I was out at Nicole and Paul McKinnon’s today with my friend Cas, and I can now, with their permission, mention that the 1977 Ford Granada (left-hand drive) that was featured on this blog a few weeks ago is for sale, so that they can get a car for the family. Please contact me if you are in New Zealand (or even if you are nearby and you want a Granada) and I will hook you up with Paul. The car is in quite good condition and the interior is original. It has a 302 in³ V8.

Paul’s ’77 Granada

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The youngsters at work hadn’t seen this 1979 TVC for Kentucky Fried Chicken before.

Kentucky Fried Chicken

Crunchie Train Robbery

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For Pat, as requested … These were fun to research and a good reminder of what made Chrysler special in the 1990s: the desire to take risks, loving cars, compressed R&D times and having the pulse on what the consumer wanted next—before the consumer realized it. It was something that the DaimlerChrysler era killed with internal politicking and brand mismanagement. As published on Autocade.

Plymouth Prowler. 1997–2001 (prod. 8,532). 2-door roadster. F/R, 3518 cm³ (V6 OHC). Modernized hot rod, based on a 1993 concept and quickly put into production, showing Chrysler’s short R&D times in the 1990s. V6 from LH-series cars, originally with 214 hp, then 253 hp from 1999; critics say it could have used more power. No 1998 model. Aluminium used greatly in chassis. Rebadged Chrysler (see separate entry) after DaimlerChrysler merger, after phasing out of Plymouth marque. Supposedly a halo car that would herald a new corporate look for Plymouth (the PT Cruiser was next), plans for which were nixed after the merger.

Chrysler Prowler. 2001–2 (prod. 3,170). 2-door roadster. F/R, 3518 cm³ (V6 OHC). Rebadged Plymouth Prowler, and no different from that model with its hot-rod concept. Chrysler had committed to a five-year production cycle, ending in 2002, with the car surviving the demise of the Plymouth brand. Last 300 in Inca Gold.

Dodge Viper (SR). 1992–2002 (prod. unknown). 2-door roadster, 2-door coupé. F/R, 7990 cm³ (V10 OHV). V10 truck-derived engine mated to sports car shell, creating a raw, fun if uncivilized vehicle. Based on 1989 show car. Quality not its strong suit, but buyers wanted the performance-first edge, hence no traction control or ABS. Door handles on inside. Extensive revisions for 1996, including addition of GTS coupé with airbags; they found their way to R/T10 roadster for 1997. Due to trade mark ownership in Europe, sold there as a Chrysler.

Dodge Viper (ZB). 2003 to date (prod. unknown). 2-door roadster, 2-door coupé. F/R, 8275, 8383 cm³ (V10 OHV). All-new model with more refined styling but similar concept to SR and larger-capacity V10. No 2007 models, but Vipers returned for 2008 (‘Gen IV’) with still larger V10 (with larger valves and variable valve timing). Lighter than SR with more power; coupé slightly heavier than roadster. Sold as Dodge SRT-10 in Europe.  

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Someone in Wellington must really love Herbie and The Love Bug. This is a Volkswagen Käfer done up with the perfect Herbie livery, it’s a 1963 model year (which I believe is accurate), and the interior trim looks right to me, too. The steering wheel is on the wrong side, but other than that, the detailing seems to be spot on.
   I saw the driver once and I was tempted to shout, ‘Oi, Dean Jones!’
   Which might get a better response than, ‘Hey, Lindsay!’

Herbie 1

Herbie 2

Herbie 3

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I don’t expect Gene Hunt in the US to be identical to Philip Glenister’s portrayal. After all, Americans will not get how the original evoked DI Jack Regan from The Sweeney. When the pilot is rewritten and remade, may I suggest these two characters are borne in mind for American audiences?

Gene Hackman Genie

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I’ve rewatched the Life on Mars American pilot (the one which will not air) and it’s improved slightly on a second viewing, but not much. Some general comments:

Colm Meaney as Capt Gene Hunt

• Colm Meaney as Capt Gene Hunt: Meaney is a terrific actor—he was brilliant in Layer Cake—and I thought he would bring that sort of demeanour to his Gene Genie. But apart from the orientation scene when he tells Sam it’s 1972, and threatening a witness, he’s plain nice. Even though he knows Sam claims he’s from 2007, he asks him nicely to interview a witness. He also doesn’t smoke, there’s no hint of him being the high sheriff of his domain, nor is there any hint of racism or homophobia. I had hoped he would evoke John Wayne in McQ or Gene Hackman’s Popeye Doyle but the man is given no room to be a “licensed hood” in the script. He’s certainly not ‘an overweight, over-the-hill, nicotime-stained borderline alcoholic homophobe with a superiority complex and an unhealthy obsession with male bonding’ as was described in the original series;
• Jason O’Mara as Det Sam Tyler: rigid, and never feeling that much confusion over being back in 1972. With John Simm, we felt a sense of disorientation, but we don’t with O’Mara’s performance. O’Mara is a great leading man but shows none of the vulnerability here that I think the Sam Tyler role needs. I don’t know much of his work, but I believe he has that Celtic edge that’s needed to pull off the role well—but he needs better direction;
• 

