1989 Vestron Comedy ‘Dream a Little Dream’ Due on Blu-ray and Digital March 15

The 1989 cult comedy Dream a Little Dream is joining the Vestron Video Collector’s series on Blu-ray and digital March 15 from Lionsgate.

The film stars the two Coreys, Corey Feldman (Stand by Me, The Goonies, The Lost Boys) and Corey Haim (The Lost Boys, License to Drive, Lucas), as well as Piper Laurie (The Hustler, Carrie, TV’s “Twin Peaks”), Jason Robards (All The President’s Men, Parenthood, Magnolia), Harry Dean Stanton (Repo Man, Alien), and Meredith Salenger (The Journey of Natty Gann, A Night in the Life of Jimmy Reardon, Lake Placid).

In the body-swap comedy, Bobby has everything a young guy should: a good buddy, a girlfriend and parents who love him. When the older couple down the street try a transcendental experiment to extend their lives, they become trapped in the teens’ bodies. 

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Dream a Little Dream bonus features include interviews with Corey Feldman and executive producer Lawrence Kasanoff, audio commentary with film historian Jarret Gahan, theatrical trailers, TV spots, and a stills gallery.

A Thousand Clowns


Kino Lorber;
$19.95 DVD, $29.95 Blu-ray;
Not rated.
Stars Jason Robards, Barbara Harris, Barry Gordon, Martin Balsam, William Daniels.

 If there can be such a thing as a pro-hippie dropout movie geared for white guys, it has to be 1965’s A Thousand Clowns, which in its own ragged way, almost by accident, also nearly comes off as “European” in its approach to 1960s cinema.

In the movie that sealed my lifelong fandom, Jason Robards re-creates his stage role as a purposely unemployed writer for Chuckles the Chipmunk, a nutcase upset that he’s getting blank stares instead of the “62% outright prolonged laughter” that the agency has predicted. He lives in a New York studio apartment so cluttered with bizarre knickknacks from second-hand stores that have stroked his fancy over the years that his 12-year-old nephew (Barry Gordon) generally enters by fire-escape window. The son of Robards’ long vanished sister, they have been together seven years. One day, the kid writes an essay celebrating unemployment insurance, which becomes enough of a red flag to attract a hopelessly starchy rep of the child welfare board (William Daniels) and his far more empathetic subordinate (Barbara Harris).

Unless Robards (as Murray Burns) can go back to Chuckles, or anywhere else gainfully employing pronto, he will lose his nephew — limited time he uses to instead romance Harris in a series of around-the-city set pieces on two-seater bikes and the like that recall the time a friend of mine once asked: “Was this movie directed (Fred Coe is credited) or patched?” It may well have been because I see the editor was Ralph Rosenblum, though I can’t recall if this is one of his salvation jobs chronicled in a book that’s became an instant film-editing staple: When the Shooting Stopped. In its own weird way, the film is both structurally haphazard but also, somehow, unexpectedly offbeat-fresh in then conventional ways.

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Working its way into all this is Martin Balsam’s supporting Oscar-winning performance as Robards’ more responsible, nose-to-the-grindstone brother — one of those turns based on relatively few scenes and is thus a debatable choice, though certainly he is fine, no question. Much more eye-opening to me at the time were my first screen exposures to both Daniels and Harris, who at the time was knocking them dead on Broadway with On a Clear Day You Can See Forever — still, imo, the greatest score ever attached to a lousy book. (It was still true of the 1970 Streisand-Minnelli film version, too.) In its own way, Harris’s character is as eccentric as Robards’; they are not your everyday matchup.

Gordon, who’d already enjoyed a varied childhood career — for just one thing, he’d scored a huge December 1955 hit with the novelty tune “I’m Gettin Nuttin for Christmas” — is also more than memorable as a) one who tries to be a disciplinary figure; and b) yet also idolizes his uncle and wants to stay with him. Unrecognizable, Gordon is on the main bonus extra here covering the basics of his career and offering opinions on how the movie evolved into an offbeat mess, though in nothing like such brutal terminology.

Some of Robards’ cruel barbs toward Daniels (Dustin Hoffman’s future screen father in The Graduate) are puerile or juvenile. But others to this open target — as well as all the Chuckles material and his routines with Gordon — are on-the-floor funny, which is why the picture struck a nerve with college arthouse audiences at the time for whom The Maltese Bippie just didn’t cut it. I know a lot of people who get a panoramic grin on their faces over Clown’s mere mention and know of one person (former boyfriend of a favorite editor) who rates it as his favorite movie of all time.

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Here’s another Kino Classics release in which that ever-resourceful company has chosen to pluck another cult item that never even got a VHS release and (pretty sure) was only issued on an on-demand DVD. It should also be noted that Coe, Herb Gardner’s script (adapted from his own stage version) and the score all got nominations as well. But not Robards when I was certain he had.

Mike’s Picks: ‘The Mystery of the Wax Museum’ and ‘A Thousand Clowns’

Melvin and Howard


Available via ScreenArchives.com;
Twilight Time;
$29.95 Blu-ray;
Rated ‘R.’
Stars Paul Le Mat, Mary Steenburgen, Jason Robards, Pamela Reed.

