With the 2011 summer movie season winding down we are going to take one last look at a summer movie season of the past. For this article we are going to examine the summer movies from thirty years ago, 1981.
By 1981 movie palaces were becoming a thing of the past. Many of them had closed while others were either barely lingering or had split their luxurious auditorium to make way for several screens. Drive-ins were also starting to lose more and more popularity as cable television started to become very popular. Where it was at were the suburban multiplexes. There seemingly wasn’t a shopping mall in sight that didn’t have a two to four screen theater somewhere on the property. Twins, triples and quads were popping up all over the place and older one screen theaters that were popular were also getting the reconstruction facelift turning a beautiful auditorium into rather blah but admittedly money making extra screens.
With this in mind Hollywood was continuing to churn out loads of films from Memorial Day until Labor Day. The summer of 1981 saw 35 major movie releases that covered a wide array of subjects appealing to the smallest of children right to something just for the grownups. We got films from Mel Brooks, Steven Spielberg, Blake Edwards, John Landis, John Huston, Brian DePalma, John Carpenter and John Schlesinger. Mythology and medieval times were represented. Kids got their first Disney animated film in four years plus a Muppet sequel and Gary Coleman’s starring debut. Teenagers were treated to the latest from Cheech and Chong, Bill Murray, Richard Pryor an R rated cartoon and, not only five horror films but the first mad slasher film spoof. Adults were treated to no less than seven films that made you think – an unusual trait for summer movies.
Amazingly there were only three sequels for the summer of 1981 and there were two monumental box office flops. James Bond returned to the screen and we were introduced to Indiana Jones. But, most importantly, 3-D was introduced to a new generation of fans that had never gotten the opportunity to experience it. It had been seven years since the last 3-D wide release (Andy Warhol’s Frankenstein) and due to its X-rating the audiences were limited to those of age. The 3-D craze would begin again and become popular for the next few years before fizzling out (let’s hope the latest craze does just that sometime soon).
Of the 35 movies released that summer, seven of them would be remembered at Academy Awards time though only one of them was up for Best Picture.
Here are the summer movie releases from 1981 listed alphabetically. As always I hope this makes for a fun trip down memory lane if you were around to see these movies and, if not, I hope it inspires you to see one or two you may have missed that sound good.
AN AMERICAN WEREWOLF IN LONDON (Universal; Director – John Landis) After the enormous success of Animal House and a follow up hit with The Blues Brothers, director Landis decided to dust off an old screenplay he had written for his next project. This comedy thriller is about two American men attacked by a werewolf and the waiting days as the survivor will soon become one himself and the frequent re-appearance of his deceased friend, who happens to be decaying more with each visit. This is a fun little movie though the violence gets a bit excessive in the last act. The transformation scene is one of the best in film history. Critical reaction was sharply divided and the film was a bit of a disappointment bringing in just over $10 million. The film would win an Academy Award for its only nomination, Best Make-Up.
ARTHUR (Orion; Director – Steve Gordon) Perhaps the sleeper hit of the summer of 1981 was this comedy starring Dudley Moore as a millionaire drunk who falls in love with a common woman (Liza Minnelli) but is forced to marry another woman to keep his fortune. Sir John Gielgud stole the movie as Arthur’s temperamental and hopelessly honest butler, Hobson. This film came out of nowhere from television writer and first time director Gordon and the reviews were generally positive. What was shocking was that the film went on to gross over $42 million at the box office and would be nominated for four Academy Awards: Best Actor (Moore) and Best Original Screenplay for Gordon, both of which did not win, and for Best Song and Best Supporting Actor (Gielgud), both of which they did win. In a sad note, director Gordon would die suddenly of a massive heart attack at the age of 44 just eight months after the awards ceremony.
