By Christopher Stipp
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The Six Million Dollar Man – DVD Review and Contest
The thing about having a newborn which many people don’t appreciate, is the ample amount of time that you have late at night to watch something like this. Regular DVDs are mere appetizers compared to the hearty stew that was this atomic collection of the best action television of the 1970’s. I mean, there is no question that this is a series is a MUST BUY for any fan of nostalgia television and who remembers this series for what it was: fun television.
Forget about the shows that had people boarding boats and falling in love or little men pointing at aircraft and announcing their arrival, what The Six Million Dollar Man was a show that had a real super hero at its core. It was a comic book super hero series without it ever being labeled as such. What you had in Lee Majors who plays Steve Austin, an astronaut who is rebuilt from the ground up after a bad accident. Everyone knows the story because it’s reiterated during the show’s opening every week and it’s really the primary reason why this series lasted as long as it did.
Whereas you had some series have to build up a mythos and construct its fiction every week with this opening we were treated to a series that needed none of that. Storylines were begun and ended every week with no need to carry over from one week to the next. There is something to be said for television writing that knew what people wanted and it did week after week in a format that has been eschewed in recent years. There ought to have been nothing wrong with having nearly zero carryover from week to week but watching dozens of episodes in a row, which I don’t recommend because these little gems should be savored and not pounded through like a delicious collection of shots that are lined up for your consumption. I was punchy by the end of my viewing, only being able to get through a couple of the “reunion” shows that showcased the Bionic Woman and other weaker entries into a series that would not go down quietly.
What’s more about this series is that, like I mentioned above, the writing was something that was indicative of the time period. You had episodes where you had a villainous character only to have Steve get involved with kicking some butt and taking care of things. Repeat dozens of times, and mix in some manufactured scenarios where guest stars of 70’s were wedged within plot lines and you’ve got yourself a great excuse to indulge in the sugary goodness of a character that would go on to be plastered on all sorts of products. It’s ironic that Majors’ face was everywhere but within the series you can tell where they were limited by budget with the kinds of effects that were used. It didn’t take away from the series at all, seeing where the show’s producers cut corners, but it’s just amusing that the benefit of time helps to illuminate these kinds of things.
The series comprehensiveness is only topped by the extras that help couch the series’ importance as a piece of televised pop culture. Yes, it was light on depth and emotional resonance of any kind but the reason why the 6MDM has endured for as long as it has, Lee Majors popping in movies like Scrooged as his stronger alter ego, the synthetic bionic noise so indicative of his power used every now and then in multitudes of programs, is because it tapped into something. It tapped into the idea that one man could be strong enough to overcome any obstacle, helped by the burgeoning field of science and technology. It’s a product of the late 60’s zeitgeist but that’s of no concern here. This series is about fun and excitement and there’s nothing that the passage of time can do to erase that.
IN CELEBRATION OF THE RELEASE OF THE SIX MILLION DOLLAR MAN: THE COMPLETE COLLECTION ON DVD I’M GIVING AWAY A COPY. ALL YOU HAVE TO DO IS SEND ME AN E-MAIL TO CHRISTOPHER_STIPP@YAHOO.COM AND NAME ME ONE GUEST STAR WHO SHOWED UP DURING THE SHOW’S RUN. GOOD LUCK!
About the DVD:
Time Life ““ the home of such classic TV as GET SMART, THE MAN FROM U.N.C.L.E and THE SMOTHERS BROTHERS COMEDY HOUR ““ will debut a DVD collector’s set of one of the most eagerly-anticipated, previously unreleased TV classics with THE SIX MILLION DOLLAR MAN: THE COMPLETE COLLECTION. Beginning September 14, this definitive set from one of the iconic pop culture smashes of the “˜70s will be available for pre-order exclusively online at 6MDM.com and will feature all five action-packed seasons never before available in the U.S. on any format, as well as a stunning collection of all-new extras certain to thrill fans both old and new.