  Rachelle Lefevre as Det Annie Cartwright
  Rachelle Lefèvre as Det Annie Cartwright: playing the straight woman to Sam Tyler, it’s not hard to see why she was cast first by David E. Kelley. Her performance is about the only one I would rate highly, and it’s on a par with Liz White’s PW Annie Cartwright without being an attempt at copying her. Although her publicity shots are rather glamorous, the Rachelle Lefèvre in the programme looks more down-to-earth and real. Perfect.

   My other comments about the overall storyline in the earlier post stand. It is missing something in the first half, but the second half and, in particular, the last act where Sam is in the diner to the rooftop scene with Annie are quite well done.

Rachelle Lefevre and Jason O’Mara in Life on Mars (unaired pilot)

   It’s still mostly inconceivable that everyone in the department knows Sam thinks he’s from the future, yet no one throws him into the funny farm. There’s a veiled threat, not much more. The story lacks humour and there is little “how far we have come” about it other than in technology and location—the social commentary seems to have disappeared for a straight twenty-first-century cop show that just happens to be set in 1972. There is only one sexist line—but in a 1972 police department, one would expect much more misogyny. Heck, there was more in The Mary Tyler Moore Show.
   I normally complain about network tinkering, but in this case I think it’s needed. I just hope the remake of the remake fixes the problems in Kelley’s Life on Mars, as some network types tend to worsen things. Simply having more dialogue with the creators—Graham, Pharoah and Jordan—might help, rather than the two hours Kelley reportedly spent. Even The Office in the US had the hand of Gervais and Merchant. Life on Mars needs help, because, put simply, it lacks life.

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Life on Mars USA—well, let’s say it’s little wonder ABC wants it reshot and the leak is a great way to get comments from fans, many of whom have downloaded the unscreened pilot as made by David E. Kelley and directed by Thomas Schlamme.
   The storyline is identical to the original, which is not a bad thing, but the British media comments about the American version lacking something are not far off the mark. They are not being anti-American or unduly negative.
   First, some neutral comments: the LA setting does not annoy me. To me, New York City, especially Manhattan, is not different enough between 1972 and 2008 unless one heads down to Battery Park and some of the reclaimed-land bits. It should also shut up all those who moaned about the Bowie song not being on the TVCs (a “duh moment”—of course it would be in the programme but not in ads, and since when was the song in the British ads?).
   Now, the good points:

• the second half does draw you in, even when you know what is happening;
• re-elect Nixon posters on the high street;
• no Nelson, replaced by a waitress pouring coffee at a cafeteria—good character, but Sam needs someone whom he can chat to;
• a reference by Colm Meaney to Klingons;
• Annie being a detective actually works; and Rachelle Lefèvre gives a good performance;
• the briefing scene with Sam and Annie and the camera going around the performers;
• sexism by a detective during Sam’s briefing (responding, ‘Her titties’);
• the musical score (by Edmund Butt?);
• Sam’s realization that Colin Raimes lives next door to Kenmore—well acted and directed;
• final shot of Sam and Annie on the hotel roof with ‘Life on Mars’ playing is a different take on the original—and is quite nicely done.

   And the bad points:

• dull first act;
• Sam tells everyone in the police station that he’s from 2007 so it gives no reason for him to have a closer relationship with Annie;
• bad special effects for 1972 Los Angeles (though I assume these are temporary) and I can see modern cars in the high street scene where Sam goes into the record store;
• Stephanie Chaves-Jacobsen is very pretty but I felt no chemistry between her and Jason O’Mara—while they are meant to be distant, I never felt Jason’s Sam Tyler cared for Maya before her abduction;
• Gene Hunt is not foul-mouthed and not even politically incorrect except for the orientation (punching Sam) and abusing a woman helping with police enquiries;
• generally no sexism other than the scene mentioned earlier—contrast this to, say, the movie The Taking of Pelham One Two Three, from 1974;
• no racism (an Obama-for-president reference might be interesting if it’s remade);
• Gene Hunt asking Sam nicely to join him for an interrogation—and lack of tension between the two beyond unconvincingly trading a few punches;
• absence of humour;
• no Chris and Ray, and Lenny Clarke is no substitute (I expect he will be recast);
• not much in the way of contrasting 1972 and 2007 methods;
• Sam’s 1972 arrival does not seem particularly tormenting to him and I was not drawn in to his feeling any confusion. Jason O’Mara almost seems too rigid and suffers in comparison to John Simm;
• bland performances from O’Mara and Meaney—watch the scene when Beryl Raimes tells them about the music next door ceasing to annoy her and contrast it to the original—which can be blamed in part on direction;
• certain lines copied verbatim from the original.

