Blythe Danner is Gwyneth Paltrow’s mother, and a respected actress in her own right. Like Paltrow, Blythe did some nude scenes in her younger days, showing off a figure rather curvier than her daughter’s.

Her most famous nude scenes came in a well known 1974 film called Lovin’ Molly, which was written by, directed by, and starred some of filmdom’s most respected figures, as well as some promising newcomers. Larry McMurtry wrote the source novel; Sydney Lumet directed; and Ms. Danner’s castmates included Beau Bridges, Anthony Perkins, and Susan Sarandon.

Given the talent involved, Lovin Molly’ should have been a slam dunk for a great movie. Lumet was more or less in the prime of his career, one year removed from Dog Day Afternoon. McMurtry was still basking in the glow of the encomiums heaped upon The Last Picture Show.

It wasn’t a great movie, although it has some very nice moments. According to IMDb, screenwriter Steven Friedman never wrote another script before or after this one, and McMurtry’s sprawling story, spread out over 40 years in the lives of two men who loved the same woman and each other, proved to be difficult for the inexperienced screenwriter to adapt into an economical screenplay. McMurtry’s source novel, “Leaving Cheyenne,” had the advantage of an unlimited expanse of printed pages to develop sub-plots and subtext in a leisurely, thoughtful way, as well as to create some beautiful homespun prose which often moseyed into the territory of simple country poetry. The screenwriter just didn’t seem to have the heart to cut out any plot points, so the individual scenes seem rushed and excessively compacted, and the transitions between scenes seem to be dominated by abrupt jumps forward in time. Unfortunately, chronicling the minutiae of events over four decades didn’t leave enough time for the proper development of motivation and character, to such an extent that the movie ends without us ever really knowing much about one of the two men who loved Molly, the one played by Beau Bridges, although we do love him at the end as a colorful and generous-spirited old geezer.

Lovin’ Molly plays out like one of those Doug Sirk soap opera films from the 50s rather than like a character-oriented 70s piece. If it had been my decision, I would have found a way to minimize or even eliminate the last two acts, particularly given the silly make-up used to age the characters.

The script fails in other ways. The portrayal of Texas rurals seems like the kind of “noble savage” idealization that would be created by someone who had never left Boston. Furthermore, the author chose to replicate the feel of McMurtry’s language by simply having it read in narrative voice-over, with each of the three acts narrated by one of the three main characters, following the structure of the book down to the last detail.

The script problems were complicated by the odd casting of ol’ Norman Bates as a sane heterosexual from the rural Texas Panhandle. Perkins seems like a disturbed city boy from New England who is recruited to play a country boy in the school play because the drama teacher thinks it will help him cure his introversion. His love scenes with Blythe Danner were, to understate the case kindly, lacking in electricity. He was supposed to be someone who had trouble expressing affection, but he took it to pathological extremes.

I still like Lovin’ Molly in some ways. It can get inside you and melt your heart in its best moments. It’s easy to understand why the boys loved Molly, as played with feisty unconventionality by beautiful Blythe Danner, who had some talent to match her looks.

But the damned thing just isn’t as good as it should have been.

It’s been more than thirty years since this film was made, and it’s almost completely forgotten, so I’d love to see somebody else try their hand at McMurtry’s “Leaving Cheyenne.” I still think there’s probably a great movie in there somewhere.

Anyway …

Brainscan created some collages of Blythe Danner’s nudity in Lovin’ Molly

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That is all well and good, but is actually only my usual long-winded preamble to today’s topic, which is another film in which Blythe Danner got naked, a 1972 effort called To Kill a Clown.

Although there are monumental exceptions like The Godfather, many films from the hippie era (1967-1974) don’t hold up well. They often feature cartoonish portrayals of military types and conservative authority figures, as contrasted to mawkishly hagiographic portraits of hippies and other counter-cultural types.

Movies don’t exist apart from society, of course, but tend to reflect it. That era was a time when American society contained divisions as deep as today’s, or even as deep as those of Lincoln’s time. The Vietnam War occupies a unique place in our modern cultural history, in that society’s condemnation of the war extended to those who fought in it. The activists who opposed America’s involvement in other unpopular wars like Iraq or Afghanistan were still able to say “Thank you for your service” to the brave soldiers who placed their lives on the line to fulfill the assignments that their country gave them. Not so with Vietnam. It was bad enough that those veterans came home from their tours of duty with PTSD, but they also faced hostility, indifference and employment difficulties. The ultimate irony is that, unlike soldiers in the contemporary army, most Vietnam vets had no options. They were drafted. The obloquy hurled against them by civilian society was a demonstration of how people in a divided society demonize their ideological opposites, even in the face of all logic.