BLOW OUT (Filmways; Director – Brian DePalma) One of the best and most overlooked films of 1981 was this solid thriller starring John Travolta as a sound man for a low budget movie studio who, one night, is out taping sounds and accidentally tapes a car crashing into a lake. Travolta saves the life of a woman passenger (Nancy Allen) but not the driver, a political candidate who was expected to be the next governor. Soon Travolta begins to unravel a mystery that points to the possibility of assassination and not accident and he and the woman find their lives in danger. This is a gripping and fascinating thriller with a powerfully unexpected ending, a smart script and terrific performances by its leads and, especially, by John Lithgow and Dennis Franz as villains of varying degrees. Critical reaction was strong but somehow this movie got lost in the shuffle despite Travolta’s star power. On a budget of $18 million the film only made $8 million.
BUSTIN LOOSE (Universal; Director – Oz Scott) Richard Pryor’s first movie after his tragic burning accident (but shot before the accident) is this lightweight but fun film about a repeat offender who is assigned by his parole officer to drive a group of special needs kids across country with their teacher (Cicely Tyson), with whom he will soon fall for. This is an entertaining film with plenty of laughs but no real belly laughs as you might expect. It’s R-rating is for the normal inclusion of Pryor’s favorite F-word but other than that could be enjoyed by the family. The reviews were mixed but the film was a surprise hit making over $15 million.
THE CANNONBALL RUN (20th Century Fox; Director – Hal Needham) Burt Reynolds heads an all star cast in this action comedy about people racing cross country for the top prize. It’s wall to wall silliness as director Needham jumps from story to story, car chase to car crash. Along for the ride is Dom DeLuise, Farrah Fawcett, Roger Moore, Jackie Chan, Jamie Farr, Mel Tillis, Terry Bradshaw, Adrienne Barbeau and many others. This was the beginning of the end for Burt’s career but audiences were not yet aware that Burt was making movies for paychecks and to hang around his friends. Quality was never on his mind. Critics ripped this film but Burt’s star status turned this into a $37 million hit.
CHEECH AND CHONG’S NICE DREAMS (Columbia; Director – Tommy Chong) Teenagers back in 1981 continued to prove that if you put Cheech and Chong into a movie that has, at least, sporadic laughs, they will turn out in droves. This was the team’s third film and their third hit. To speak of a plot is irrelevant. There is plenty of pot smoking, nudity, silliness and even a police captain who turns into a lizard. Shakespeare it ain’t but I have to admit it provides some laughs. The film was panned by critics but naturally this is a critic proof movie. It would go on to gross an impressive $18 million.
CLASH OF THE TITANS (MGM; Director – Desmond Davis) One of the summer spectacle movies was this adventure based on the Greek mythology of Perseus (Harry Hamlin) and his adventures. This action packed adventure boasted some top line (for its time) visual effects and Hamlin was supported by a strong cast including Laurence Olivier, Burgess Meredith, Clare Bloom, Ursula Andress and Maggie Smith. The film received mixed critical response but did make over $21 million at the box office.
COMIN AT YA (Filmways; Director – Ferdanando Baldi) The Western was given another shot but this time with a twist. This was the first major movie to be released nationwide in 3D since 1974’s Andy Warhol’s Frankenstein. This was a typical Western with our hero searching for his kidnapped wife but it was really just an excuse to see plenty of 3D effects including a yo-yo and flying arrows seemingly coming out of the screen. The 3D worked somewhat to get people in the seats but the low quality of the movie kept people from repeat business. Critical reaction was negative and the film made just over $6 million. But it was enough to kick start the 3D craze yet again and several films would be released in that process over the next few years.
DEAD AND BURIED (Avco Embassy; Director – Gary Sherman) A very violent and ugly thriller that, if you can make it through, offers an interesting and unexpected twist ending. But getting to the end may prove to be quite the trial. The film opens with a stranger being seduced by a sexy young woman but is then overtaken by some townspeople, nearly beaten to death and then tied up and burned at the stake. We see it all in grisly detail for you voyeurs out there. That opening scene is such a turn off it affects the rest of the movie and, needless to say, there is plenty more gore to come. James Farentino stars as the town sheriff trying to make sense of these horrible murders happening on a daily basis while getting help from the town coroner (Jack Alberston, in his final role). Critics were unanimous in their hatred for this movie and it was a flop at the box office.