The muscular set — the 4th most requested unreleased show at TVShowsonDVD.com ““ will be housed in ultra-collectible packaging sporting an audio chip and eye-popping 3-D lenticular artwork. Across 40 DVDs, the complete series will feature all 100 digitally-preserved hour-long episodes ““ including three presented in their original 2-hour broadcast versions — all of which have been remastered from the original, uncut broadcast versions. The set also contains more than 17 hours of all-new bonus material specially created just for this collection, highlighted by new, in-depth interviews with Lee Majors (Col. Steve Austin) and Richard Anderson (Oscar Goldman) among others. Also included will be the three pilot TV movies (“The Six Million Dollar Man”, “Wine, Women and War”, “Solid Gold Kidnapping”), the three reunion TV movies (“The Return of the Six Million Dollar Man and the Bionic Woman”, “Bionic Showdown” (featuring Sandra Bullock) and “Bionic Ever After?”) and the never-before-released cross-over episodes of The Bionic Woman, all of which have also been digitally restored from the original source material.[i] Additionally, for the true completist, the set also contains the alternative syndicated edits of the pilot and reunion TV movies, which, when added together, makes for more than 30 unbelievable hours of bonus programming.
As OSI did with astronaut Steve Austin, Time Life has the technology and capability to make the world’s most singular Six Million Dollar Man completist’s set ““ better”¦stronger…faster. Enhancing the series long-awaited release are countless hours of bonus features including intimate interviews with the cast and crew (including Lindsay Wagner (Jaime Sommers), executive producer Harve Bennett, and writer Kenneth Johnson). Also featured are a staggering seventeen original featurettes on everything from “Real Bionics: How Science Fiction Is Becoming Science Fact” and “The Bionic Sound Effects” to “The Search for Bigfoot” and “The Six Million Dollar Man’s Best Villains, Best Fights”; the two-part featurette “TV Goes Bionic: The Untold Story of The Six Million Dollar Man” which goes behind the scenes to explore the series like never before; and, several featurettes celebrating the series V.I.P. guest stars such as Lee’s then-wife, Farrah Fawcett-Majors (who made four guest appearances), Andre the Giant, Kim Basinger, Sonny Bono, Lou Gossett, Erik Estrada, Stefanie Powers, John Saxon, Cathy Rigby, William Shatner, Suzanne Somers and many more. Additionally, there’s audio commentary on six episodes by writer Kenneth Johnson and director Cliff Bole, and an interactive bonus entitled “Bionic Breakdown” that will allow fans the ability to click on Steve Austin’s eye, arm or legs to learn more about each one of his bionic enhancements; from night-vision to cauterizing veins to running speeds that exceed 65 miles per hour, “Colonel Austin’s” skills and abilities are catalogued here with episode clips as visual reference.
One of the pop culture smashes of the “˜70s, THE SIX MILLION DOLLAR MAN starred Lee Majors as Colonel Steve Austin, a top NASA pilot critically injured when his experimental spaceplane crashed. Oscar Goldman (Anderson), head of OSI, used Austin as a test subject for an experimental procedure, rebuilding his body using cybernetic technology, making him the world’s first bionic man. Now, Austin works for Goldman and the OSI, protecting the nation from myriad threats. Based on the novel Cyborg by Martin Caidin, THE SIX MILLION DOLLAR MAN launched with several made-for-TV movies in 1973, which then spun off into a hit for ABC, running from January 1974 to March 1978. During its run, the program made Majors a pop culture icon, spawned three reunion shows, another series (The Bionic Woman, starring Lindsay Wagner) and thousands of licensed products, making THE SIX MILLION DOLLAR MAN one of the defining TV shows of the “Me” decade.
Worth Reviving: THE STUNT MAN – Ray Schillaci
Two iconic films would lose to one forgettable tearjerker in the Oscar race of 1980 and the Academy would, once again, end up being the losers on the film history end. This decision would only continue to verify that the Best Picture race was more about appealing to the masses, than announcing true genius at work. The films in question; Martin Scorsese’s revered classic, “Raging Bull,” one of the most revered cult movies of all time, Richard Rush’s “The Stunt Man” and Robert Redford’s weepy, “Ordinary People”.
Rush’s “The Stunt Man” was a tour de force in bravado filmmaking, placing Hollywood under a microscope and exposing it for all it’s worth. It also gave us one of the most memorable performances since “Lawrence of Arabia” delivered by “Lawrence” himself, the great Peter O’Toole. And, the Academy in all their wisdom could not dismiss the talented Richard Rush having to give him a nomination nod as Best Director, but refused to give his picture the same courtesy.
