Friday, August 21, 2026

ERIC FLEMING AND HIS TRAGIC ENDING

Does anyone remember that tragic story of actor Eric Fleming? He drowned in Peru while on location filming for High Jungle on September 28, 1966. His co-star, Nico Manardos, who was in the canoe with him, managed to swim to safety. He gives a chilling, first hand account of what happened:
 
"Wednesday, Sept. 28
For the first time in the weeks of adjusting to the most primitive of conditions, I awoke with an irritable feeling. I couldn't pinpoint it. I merely felt rotten and everything around me was rotten. Several times that morning I flew off the handle – shouting at the director, yelling foul words to the crew. Each time I couldn't believe I had done it and quickly apologized. The camera was set up downstream on the left bank of the river. All preparations had been made. I was to paddle the canoa from the rear and Eric would be up front. It isn't every day that a movie is made in Tingo Maria and along the river bank were many curious Indians.

 
I used to drive race cars, and know how important it is to know your course. I walked along the river bank again, peering into the boiling cauldron of waters. I didn't like it now one bit. Suddenly, I had an idea. Perhaps, a rope could be attached to the canoa and someone out of camera range could guide the boat from shore. I was fiddling around with a long piece of rope trying to secure it to the canoa when Eric approached.
 
"That'll never work" he laughed. It was nearly 12:30, and a large mass of rain clouds in the distance was moving toward Tingo Maria. If it proved to be a big storm, it could mean a delay of two or three more days before we could get the scene. We were all cognizant of this, especially Eric, and we had no desire to sit around waiting for the rain to stop. All of us were eager to depart the next day by plane for Lima where we would be able to take our first hot shower in weeks, and rest a few days before completing the film.
 
With a concerned, serious expression on his face, Eric took another glance at the approaching ugly blackened sky. He slowly shook his head, and then smiling reassuringly said to me, "Nico, now or never!". Those were Eric's last words. We silently took our positions in the canoa, and were pushed into the main stream by several Indians.
 
For the first 50 yards or so, I felt that I had acted pretty ridiculously in thinking something could go wrong. We were travelling at a swift pace, but in catching the main current of the river it was serving as the navigator around the rocks. There was little paddling to do. The current was doing the work. More or less, all we had to do was hang on.
 
With the thunder of a thousand cannons, the momentary security I had felt disappeared. The canoa bolted into a cauldron of rapids at the bend in the river, so furious that the craft was no more effective than a toothpick. We started taking on a lot of water as we shot up and then dipped into the rapids. Water was spilling in from the bow with tremendous force. Both Eric and myself were so busy trying to keep the canoa upright with our paddles that there was no time to bail. Suddenly, I noticed Eric start to stand up. I knew immediately that he was planning to jump. When we had talked about the dangers that one day, I tried to impress on him it would be wiser to stay with the canoa. Eric, though, was used to riding surfboards, and for a surfboarder the reaction in time of trouble is to leap away so as not to be hit on the head by the board.


"Don't jump!" I yelled frantically. "Please, please don't jump!" Whether he heard or not I'll never know. However, I sort of doubt it because the roar of the water hitting the rocks in the rapids was deafening. Without turning around he went over the side into an angry whirlpool and disappeared. Probably Eric figured that if he jumped, I would be forced to follow and we would both be saved. I didn't have time for any choice. With Eric's weight gone from the front, the canoa catapulted upward, sending a wall of water at me. In a split-second the canoa was inundated and I was struggling underwater. My frantic effort to reach the surface was fruitless, I was a human anchor. My boots, the pistol tied to my side, those damn sleeves of the shirt, bulging heavily with water, were dragging me to the bottom. I bit my lips desperately, but the pressure of the current was unbearable and forced water into my mouth.
Weakness overcame my body. Every bone had succumbed to fatigue. I was dying. My eyes seemed to automatically close and I found myself drifting further away from reality. I kept thinking only that I was dying. No other thoughts entered my mind. I found myself accepting death. I actually had given up any hopes of surviving when suddenly my eyes were open again staring into the yellowish water at some blurred object in front of me. it was the half-submerged end of the canoa. God or some power had put it there for I was able to reach out with the strength I thought I had lost and grasp it. With a second surge of miraculous effort I pulled myself up on it, forcing it deeper in the water and creating a springboard to pop me above the surface. I managed a life-saving gulp of air before I went under again. This time I knew I would live. I clung to the swamped boat as the current swept us beyond the curve, and into calmer water where the boat drifted into a whirlpool. As it started to spin I kicked off with my feet to the shore.
 