DRAGONSLAYER (Paramount; Director – Matthew Robbins) One of the biggest flops of the summer was this generally well received medieval adventure about a young wizard who experiences danger and opposition as he attempts to defeat a dragon. Perhaps the kids decided they had enough after Clash of the Titans because, despite mixed reviews from critics, the film only made $7 million at the box office. The film would be nominated for Academy Awards for Best Visual Effects and Best Score, but won neither.
ENDLESS LOVE (Universal; Director – Franco Zeffirelli) One of the most talked about films of the summer of 1981 was this adaptation of the popular novel about two teenage lovers trying their best to weather the storms of life and keep it together. The film turned out to be about as silly as the last line I wrote and the two leads (newcomer Martin Hewitt and Brooke Shields) were hopelessly miscast. Fans of the novel were angered at how much was changed from the novel and the all around feel for the film was negative. Critical reaction was terrible and though the film made over $11 million, it can be better explained as something tantamount to a car crash. People just had to give it a look for themselves. The film’s lovely title song was nominated for an Academy Award but did not win.
ESCAPE FROM NEW YORK (Avco Embassy; Director – John Carpenter) This futuristic science fiction adventure introduces us to Snake Plisken (Kurt Russell) a convict who is given a chance. He can go into New York, now a world prison cut off from the rest of the country, and rescue the President of the United States (Donald Pleasance) who disappeared when Air Force One went down in that area. Snake’s time is limited and, to make sure he doesn’t run off, he is injected with dissolving capsules. Should they dissolve they will explode in his body causing an instantly fatal aneurysm. Snake has no choice but to go in but there are plenty of those on the other side that want to make sure he never gets out. Director Carpenter makes an interesting adventure film with a good cast supporting Russell including Ernest Borgnine, Harry Dean Stanton, Adrienne Barbeau, Isaac Hayes and Lee Van Cleef. The film received mixed reviews and was only a mild hit at the box office but has since become a cult classic, so much so that a sequel was made in 1992.
EYE OF THE NEEDLE (United Artists; Director – Richard Marquand) One of the aforementioned films for adults that summer was this spy thriller based on the novel by Ken Follett. Filled with suspense and sexy eroticism, Needle stars Donald Sutherland as a German spy in England who is a psychopathic assassin. Heading to Germany in a boat he is swept up in a storm and stranded on an island occupied by a woman (Kate Nelligan) with her handicapped husband and a son. Soon the “needle” and the woman begin as passionate love affair while the “needle” tries to figure a way off the island to deliver important critical information to the German army. This is a well made and beautifully paced movie that received strong reviews and would go on to gross almost $9 million at the box office.
EYES OF A STRANGER (Warner Bros.; Director – Ken Weiderhorn) Another in the long line of mad slasher movies was this thriller about a woman reporter who begins to suspect that a man living in the high rise across from hers is a serial killer. Just another typical bloody horror film with little suspense but plenty of cheap thrills. The film was lambasted by those critics that bothered to see it and it made only $1.1 million – an astoundingly low number for a slasher film.
FINAL EXAM (Avco Embassy; Director – Jimmy Huston) Another entry into the mad slasher category takes place on a college campus where sexy co-eds and stupid jocks are sliced up one by one leading to a very predictable conclusion where the identity of the killer was forecast in the first ten minutes. This was just another trashy horror film that opened in loads of second run theaters and drive-ins and disappeared within two weeks.
FIRST MONDAY IN OCTOBER (Paramount; Director – Ronald Neame) Another film for adults was this comedy/drama based on the hit play about the assignment of the first woman (Jill Clayburgh) to the Supreme Court. Walter Matthau co-stars as one of the justices who is unsure if he likes the idea of a woman justice but soon gets his fill of her. This is a delightful comedy with some serious moments to thrown in, in just the right mix. The film was not a hit with critics who felt the casting was wrong and that is was too far off from its source material but the film was a solid hit at the box office.
