May 10, 1991
Okay, I’m looping back a little here. I initially skipped SWITCH because it didn’t look very fun to me. But as I think about MADONNA: TRUTH OR DARE and a couple of the movies coming up later I’m realizing that changes in the portrayal of women in pop culture will be a major theme of this series, so it seems like a mistake not to look at a movie about a sexist guy waking up in the body of a woman. Also, Bryan in the FX2 comments wrote, “I don’t blame you for not wanting to review SWITCH but I was excited to hear your thoughts about it. It seems it could teach us a lot about 1991.” Good point. So I’m doing it.
SWITCH is late period Blake Edwards. That’s not a period held in high regard by anyone I’ve come across, but I did kind of like BLIND DATE (four years and three movies before this), which got terrible reviews. So you never know.
Steve Brooks (Perry King, CLASS OF 1984, MANDINGO) is “one hell of an advertising man,” which of course means he’s introduced in his office putting golf balls into that thing that business assholes putt into in all ‘80s and ‘90s movies. Then he gets an an unexpected call. Three of his ex-girlfriends, Margo (JoBeth Williams, POLTERGEIST), Liz (Lysette Anthony, KRULL, Bryan Adams videos) and Felicia (Victoria Mahoney, Brewster Place) invite him over for “a surprise party.” (read the rest of this shit…)
This is gonna be an awkward conversation starter, but, uh… anybody here seen MANDINGO? It’s a deeply uncomfortable, ugly movie, not just in showing horrible things, but in making us follow main characters who don’t see anything wrong here. Directed by Richard Fleischer (20,000 LEAGUES UNDER THE SEA, MR. MAJESTYK, CONAN THE DESTROYER) and written by mentally ill two-time Academy Award nominee Norman Wexler, it was maybe intended as a prestige picture but received as trash and exploitation. I don’t care which it is but I do think it’s pretty brilliant, even STARSHIP TROOPERSy, in the way it confronts racism, so I thought it would be worth discussing before DJANGO UNCHAINED comes out.