An Indian boy, 10 or 12 years old, was standing knee deep in the water. I grabbed out and used his shoulder as a support to regain my footing. My knees trembled violently. Quickly I turned my head back to the river to look for Eric. I spotted his body bobbling like a cork in one of the whirlpools – one upstream from me that I had successfully passed while I was being carried underwater while clinging to the canoa. One look at the way his head was face down in the water chilled me with terror. Eric was probably dead, I thought with a nauseous sensation. The best of swimmers would be helpless in such strong currents. Eric had given up – like I had. I started to swim out in a frantic attempt to grab him as the main current was bringing him downstream. It was useless. I was still too waterlogged and weighted down. The pistol I managed to rip off my belt. There was no time to remove my boots or strip off my shirt. Two Indians, meantime, had retrieved the canoa and had it floating again near me. I pushed both of them into it and desperately pointed to Eric's floating body. They were able to bring the canoa alongside of Eric. The Indian in front grabbed him by the hair. Quickly they all disappeared momentarily in another series of rapids.
 
"Thanks God," I said aloud. "Eric might have a chance if they get him to shore in time to administer artificial respiration." Then I doubled over in severe pain. I had swallowed a great quantity of that dirty water. I vomited the water for I don't know how long. By the time I was able to stand straight again I saw the canoa in trouble. The native had a firm grasp on Eric's head and the one paddling from the rear was feverishly trying to turn the boat into shore. Within seconds all was lost – Eric's last chance gone – as the canoa slammed against a large boulder, toppling the Indians in the water. To save his own life, the one Indian let go of Eric's hair. Both Indians made it to the safety of the shore. Eric's body disappeared in the froth around the rock.
 
It was shockingly horrifying, especially when I learned Lynne had witnessed the tragedy from the camera's location. She was hysterical with grief. The other members of the company and myself searched until dark for the body, although dreading what we might find.
 
That night at the Garn Hotel everyone was too shocked to say anything or do anything except retire to the lonely misery of their room to face agonizing hours of torment, knowing that a friend was dead somewhere out there in the merciless wilderness."

Nico Minardos died in 2011 - never forgetting that horrific event...





Wednesday, August 19, 2026

THE BOX OFFICE STARS: 1960

1960 was the dawn of another decade, and the 1960s cinema was changing just as the whole world was. Here are the top ten movie stars of 1960...



1. DORIS DAY
2. ROCK HUDSON
3. CARY GRANT















4. Elizabeth Taylor 
5. Debbie Reynolds
6. Tony Curtis
7. Sandra Dee
8. Frank Sinatra
9. Jack Lemmon
10. John Wayne.

Monday, August 17, 2026

RECENTLY VIEWED: THE END OF OAK STREET

Sometimes it seems like the same movie is made over and over again. I had the pleasure to see The End Of Oak Street in the movie theater, and I was glad I did. The movie is so much different than anything I have seen before. It is definitely no Jurassic Park! The End of Oak Street is a 2026 American science fiction survival film written, co-produced, and directed by David Robert Mitchell. It stars Anne Hathaway, Ewan McGregor, Maisy Stella and Christian Convery as a family whose suburban neighborhood has been transported from 1982 into the age of dinosaurs. The End of Oak Street premiered at the Steven J. Ross Theater on August 9, 2026, and was theatrically released in the United States on August 14 by Warner Bros. Pictures. The film received positive reviews from critics and has grossed $47 million worldwide against a production budget of $80–92 million.