FOR YOUR EYES ONLY (MGM; Director – John Glen) Summer wasn’t summer at the movies without the appearance of 007 in the 70’s and early 80’s. In this adventure Roger Moore again plows through a silly and contrived story with well done chase scenes and a villain that is unmemorable. But none of that has ever mattered on a Bond film. First off was Sheena Easton’s hit single of the title song that was released even before the movie was and secondly, the women were gorgeous. Moore was beginning to look far too old for the role but he would play the part two more times after this. Critical reaction was divided but the film was a major summer hit making $26.6 million. The title song would be nominated for an Academy Award but failed to secure the prize.
THE FOUR SEASONS (Universal; Director – Alan Alda) One of the sleeper hits of the summer of 1981 was this adult comedy/drama with Alda starring in, writing and making his feature film directorial debut. Alda leads an impressive cast in the story of the relationship of three couples who vacation four times a year, once during each season. The film follows such themes as jealousy, infidelity, loyalty and painful honesty to equally successful comedic and dramatic effect. Alda gives a good performance but has a strong supporting cast including Carol Burnett (in her best performance), Rita Moreno, Jack Weston, Len Cariou, Sandy Dennis and Bess Armstrong. Critics praised the film and its success was quite unexpected as it would gross over $27 million.
THE FOX AND THE HOUND (Walt Disney; Directors – Ted Berman, Richard Rich, Art Stevens) Walt Disney’s first new animated movie in four years is the story of a young fox is orphaned due to the actions of a hunter. He soon is befriended by other animals before being adopted by a woman and then becomes friends with the neighbor’s dog. It’s a sweet animated film that adults could also enjoy. It was a welcome comeback for Disney animation. Critical reaction was positive and it was a solid box office hit earning about $30 million.
THE GREAT MUPPET CAPER (Universal; Director – Jim Henson) The follow up film to the enormously successful 1979 film, The Muppet Movie, makes Kermit, Gonzo and Fozzie Bear into reporters that head to London to solve a string of jewelry thefts. Although buoyed by a clichéd script, the film has the charm of its lead characters to keep things going. Muppet creator Jim Henson took the directing reigns this time and proved he had much to learn but still made a passable sequel. The film, like the original, is populated with famous human co-stars including Diana Rigg, Jack Warden and Charles Grodin. Critical reaction was decidedly mixed for this effort but the film was still a solid hit making over $15 million. The film received one Academy Award nomination for Best Song but did not win.
HEAVY METAL (Columbia; Director – Gerald Potterson) This R-rated animated film was based on the hugely popular comic of the same name. The film is several short stories of sci-fi and fantasy filled with violence and nudity and includes a soundtrack of then popular groups such as Journey, Blue Oyster Cult, Cheap Trick and Black Sabbath among many. Reviews were mixed and the film made a disappointing $9.3 million at the box office.
HISTORY OF THE WORLD PART 1 (20th Century Fox; Director – Mel Brooks) Brooks’ first film in three years (after High Anxiety) was this wacky but overdone comedy that spreads itself much too thin. Brooks tells several stories and displays his usual bad taste and musical numbers and some of it is fun but some of it is way off target. This much anticipated film disappointed legions of Brooks’s fans though the film still has its defenders. Critical response was mostly negative and while the film made $16 million it was considered a bit of a letdown.
HONKYTONK FREEWAY (Universal; Director – John Schlesinger) Here again we find the old adage that every great director makes a dud. Here, director John Schlesinger (Midnight Cowboy; Sunday, Bloody Sunday; Marathon Man) makes his worst film. This comedy with a large cast involves the lives of the people of a small Florida town whose only attraction is a small wild life safari expedition and the freeway built next to the town, with no exit to their town. We also see many subplots of people traveling the freeway for one reason or another. The cast includes Beau Bridges, Beverly D’Angelo, Geraldine Page, Hume Cronyn, Jessica Tandy and William Devane. Critical reaction was terrible but what was shocking was that the distributor lost interest in the film despite its $24 million budget. Consequently the film played sparingly across the country and only for one week bookings. Second runs and drive-ins missed out on the movie almost altogether. In the end the film barely made $1 million making it one of the biggest bombs in movie history.
