![]() I also liked the little details in the sketch, like Rod's particularly tacky smiley face t-shirt and him blowing smoke rings in the background as Ruth gets the phone call about her father.Ī continuation of the previous sketch. Duke did a very good job with a particulatly difficult role. Kazurinsky makes Rod irritating and clueless while staying enjoyable to watch, while Duke has several great reactions to Kazurinsky, especially the part where Rod crawls over to the side of the bed where Ruth's sobbing, and she turns around, glares at him, and fumes "WHO ARE YOU?". Kazurinsky's Rod kind of reminds me a little of the character Dan Aykroyd played in Luncheonette Reunion about five years before, a grown-up nerd who is not particularly clued in to the fact that his chance reunion with a high school cheerleader is more thrilling for him than it is for her.Įxcellent performances from both Kazurinsky and Duke in this sketch. This is obviously a Marilyn Suzanne Miller piece Miller wrote a lot of quieter character pieces for the show from 1975-78, and they weren't necessarily laugh out loud sketches but they were usually excellent at true-to-life characterization and chances for the actors to stretch. In a spoof of a then-current ad campaign for Jordache, the Libyan leader's clothing line is the preferred fashion choice for revolutionaries and terrorists everywhere. The audience found the way Murphy said "Thank you, Mary Gross" in his Raheem voice quite funny. Eddie Murphy also breaks character a few times, specifically when he mentioned how Isaac Hayes proved he could act in Truck Turner, and right after he ended his commentary. The Raheem Abdul Mohammed commentary wasn't one of the character's better appearances and starts off quite slow, but picks up as it went on. Snyder was definitely one of Piscopo's better impressions, and the clip reminded me a lot of Bill Hader as Vinny Vedecci. The best part of the news segment was the fake clip from a retooled Tomorrow show, with Tom Snyder (Joe Piscopo) wearing a mustache and talking rapid-fire spanish. The big exception was the joke making fun of Koop's pro-life beliefs (he started work immediately because he believed his term begins at nomination), which got a healthy response from the audience.ĭoyle-Murray's delivery never really bothered me, but Gross was a poor match for the newsdesk, particularly because her delivery is so slow and hesitant in these early episodes, as if she was intimidated by the TV camera. The introduction where Mary Gross and Doyle-Murray explained that they were co-anchorpersons who haven't decided what sex they were fell flat, as did a lot of the jokes. See the reviews of the later shows in the season for more thoughts on this. The gag with the letters in "NEWSBREAK" breaking off and falling on Brian Doyle-Murray was amusing at first but it was not something they needed to bring back every week. Was there supposed to be a voiceover during the intro? It seemed like there might have been a technical error during the live show. MUSICAL PERFORMANCE: "SHE WON'T DANCE WITH ME", "HOT LEGS" ![]() The film still holds up despite its topical basis, but until I got the background the end credits just seemed like a silly throwaway gag. The Norman Mailer / Jack Henry Abbott credits at the end refer to a then-current news story where Mailer and other critics had championed prisoner Abbott's literary talent and got him released from prison, only for Abbott to fatally stab someone six weeks after his release. The audience response when he gets to the part "C-I-L-L My land-lord!" is so big, the laughter and applause practically drowns out the last word in the poem ("Death!"). I've always loved the one prisoner telling his agent that "People who watch Merv Griffin don't read books! Any agent in the business knows that!"Įddie Murphy walks away with the whole thing when he reads the poem "Kill My Landlord". Blaustein and David Sheffield.Ī very well done short film definitely the first classic of the entire season.
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