I'd love to give the plot away, but I don't want to spoil it for viewers. The movie takes place in 1982 so it is a period piece set against the backdrop of carnage at the hands of dinosaurs. The movie is darker than I thought. I literally jumped at least five spots. I haven't jumped at a scene in Jurassic Park/World in years!

In March 2023, an untitled film directed, written and co-produced by David Robert Mitchell was in development at Warner Bros. Pictures, with J. J. Abrams and Hannah Minghella producing for Bad Robot and with Matt Jackson and Tommy Harper producing for Jackson Pictures.Anne Hathaway was cast in the lead role in 2023. By February 2024, it was revealed that Ewan McGregor had been cast,with Maisy Stella and Christian Convery joining in March. In late March, the title was revealed to be Flowervale Street. In April, Jordan Alexa Davis, P. J. Byrne and Chris Coy joined the cast.


The cast is great Anne Hathaway and Ewen McGregor are a believable married couple. What is interesting is the movie is not just about dinosaurs. There is a family dinamics there that is explored. In addition to dinosaurs there are other issues like divorce, bullying, and drifting apart that are wonderfully explored. The movie's storytelling is just about perfect, but there is a minor gripe I have about the ending that I will not talk about here. Just do yourself a favor, and see this action packed thriller of a movie. You will not be disappointed...

MY RATING: 9 OUT OF 10



Friday, August 14, 2026

W.C. FIELDS AND MY LITTLE CHICKADEE

W.C. Fields walked off the set of "My Little Chickadee" (1940) over what director Edward F. Cline felt was a minor disagreement, but when it was clear after two weeks that he was not coming back to finish the film, nearly one-third was shot using a double. The double used is unknown. It could have been John Sinclair, who had doubled for him in "Poppy" (1936), or David Sharpe, who was his stunt double in later films. The double wore a plastic mask and most of the shots were long shots.

Dick Foran, who was being paid by the week, would go to Mae West and tell her that Fields was rewriting his lines to give himself more screen time and to try to steal the film from her. Then he would go to Fields and tell him the same thing about West. In this manner he was able to extend his employment from a few weeks to several months, as both Fields and West - who didn't like each other - would hold up production while they would rewrite their scenes.

On lunch break one day, Fields went to his dressing room to start on a new bottle of whiskey he had saved for that purpose. Apparently someone beat him to it, as the bottle had been opened and about half of it had been drunk. Fields immediately ran outside and roared to the crew, "Who took the cork out of my lunch?"
Groucho Marx, on Fields: "He had a ladder leading up to his attic. Without exaggeration, there was $50,000 worth of liquor up there. Crated up like a wharf. I'm standing there and Fields is standing there, and nobody says anything. The silence is oppressive. Finally, he speaks: 'This will carry me for twenty-five years.'"




Tuesday, August 11, 2026

RECENTLY VIEWED: THE LAST HOUSE

Some movies entertain you for two hours and then disappear from your thoughts. Others linger long after the credits roll. Netflix's The Last House is one of those films. At first glance, it looks like a science fiction thriller about a family trapped inside their own home. But underneath the mystery and suspense is a story about fear, resilience, and what happens when a family is forced to face itself. 

The premise is simple yet terrifying. A family wakes up to discover they can no longer leave their house. Doors won't open. Windows offer no escape. Resources begin to dwindle, and the outside world becomes an unknown threat. What starts as confusion slowly transforms into a desperate fight for survival.

As I watched, I found myself asking a question that the movie quietly places before its audience: What would I do?

We all like to believe we'd stay calm in a crisis. We'd make smart decisions, protect our loved ones, and find a way through. But The Last House challenges that confidence. The longer the family remains trapped, the more their fears, frustrations, and hidden emotions rise to the surface. Survival becomes about more than food and water. It becomes about trust.