THE LEGEND OF THE LONE RANGER (Universal; Director – William A. Fraker) One of the notorious flops of the time was this telling of the story of the masked hero and his loyal sidekick Tonto. The film opens with how the two met as boys and takes us through the years. The film has a strong supporting cast going for it with Christopher Lloyd as Buth Cavendish, the villain, and Jason Robards as President Grant. The film goes wrong with its script and violence quotient (for a film seemingly made for kids it gets awfully violent) and goes even more wrong with its casting of the lead actors. As Tonto, Michael Horse is bland but still ok in the role. In the title role is an unknown named Klinton Spilsbury, an actor so bad he had to have all of his lines dubbed by actor James Keach. Spilsbury was reportedly difficult on the set as well. After the disaster that was this movie Spilsbury has never had the chance to make up for his diva-like qualities. As of today the actor has never worked on another movie. Critics were nearly unanimous in their hatred of the movie and the film made just a touch over $6 million at the box office while its budget was over $18 million.
ON THE RIGHT TRACK (20th Century Fox; Director – Lee Phillips) The film starring debut of child actor Gary Coleman was this benign comedy fit for the whole family. In it Coleman stars as a shoeshine boy in a railway station who also happens to live there. He has a secret knack for being able to pick winning horses just by pointing at them in the newspaper and soon word gets around and everyone wants to get at the child. Little kids will certainly enjoy this film though I believe its availability may be somewhat limited these days. The film received mostly negative reviews but was a mild hit at the box office.
RAIDERS OF THE LOST ARK (Paramount; Director – Steven Spielberg) The film of
the summer and of the year and the biggest box office hit of 1981 was George Lucas and Steven Spielberg’s ode to the movie serial of the 1940’s with this rousing adventure that introduced the world to archeologist and sometime professor Indiana Jones (Harrison Ford). Now known as one of the all time great action movies if not the greatest of all time the film features one breathtaking sequence after another. The film was critically praised and would earn $115 million at the box office. It would be nominated for 8 Academy Awards, winning for Art Direction, Visual Effects, Editing and Sound. It would lose out for Best Picture, Director, Score and Cinematography.
S.O.B. (Paramount; Director – Blake Edwards) Director Edwards’ scathing satirical black comedy look at life in Hollywood and the world of movies tells several stories, most notably that of director Felix Farmer (Richard Mulligan), who finds himself with a colossal film flop on his hands and deciding to end it all. When he can’t, he gets an epiphany and decides to re-shoot the film and turn it into an X-rated blockbuster by having its squeaky clean lead actress (Julie Andrews) take her clothes off on camera. This R-rated adult comedy is very funny and very adult but for some reason, despite a strong cast (also featuring William Holden, Robert Preston, Loretta Swit, Robert Vaughn, Larry Hagman, Shelly Winters and many others) and generally positive reviews, the film only was able to muster $7.5 million at the box office.
STRIPES (Columbia; Director – Ivan Reitman) One of the comedy hits of the summer was this Bill Murray vehicle with he and Harold Ramis joining the army and creating hijinks. This was a hip, R rated comedy that teenagers swarmed to in droves. Murray had his second starring hit movie (the first being Meatballs in 1979 also with director Reitman) and soon became a box office superstar. Supporting performances were provided by P.J. Soles, Sean Young, John Candy, Judge Reinhold, John Larraquette and veteran character actor Warren Oates, who was appearing in his first big hit in many years but would, sadly, die less than a year after its release. The film received mixed reviews but would go on to gross over $41 million at the box office.
STUDENT BODIES (Paramount; Director – Mickey Rose) At the height of the mad slasher movement came the inevitable, this being the first spoof of mad slasher movies. Unfortunately, with a low budget and a looming actor’s strike, producers were forced to hire unknown (and in some cases untalented) actors to fill the movie’s cast. After a promising opening scene the movie literally deteriorates into another 85 minutes of literally no laughs. Only groans. This spoof turned out to be almost as bad as many of the mad slasher films it was trying to spoof. The film was a critical flop and a bigger box office flop as it would make only $3 million.