Many career soldiers and ex-soldiers in the films of that era were portrayed as callous martinets, brainless rednecks and violent fascists. In this film, the bitter one-dimensional ex-soldier was Evil Alan Alda, a bitter and twisted ex-major with irreparable combat injuries who basically uses his vicious dogs to kidnap a hippie couple and turn them into his personal troops. “Put on a shirt, and button it. Button every button.” As you can infer from that description, not all of Evil Hawkeye’s injuries were the physical type.

Blythe Danner plays the female member of the hippie couple, and at one point she becomes so desperate to escape Evil Hawkeye that she gets naked and tries to break down his angry veneer by seducing him tenderly. He spots this as a ruse which includes no genuine affection for him, so he chases her out of his home, angrily insisting she comply with an immediacy that denies her the chance to get dressed. It is in the scene of seduction and subsequent humiliation that we in the audience got to look at Blythe Danner’s naked body on film for the first time.

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Unfortunately for fans of Alan Alda and Blythe Danner, this film has never been available in any better quality than what you see in that YouTube version, which has probably been remastered from a VHS source.

It’s not much of a movie. The characters are one-dimensional and their actions are illogical, even within their own defined universe. The pacing is slow, and the ending isn’t really an ending at all. Maybe they just ran out of film.

It’s frankly absurd that this film is rated 5.4 at IMDb while Lovin’ Molly is at 5.5. They are not at all comparable in quality. While Molly is not a cinema classic, it has some merit and should probably be in the 6s, while this film should be in the 4s or lower. Oh, I’m being euphemistic. To be brutally frank, this film should never have been made at all.

But you don’t have to take my word for it. That YouTube link above is the entire film, if you’re interested enough to watch it.

Jenni Neidhart is the daughter of the old-time wrestling personality, Jim “The Anvil” Neidhart, and the granddaughter (through her mother) of an even older-time wrestling personality, Stu Hart.

  • Grandpa Stu is a wrestling legend, as a performer, promoter and instructor. He was so dedicated to his promotions that he wrestled tigers and bears to hype his shows. He had a dozen children, making him the patriarch of an expansive wrestling dynasty.
  • Jenni’s dad, Jim Neidhart, and her uncle, Bret Hart, were tag team champions as “The Hart Foundation.” Their manager was Jimmy Hart (no relation).
  • Jenni’s sister, Natalie, followed their father’s and grandfather’s footsteps into pro wrestling.
  • Jenni isn’t in the wrestling game, but has established herself as an internet personality and gourmet chef (or so I read).

    “General Flynn, do you believe in the peaceful transition of power in the United States of America?”

    “The Fifth”

    Note that he took the Fifth, exercising his right to avoid self-incrimination, in response to a yes or no question. There are only two possible answers, and a “yes” answer would not incriminate him, so …

    While his invocation of the fifth is not legally equivalent to a “no,” and can’t be used against him in a criminal proceeding, invoking the fifth and a “no” answer are exactly identical outside of courtroom formalities. Since he would not be incriminating himself with a “yes” answer, the only possible logical conclusion is that he does not believe in the peaceful transfer of power.

    Also, I think his invocation of the Fifth in this instance might be used against him in a civil proceeding. In some civil cases, judges may advise jurors that they can draw an “adverse inference” against a witness who claims the Fifth in this kind of questioning. Of course that isn’t always true. Many times a witness will invoke the Fifth in response to a very broad, open question, and no logical inference can be drawn. He may be avoiding self-incrimination on a wholly different matter, for example, from the matter considered in that trial.

    In this case, however, Flynn was asked a yes or no question, and only a no answer was self-incriminating, so … infer away.

    She was sentenced to 20 years in the hoosegow

    Her lawyers asked for a reduction, making the preposterous argument that there are harsh conditions in the jail where she had been held without bail. The prosecution countered with the obvious fact that if disliking time in the ol’ calaboose were a valid excuse to get out, every criminal would be released early.

    The sentence begins: “The New York Police Department said its beekeepers division …”

    Say what?

    Is ABC looking for a new scripted series? Police Beekeeper sounds like a winner to me. In an earlier day, I can see Leslie Nielsen gunning down the bees one-by-one with his police-issue 38 special.