To me, the three most generous filmmakers to their characters — and that is, to all of their characters all of the time — were Jean Renoir, Leo McCarey and Jonathan Demme in his comedies, which is one reason that their best films reward multiple viewings again and again and again. With 1980’s Melvin and Howard, Demme also had a great Oscar-winning script by Bo Goldman, which was voted the year’s best by both the National Society of Film Critics and the New York Film Critics’ Circle (as was, in the latter case, Demme as well). Jason Robards got a supporting Oscar nomination for an unforgettable cameo, Mary Steenburgen just about swept the boards in everyone’s supporting actress voting (Oscar’s included) — and yet despite all this, very few people went to see the picture. It brings to mind something that was pounded pretty hard into me by the time I was about 10 years old: The audiences who determine which movies are going to make it are the same ones who vote for president.

Despite all these other accolades, M&H might not even work were it not for lead Paul Le Mat as dreamer-to-a-fault Melvin Dummar — another case of an undervalued actor never getting the credit he deserved despite having given two indelible screen performances (speedster “John” in American Graffiti was the other one). Dummar, who died late last year, was the Utah chronic hard-luck case who claimed to have picked up an injured old derelict in the desert who turned out to be Howard Hughes — who, upon his 1976 death supposedly left 1/16th of his assets to Dummar in his will, This, of course, set off a predictable dog fight with other principals of interest.

Goldman and Demme treat the story as a fable that still has a small chance of being true, which was the best — and probably only — way to go. There’s not a sliver of guile in the Melvin they portray, an uncomplicated working Joe (though with a confused love life) whose life goals don’t usually extend beyond being named employee-of-the-month at one of his hard-scrabble jobs, which include delivering milk and running a service station out in the middle of nowhere. Meanwhile (and not counting any lonely women he might meet on the milk route), Melvin manages to get married to the same woman twice (Steenburgen) before settling down with another (Pamela Reed) as his kids get caught in the shuffle. Even at this, though, it’s obvious that he and wife No. 1 still harbor mutual affection. It’s just that the Steenburgen character (Linda) has had it with the kind of guy who, after they finally get financially even or ahead with a cash windfall, buys a boat when the family doesn’t even near live anywhere near water. And when confronted with the fact, says what every husband says when called on the carpet at home for foolish extravagances: “It’s an investment.”

This was only Steenburgen’s second movie (after the Jack Nicholson amuser Goin’ South), and she made a monster impression; I suspect her makeshift tap dancing to Satisfaction on the “Easy Street” TV show is what got her the Oscar. According to a Demme supplemental commentary here carried over from the old DVD (the universally beloved director broke a lot of hearts by dying in 2017), the filmmakers had to make up a fictional game show on a dime with cameras ready to roll after Monty Hall or his people noted profanities in Goldman’s script and nixed an agreement to have a Linda appearance on “Let’s Make a Deal” part of the narrative. Nice job, Monty: You could have been in a major awards winner and one of the best films of its era.

Creative stress aide, the snub worked out because actor Robert Ridgely turned out to be a scream as “Easy Street” host Wally “Mr. Love” Williams, a role that (one minor line of dialogue excepted), he apparently ad-libbed all the way. With all the sincerity of a dozen oil slicks, he’s the real game show item — one capable of making the salient audience point, when informed by Linda on the show’s opening patter that Melvin is a milkman responds that “were it not for milkmen, where would we get our milk?” Indeed.

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When the news comes about Melvin’s windfall, the expected leeches ascend, though in truth, a long court fight led to a jury decision it was a forgery. (Later, a 2005 book by a retired FBI agent unearthed some evidence that supported the subject’s story.) I can remember seeing Dummar on the campy old early ’80s syndicated TV show “Lie Detector,” the program on which host F. Lee Bailey himself submitted polygraphs to determine the truth or not in legal squabbles of varying controversies. (On the same half-hour, Ronald Reagan’s barber passed a test to determine that no, the then president did not dye his hair.) Melvin, on the other hand, flunked badly — and could be seen mouthing the full, longer version of the “b.s.” oath under his breath over the determination, with the sound muted out for tender ears. This may be as angry as any of the general public ever saw the real or movie Melvin get, so sweet and unassuming is Le Mat’s performance.

Joining Demme on the commentary is the great production designer Toby Rafelson, who brings very little to the party but then didn’t really have to when her credits also included Five Easy Pieces, The King of Marvin Gardens, Alice Doesn’t Live Here Anymore (but only a few more; what happened?). Her work is on the screen and includes that great shot of two tires leaned against each other on a revolving poll outside the gas station, an image I have never forgotten all these years. Demme regular Tak Fujimoto shot M&H, and like a lot of Universal titles of the era, it has a soft palate that dribbled all over the place on the old DVD. This Twilight Time Blu-ray is much, much superior to the earlier release, and Julie Kirgo’s accompanying essay ranks with her best. I really love this movie, and do I ever miss Demme. As for Goldman (Bo, that is, not the better known William), he also wrote the screenplays for One Flew Over the Cuckoo’s Nest and Shoot the Moon. So his reputation is set for life.

Mike’s Picks: ‘Bend of the River’ and ‘Melvin and Howard’