SUPERMAN II (Warner Bros.; Director – Richard Lester) Probably the most eagerly awaited film of 1981’s summer season was this vast, expensive, sequel to the huge hit of 1978 continuing the adventures of Clark Kent/Superman (Christopher Reeve) with Lois Lane (Margot Kidder), Perry White (Jackie Cooper) and his arch villains from outer space (Terence Stamp) and from Earth (Gene Hackman, Ned Beatty). This film bolsters more special effects but counter balances it with a sweet love story as well. Critical reaction was better on this than the original and while the film was a big hit, making over $65 million at the box office.
TARZAN, THE APE MAN (MGM; Director – John Derek) Director John and wife Bo have taken the classic legacy of the Edgar Rice Burroughs series and turned it into a hard R-rated, soft core porn extravaganza. Bo spends a good portion of the movie naked and is upstaged by a chimp but, unfortunately, the lead actor playing Tarzan (Miles O’Keefe for you trivia fans out there) is amazingly wooden and out acted by the chimp. To see a terrific actor like Richard Harris lend his talents to trash like this is, indeed, sad. As expected critics trashed this mess and even more expected was that the film was a solid hit making over $18 million, which only proves if you take a beautiful woman with little acting talent and promise to parade her naked for a good portion of a two hour film, the audiences will come.
UNDER THE RAINBOW (Warner Bros.; Director – Steve Rash) Chevy Chase and Carrie Fisher star in this lame comedy about the troubles that occur when a group of little people gather in a Hollywood hotel in 1938 to audition for The Wizard of Oz. This leads to a spy adventure with assassinations and chases and just about every other stupid cliché this movie could throw into the mix. As you can imagine none of this really works and turns out to be one of Chase’s worst films (in a long career of many bad films). Amazingly enough, this was the first film following the triumphant debut of director Rash, who had made The Buddy Holly Story three years earlier. Not surprisingly the film was a critical disaster and grossed only $9.4 million.
VICTORY (Paramount; Director – John Huston) The old adage is that every great director makes a dud once in a while. For director John Huston this was one of those times. Sylvester Stallone, still trying to break out of the Rocky mode, stars with Michael Caine and Pele in this WWII adventure about a group of POW’s preparing to play the German’s in a soccer match in Nazi-occupied Paris and the plan by the French and British to help them escape. Max Von Sydow (as always) is terrific as the German colonel and the best thing about the movie. Some of the soccer scenes are well filmed but it all feels too contrived to be believable. The film was dismissed by critics and was a flop at the box office as it made only 5.4 million.
WOLFEN (Orion; Director – Michael Wadleigh) Albert Finney returned to the screen for the first time in almost seven years in this thriller about a New York cop investigating a series of murders that appear to be related and done by an animal. This well made thriller was the first film from director Wadleigh after his triumphant documentary of Woodstock ten years earlier. With this film it showed Wadleigh had a great eye for the camera and could tell a story directly and with suspense. Oddly enough Wadleigh has never made another movie after this one. For Finney this was a most unusual role for him at the time and hard to imagine why this film would have brought him back to the screen after so long but he is good in it. The film received mixed reviews but was a failure at the box office which may seem strange but you have to remember that this was the third werewolf movie (after The Howling and An American Werewolf in London) to open within four months of one another and perhaps audiences tired of it.
ZORRO, THE GAY BLADE (20th Century Fox; Director – Peter Medak) After the enormous success in 1979 of George Hamilton’s Dracula comedy Love At First Bite, studio execs apparently got the idea that they could plus Hamilton into anything and it would be a hit. So they tried this costume adventure film with Hamilton in a duel role (as brothers Zorro and his gay twin). The film was mildly amusing but far from really funny. This was director Medak’s first film following his chilling The Changeling and he falls far from the stoop this time. Critical reaction was negative (as it was on First Bite) but this time audiences stayed away and it was a flop.