he had been lying to her, and that he killed his wife in front of his kids in a fit of rage which made him incapable of listening to his son's pleas, her reason for loving him should have departed, or at least should have moved immediately to shaky ground. The script does not deal with this. The same night she hears this revelation, she's making love to him with the same goo-goo eyes, as if nothing had changed, leaving nothing but Stockholm Syndrome to explain her infatuation. I don't buy it.

(2) The tracker eventually lets Jay the train robber go free because Jay had turned in the saddle-bags full of money, and the tracker concluded "it's all here." The scriptwriter seems to have completely forgotten that a band of drunken renegade Indians burned a lot of the paper money in a fire, and that one of the outlaws ran off with a portion of the money. Therefore, the money could not have all been there, and therefore, the Wells Fargo agent should have brought Jay to justice.

So, in typical Hollywood fashion, Burt Reynolds ended up with both the girl and his freedom, but neither of those developments made any sense in context, a fact which perhaps serves to explain why this film is nearly forgotten.


I'm guessing you've never seen pretty good clips or caps from this film before. I know I had not.

Sarah Miles did two topless scenes:

One bathing in a creek ...

... and another in bed with Burt Reynolds

In addition, there was a minimal areola-slip in an outdoor scene.

  Here are the film clips

  • * Yellow asterisk: funny (maybe).

  • * White asterisk: expanded format.

  • * Blue asterisk: not mine.

  • No asterisk: it probably sucks.


Catch the deluxe version of Other Crap in real time, with all the bells and whistles, here.


Henry and June



This project will encompass several days. The captures are all found in the edition from Sunday, June 29th.

Today: film clips of Maite Maille and Brigitte Lahaie


Les Salauds

Lola Creton

The first two offerings are montages of slow pans made up and down her body

whereas the last two are from an audition for this movie.


TV and Film Clips

Leah Renee Cudmore in Stag (2011) in 720p

And a 1080p classic: Linda Blair in Savage Streets (1984)

Pics and Collages

Scarlett Johansson in Under the Skin (2013)

Lynsey MacKay in Under the Skin (2013)

The women of Knightriders (1981)

Amanda Davies

Patricia Tallmann

Amy Ingersoll

Maureen Sadusk