jeremy_shops

I did get paid to script-doctor "Red Serpent." It "starred" Roy Scheider (before he died; although that could've been optional I think). They flew him into Moscow for two days and had him read lines off a cue card into a cell phone in front of the Kremlin.

Then I got a call to script-doctor the project. My assignment: "We don't want this to be too 'Russian.'" Notice I'm not in the credits. As a Script Doctor, that's not how it works usually. It's a day-job with no credits or residuals. (Damn! If I got residuals I could probably SuperSize at McDonald's some day!) But it was worse -- 2 hours worse -- before I got it.

Half of it had been shot (all of the Scheider scenes and most of the action stuff). I contributed to pasting the existing stuff into something vaguely coherent. I was not entirely successful in that enterprise.

Plot holes! I scoff at plot holes! They gave me plot canyons! 'Cause y'know, an hour of Roy Scheider talking into a cell phone with the Kremlin looming in the background and everyone else in the cast (except for Michael Pare) reading their lines phonetically with heavy Russian accents... it's one of my prouder moments and actually paid the rent for most of a year.

And you shoulda seen some of the pages that didn't make the final cut! I tell ya, it had a chance to be really really.... not awful.

Not really.

As has been noted, this is unmitigated propaganda. As with all good propaganda, there are elements of truth sprinkled throughout.

Fact is, there is a part of the German character that (not unlike "patriotic" Americans) believes in racial or societal or cultural superiority.

Totally unaware of the irony, this film attributes to Germans many of the same threats to society that 1930s Nazi propaganda assigned to Jews, gypsies, and gays. This film was made a decade before Brown v. Board of Education, two decades before the Civil Rights Act of 1964, more than half a century before 9/11.

"Others" are to blame, you know. They always are.

A witty couple, obviously nuts about each other, who relate to each other the way people relate to each other in real life, albeit, a bit smarter.

One wonders how it might have worked if they'd layered in canned laughter. In 1980, people weren't ready to decide what is funny on their own, perhaps. As if sit-coms have advanced all that much since them.

There was genuine chemistry between Bridges and Shaver, but one wonders if it's the actors' contribution or the sheer honesty of the writing.

I saw all "United States" episodes at the Museum of Radio & Television in Beverly Hills. (There are a couple of episodes that were never run before it was canceled.) It's not consistently brilliant, but there are plenty of moments that (had it been given a chance) might have changed the way half-hour episodic television works.

A quarter of a century later, "United States" still seems ahead of its time. It's almost voyeuristic in its honest portrayal of people who deal with situations that, as in all of our lives, combine humor, pathos, irony, love, naiveté (even the kids aren't all *that* obnoxious), and honesty.

Alas, it appeared on television the same year America preferred to elect Ronald Reagan. I don't think America was in the mood for honesty just then. I'm not sure we're ready for it yet.

Instead, people tune in to "reality" shows, which are fake as hell.