Rush’s poison pen letter to Hollyweird and all its pundits seen through the eyes of a Vietnam veteran and fugitive is an amazing piece of storytelling. There are far too many subtleties in this movie to simplify it with a normal and brief synopsis. I will stick to the basics and have you be surprised at every turn skillfully driven by director Rush, his cast and crew.
Cameron, a veteran and fugitive on the run, accidently stumbles upon a movie shoot and sets the wheels in motion to become their next stunt man due to an unforeseen event. His sudden initiation with the fantasy of Hollywood and reality nearly merge into an adult version of “Alice in Wonderland” as Cameron, wide-eyed and innocent, plunges down the rabbit hole of the wonders of filmmaking and all its evil dalliances. The Mad Hatter is the megalomaniacal director, Eli Cross, played to the illustrious hilt by Peter O’Toole. He is part P.T. Barnum, the Devil and God all rolled into one.
Cross is Cameron’s guide through the labyrinth. The director has no shame and is enamored with his own power over life and death. All who serve under him are his minions, puppets doing his bidding to bring the picture to fruition, budget and lives be damned. In the mix; a messed up actress, played scrumptiously by Barbra Hershey, a forlorn writer wonderfully portrayed by Allan Garfield and a no-nonsense police chief, the always wonderful Alex Rocco (most recognized as Moe Greene from “The Godfather”) who attempts to break through the several facades developed by Peter O’Toole’s, Eli Cross.
There are so many great supporting parts that add so much depth to the story; it would be a shame to spoil it all for you. Steve Railsback (Helter Skelter ““ yes, Charles Manson) plays Cameron with a fine mix of unhinged angst and innocence. This is probably the performance of his career. He plays off everyone so well and you can’t help but side with him even though there may be a dangerous alter ego lurking somewhere deep inside.
The film itself is a beautifully orchestrated fantastical tale that adeptly incorporates comedy, satire, a love story and action/adventure. It braves unfolding its tale in a twisted manner that some may find hard to keep up with, but that makes it all the more fun and worth the repeated viewings. Aside from the great directing, editing and cinematography, the film is anointed with one of the most fitting scores to a film I’ve heard in years. Dominic Frontiere, known primarily for his work in television, supplied a score that is as multi-faceted and complex as Rush’s directing and the film’s story. Leaping from love story to circus entertainer and then to sweeping adventure, Frontiere’s score nails the tone of the picture. Such a beautiful job on this, one has to wonder why he did not go onto other film scores.
Of course, the same question can be asked of Richard Rush. With “The Stunt Man” being such a brilliant piece of work, why has the man not been given another chance? It was fourteen years later before he did another film, the Bruce Willis clunker, “Color of Night”. He only appeared to be a hired gun on that one. It makes one wonder if he did not burn some bridges when he basically made his swan song with “The Stunt Man”.
I cannot recommend this film enough. It can be found at the usual rental houses, but what a joy if somebody had the guts to give it a revival on the big screen where it belongs with all its majesty. I guess the next best thing is to start a campaign to get it on Blu-Ray through Criterion. In the meantime, I suggest seeing the double disc version that includes the fascinating “The Sinister Saga of Making “The Stunt Man”.
When looking back in film history and seeing the precious gems afforded us like “Raging Bull” and “The Stunt Man,” one cannot help but wonder where the Academy’s head was when they anointed Redford’s “Ordinary People” as Best Picture of 1980. It’s a touching film with Redford delivering a deft craftsmanship-like touch, but the material is close to being TV movie fodder in today’s time. It does not hold up well compared to either film. Check out all three films for yourself and see which of the two would be your desert island flick. I’d stay clear of the morose one and vacillate between the heavyweight (okay, Raging Bull was about a middleweight) and the fun, loopy ride provided by Richard Rush and company.
CHRISTOPHER STIPP: Thank you for talking with me. I just got a chance to see the movie over the weekend and loved it. It was a great film and one that, just reading the synopsis it seems like I’ve seen this movie a dozen times before but this one really felt fresh.
JARECKI: For me I was comfortable working with the actors. I like actors a lot. I knew what they would bring. I thought a lot visually about how we wanted the film to look. We joined forces with the cinematographer that had lots of experience because if I had an idea for how I wanted to say something I wanted someone that had the chops to say that’s not going to work or I have an even better idea.
CHRISTOPHER STIPP: Yony, it’s so nice to talk to you. I saw the movie over the weekend and was mesmerized by it.
CS: Was this an ongoing process? Did you have another job?
