Super papa

Charlie (Bob Crane) is a harried human resources manager for a shipping company. His boss (Joe Flynn) is on his back constantly, for they are having union negotiation troubles. At home, Charlie is experiencing some problems, too, as his soon-to-be-an-adult daughter, Wendy, is spending the summer with her beach friends, including Bart (Kurt Russell). One day, a television psychologist recommends that parents become more involved in their children's lives. Taking this to heart, Charlie first joins the beach crowd, where he discovers beach volleyball and water skiing may be near-lethal activities. Then, Charlie decides that a college farther away from this group of kids would be a good idea for Wendy. He pulls strings and Wendy is admitted, although she would prefer to stay near Bart and the gang. Will Charlie never stop interfering in Wendy's life? This is a fun movie with some good messages, too. The scenes where Charlie sets out to mingle with the beach group are hysterical, as he tries to compete physically with the younger set. In that role, Crane is a stitch and should be commended for his work, despite the dark side we now know he was hiding, in real life. Russell is, as always, a "hunk with charisma" and as sunny natured as they come. The rest of the cast, including Flynn, Dick Van Patten, Barbara Rush, and especially, Bruno Kirby, are top notch. Do you long for the good old days, when movies were cleaner but still humorous and heart-warming? Try hard to locate this film or catch it on the Disney Channel. It has charms and lessons for just about everyone.

Tightly wound and traditional lawyer and family man Charlie McCready takes a lot of pride in his daughter Wendy (Kathleen Cody) but disapproves of her group of friends collectively known as "the Gang" whom she has known since childhood and especially Wendy's boyfriend Bart (Kurt Russell) because he believes them to have no ambition and are a drag on Wendy. As Charlie tries to wrest Windy from her carefree friends towards more eligible persons, complications arise.

Superdad's origins begin in 1966 when the film was under the working title A Son-in-Law for Charlie McCready. Originally intended for Gig Young in the lead role, Gig dropped from the film due to "creative differences" and was replaced by Bob Crane who had found himself less in demand following the cancellation of Hogan's Heroes. Superdad was yet another entry in the formula comedies that served as Disney's primary output during the 70s and comes to us from writer Joseph L. McEveety who gave us the mediocre Dexter Riley films and the surprisingly decent Barefoot Exectuvie, and is directed by Vincent McEveety who's film The Million Dollar Duck stands as one of the dumbest of this era of Disney comedies. Superdad doesn't feel like a movie and instead feels like three episodes of a not particularly good pre-Rural Purge sitcom daisy chained together and presented to you as a movie.

Like many Disney comedies from around this time, Superdad's approach to culture clash and generation gap humor feel about 10 to 15 years out of date. Much like the Dexter Riley films or Million Dollar Duck, despite a teenage cast they spout hokey dialogue that hasn't evolved much beyond the approach taken from The Absent Minded Professor in 1961. The Scooby-Gang from the original run of Scooby-Doo in 1969 had more believable attempts at character and that was a cartoon with a talking dog, but it also helps that Scooby-Doo didn't treat 60% of its cast as a singular hive-mind character spread across a dozen actors. Bob Crane is massively unlikable as Charlie McCready and while the movie does try to address the generation gap by saying there's no fundamental difference between the teenagers of "today" versus 20 years ago, the movie wants to have its cake and eat it to because despite a message of tolerance and understanding throughout the film the movie also takes potshots at the counterculture movement in what amounts to pretty pandering and toothless commentary.

Superdad is what it is: A bad Disney comedy that feels like a sitcom projected on a bigger screen with no laugh track. There's a reason most people know of this movie from its mention in the heavily fictionalized Bob Crane biopic Auto-Focus or its appearance in the subway scene of the first Charles Bronson Death Wish, because the movie itself is only interesting as a curiosity or background novelty in relation to other more interesting topics. It's not as bad as Million Dollar Duck by virtue of not being as brazenly annoying and stupid, but it's also much lazier.

Southern California lawyer Bob Crane (as Charlie McCready) doesn't like the potentially sexual relationship between beautiful blonde daughter Kathleen Cody (as Wendy) and beach bum boyfriend Kurt Russell (as Bart). First, Mr. Crane decides keep an eye on the kissing couple by joining the youngsters' beach partying gang. This results in some misadventures in water. Later, Crane conspires to send Ms. Cody to a faraway college. Not too smart. With her face and figure, Cody has no trouble attracting collegian attention, and becomes inadvertently engaged in a hippie gang protesting Crane's golfing business partners Joe Flynn (as Cyrus Hershberger) and Dick Van Patten (as Ira Kershaw)...

"Superdad" is the generation gap seen through the rose-colored Disney lens, which results in a sharp focus on fluff.

Canceled television series stars populate the cast. Most notably, Crane had escaped "Hogan's Heroes" and Cody emerged from "Dark Shadows" (both in 1971). Extending his teen years, Mr. Russell plays a secondary role, as does motherly Barbara Rush (as Sue), late of "Peyton Place" (1969). There is a quick pace, along with dependable amusements from all-purpose driver Bruno Kirby (as Stanley Schlimmer), hip octogenarian Judith Lowery (as Mother Barlow), and the Disney regulars. The studio held the film up in favor of "Charley and the Angel" (1973). Bobby Goldsboro's "These Are the Best Times" failed to chart. Nothing could help "Superdad" bridge the box office gap.

***** Superdad (12/14/73) Vincent McEveety ~ Bob Crane, Kathleen Cody, Kurt Russell, Barbara Rush

I must have been eight years old with nothing else to do one Saturday in 1974 when this screened at the local cinema. I went along knowing nothing about it but assumed it would involve a dad who is secretly a superhero. I can't remember at what point I resigned myself to Dad never getting into costume but I spent most of the film rather confused and alienated by what turned out to be a rather gentle generation-gap comedy about a father trying to manipulate his daughter's love life. 45 years later, having hardly thought about it in the meantime, I thought I'd see how it looks from this distance. Well, it's not great. It's a mildly interesting glimpse at 70s culture seen through a Disney lens. For the first 20 minutes of rather forced humour I wondered if I should have bothered but I warmed to it a little as it went on. Probably the only reason it stuck in my mind was a mildly scary confrontation between the dad and an unhinged hippie artist called Klutch on his bizzarely decked-out houseboat/studio. It's hard to guess who Disney was aiming at with this. Young kids would have been bored and confused, as I was. Adults would find it juvenile, and teenagers would probably rather just find it a bit lame. The best you can say is that it's not that bad. You might relate to it if you have a teenage daughter, or if they will sit still long enough you could watch it with your kids (or grandkids) and tell them about the bad old days before Star Wars when, if there wasn't a Doug McClure film out that week, something like this was quite often the best a kid could hope for from a trip to the cinema.

A bit of a mishmash of a film.

'Superdad' practically has three storylines rearing a head. You've got a father trying to get involved with his daughter's life, alongside the father having a big work event and the daughter having a sizeable life decision which conflicts with her friends. It's messy, the first one is definitely the film's intended focus but they don't really develop all of them too well.

The middle one involves Joe Flynn (Hershberger), who is shoehorned into another Disney live-action flick - he is fairly good in 'The Computer Wore Tennis Shoes' trilogy, but since the original film of that series in 1969 they really tried to force him into a load of their other releases.

Somewhat likewise to Kurt Russell (Bart), but at least his role is actually integral here. Bob Crane is solid enough in the main role as Charlie, as is Kathleen Cody as daughter Wendy.

Not one I'd recommend, despite some pleasing on the eye shots at the very beginning and very end.