    The saga of the rugged Police Beekeepers reminds me of my own most famous acting role in The Battlin’ Bellhops, a partially fictionalized story about the legendary 603rd Airborne, which played such an important role in the liberation of Luxembourg. All of the members of that brave battalion of enlistees were former hotel bellmen, and most were just barely old enough to serve, yet they became lionized not only for their courage in battle, but for their steadfast unwillingness to accept tips from the liberated populations. They always stirred the Europeans when they marched into liberated towns wearing their little round red caps in lieu of standard military headgear. I had the supporting role of Skeeter, the naive and doomed German-American kid from Brooklyn who got separated from his unit and was mistakenly shot by an American sentry. The MP heard Skeeter speaking German to the locals and became convinced he was a spy, a suspicion which turned into certainty when Skeeter could not correctly identify the name of the famous Brooklyn baseball team. His crusty “sarge” delivered the funeral oration, in which he declared Skeeter to be “a swell kid, and a real great American, even though he obviously wasn’t much of a baseball fan.”

    There was another Emma Peel before Diana Rigg. I didn’t know that until I researched Brainscan’s latest collages of Rigg as Mrs. Peel.

    From this page:

    After several months of auditions, actress Elizabeth Shepherd (pictured right) secured the role of Emma Peel. It was decided that a new character would accompany Steed on his missions, as Cathy Gale was so synonymous with Honor Blackman. Emma Peel was born out of “man appeal” or “m-appeal”, and thus a new era of The Avengers began.

    Filming started, and Shepherd completed the episode The Town of No Return and only half of The Murder Market after which her contract was terminated. The producers felt she was not right for the part, but a definitive reason for her departure has never truly been uncovered.

    Shepherd herself said: “After I was the first Emma Peel in The Avengers series, they said, ‘We welcome your ideas.’ I emanated them with ideas, but they decided I was too difficult so they got rid of me, but kept the ideas.”

    This is what she looked like as Emma Peel:

    Way back in 2008, Oz reported her one and only topless scene (to my knowledge) in an obscure 1970 film called Hell Boats (clicking on the pic leads to the full collage):

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    More of Shepherd in that role, thanks to Oz:

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    “The former vice president and other prominent Republicans are not only praising the end of Roe v. Wade but signaling bigger plans to strip women of their rights”

    I don’t doubt that he sincerely believes this to be right, but there is more than his moral conviction behind this public declaration. In pursuing the 2024 nomination, Pence is looking for a strategic differentiation from Trump and DeSantis, and this is an obvious appeal to the powerful evangelical base of the conservative movement.

    Given that conservatives are feeling their oats because of the current configuration of the Supremes, many are wondering which other “unenumerated rights” may be threatened because they are not specifically mentioned in the Constitution.

    Clarence Thomas seems to have his sights set on other cases involving the right to privacy:

    • The right to contraception that the court set out in 1965 in Griswold v. Connecticut.
    • The court’s 2003 decision in Lawrence v. Texas that the Constitution prevents states from criminalizing private homosexual conduct
    • The court’s declaration in Obergefell v. Hodges (2015) that gay individuals may marry the person of their choosing.

    Thomas’s interest in Obergefell is an especially interesting one, since a direct precedent of that decision is Loving v. Virginia (1967), in which the court struck down Virginia’s ban on interracial marriage. In Obergefell, the Supreme Court invoked Loving, among other cases, as precedent for its holding that states are required to allow people to marry whom they choose, under both the Equal Protection Clause and the Due Process Clause.

    Thomas is a black person married to a white person – the very situation that led to the conviction of the Lovings, which was overturned by the decision of the Supremes! If Loving were to be challenged, would Thomas have to recuse himself?


    Yes, that’s right. It seems impossible to believe, even for those of us who have lived through all the turbulent subsequent years, but as recently as when I was in college, Virginia had a law forbidding interracial marriage.

    Collages and comments by Brainscan:

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    Collages of Diana Rigg in her first season on The Avengers.

    I’m a decade too young to have cared about her in 1965 but by 1972, when the series replayed on a local channel, I watched every second. All my friends and I loved her smile and her wit and her delightfully lithe body – they shaped our tastes in women for the rest of our lives. When she left the show, I was devastated, as though the woman of my dreams had gone away forever. Talk about your foreshadowing.

    Anyway, Diana as Emma Peel walks around in something sort of see-through in episode 5.

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    Then, dressed as Robin Hood for a costume party, she flashes some wondrous rumpus in episode 24.

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