   I know the majority of people who will see the US one will not have seen the original. However, I believe it lacks a lot of sparkle and even cohesiveness and it could harm the series’ chances Stateside. The comparisons do need to be made: the success of Life on Mars was based on how deeply we were drawn in to Sam Tyler’s predicament. The American producers need to understand (if they don’t already) that it is possible to create that effect, but possibly with another director (with respect to Mr Schlamme).
   This first US version lacks that depth—and it is nothing to do with it being American.
   A remake prior to the fall début in ABC might not be a bad idea because there is room for improvement, especially for the underdeveloped Gene Hunt character and O’Mara’s rigidity.

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Some reports in on US Life on Mars are emerging. ABC says that the programme is actually ahead of schedule with new scripts for the series, according to Mediaweek, while Den of Geek has leaked information about the pilot (which will be reshot anyway, so it might be worth holding back on judging what Americans will see till later). No wonder the new producers and the network have ordered a near-carte blanche remake of the remake if we learn that the American version has a ‘1972 oddly free of sexism and racism it seems’ and is a ‘litigation-friendly homogenous [sic] 70s cop show that’s not remotely evocative of anything’. It summarizes, ‘this is a version of Life on Mars where everything that made the original worthwhile has been bleached out, leaving a hollow husk to twist in the wind.’
   It also believes the Americanized Gene Hunt is not funny, there are no Chris and Ray, and Annie Cartwright is a love interest for Sam almost straight off.
   The Guardian’s blog also has a review of the rejected pilot, though it notes that it will be remade. It gives a thumbs-down to Irish actor Jason O’Mara, which does not bode well for the series.

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Show us the very last picture you took. No cheating!

Paul’s ’77 Granada

This was last Saturday, at the home of Lucire beauty columnist Nicole McKinnon and her husband Paul. Paul likes his American cars and in his garage is a 1977 Ford Granada with a 302 Windsor V8. Neither the German nor the American Granada was ever sold in New Zealand, so this car is unusual here. He was surprised I knew what it was and that I could enter into a decent conversation about these old intermediates and the Mercury Monarch twin. He even says it is less heavy than I had believed, and that he can get reasonable mileage out of it.
   However, it might have to go so Nicole can have a more practical car for herself and their daughter, Hannah.

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Dempsey And Makepeace - The Complete First Series [1985]

Funny how your memory plays tricks. In 1984, I watched the pilot for Dempsey and Makepeace and thought it was fab. Over dinner, now that my DVD of series one has arrived (as predicted—sooner than the Amazon US order that was placed earlier), I have to say the première episode, written by Ranald Graham, has more holes and cheese moments in the plot than I remembered.
   It was also pretty obvious where London was masquerading as New York: my, how Docklands has changed.
   It was in desperate need of good direction which series producer Tony Wharmby failed to give.
   Graham has written some duffers in his time—the Sweeney! movie had the right amount of action but it made as much sense as Ian Macaskill reading the weather (did anyone understand him?)—and D&M’s first outing was so weak it was a surprise that a series was green-lighted.
   At a guess, British viewers on LWT were mourning the demise of The Professionals and with no real competition, the series was indeed green-lighted for three seasons.
   No wonder the Brandons said they could not understand the plot, in an earlier video I posted here. And they were in it.
   Audiences did deserve better, after the higher production values of The Professionals.
   I still have a few of the 1985–6 episodes on video cassette, which were better than the pilot. Let’s hope it gets better. I have not seen these first series ones since 1984; then the politically correct camp intervened and got Dempsey and Makepeace pulled for TV violence (yet The ‘A’-Team continued). It only re-emerged in New Zealand in 1990 at a later hour—five years after the original UK airing of the second and third series. TVNZ would have been fuming over lost ad revenue.
   A few bonuses on the DVD: an interview with Michael Brandon and Glynis Barber, and commentary over the first two episodes by them. The pilot was shown with the bumps inserted. Missing were subtitles.
   I would have watched more but Life on Mars was starting.

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