Greta Lee and Wagner Moura deliver performances that ground the film's unusual premise in human emotion. Their characters are not superheroes. They are parents trying to hold their family together while navigating uncertainty and fear. Their struggles feel authentic because they mirror challenges many families face in everyday life, just under far less extreme circumstances. 

What struck me most was the symbolism of the house itself.

A house is supposed to be a place of safety. It shelters us from storms, danger, and the outside world. In The Last House, that symbol is turned upside down. The very place designed to provide comfort becomes a prison. The walls that once protected now confine. It serves as a reminder that security is often more fragile than we realize. 

The film also explores how people respond differently under pressure. Some become leaders. Others withdraw. Some cling to hope, while others surrender to despair. Watching the family's emotional journey felt just as compelling as the mystery surrounding their confinement.

While viewers may debate the film's twists and ending, the central message remains powerful: when everything familiar is taken away, our greatest resource is each other. 

The Last House
may be marketed as a sci-fi thriller, but at its heart, it is a story about human connection. The suspense keeps you watching, but the emotional questions stay with you afterward. And perhaps that's why the movie resonates. It reminds us that sometimes the greatest challenge is not escaping the house. It's learning how to survive together inside it. I enjoyed the movie as a whole, but the ending was kind of abrupt and left me wanting more questions answered. For a Netflix movie though this was pretty watchable though...

MY RATING: 6.5 out of 10



Sunday, August 9, 2026

TOMMY BOND: THE LITTLE RASCALS BULLY

A native of Dallas, Texas, Tommy Bond was best known for his work as a child actor for two different nonconsecutive periods on Our Gang (Little Rascals) comedies (first as "Tommy" and later as "Butch"). Also, he is noted for being the first actor to appear onscreen as "Superman's pal" Jimmy Olsen, having portrayed the character in the film serials Superman (1948) and Atom Man vs. Superman (1950). Bond was hired at Hal Roach Studios for the Our Gang series in the summer of 1931 to begin work that upcoming fall, at around the same time as George "Spanky" McFarland was hired. 

Bond worked in Our Gang for two years, alternately appearing as a supporting character and a background actor. His speaking roles increased by 1934, including his most substantive role to this point as the gang's band conductor in Mike Fright. In late 1934, Bond left the series and returned to public school, still earning periodic bit parts in Hollywood productions. After leaving the gang for the first time, Bond also worked as a voice actor, most notably in several of Tex Avery's Merrie Melodies cartoons for Warner Bros. His best known voice role was as the speaking voice of "Owl Jolson" in Tex Avery's 1936 Merrie Melodies cartoon, I Love to Singa. Bond returned to Our Gang on a recurring basis late in 1936, when Roach hired him to play "Butch", the neighborhood bully. After serving in the U.S. Navy during World War II, Bond returned to acting, and appeared in two Gas House Kids features alongside former on-screen rival Carl Switzer. 

In 1951, Bond graduated from college and quit acting, but remained in show business in the areas of television directing and production, and worked with individuals such as Norman Lear, George Schlatter, and many others. He worked at Metromedia owned Channel 11, KTTV. He then went to work for Capital Cities Communications' CBS affiliate Channel 30 KFSN (now owned and operated and affiliated with ABC) in Fresno from the early 1970s to 1991. Tommy also worked as a prop manager on Rowan & Martin's Laugh-In. Bond died on September 24, 2005 at age 79 due to complications from heart disease in Los Angeles, California. He is buried at Riverside National Cemetery in Riverside, California...



Friday, August 7, 2026

GARY CROSBY: THE EARLY YEARS

Gary Crosby was born on June 27, 1933, in Los Angeles, the first son of Bing Crosby and Dixie Lee. From the very beginning, music was woven into his life. While other kids grew up with bedtime stories, Gary grew up with jam sessions—his father’s voice drifting through the house, rehearsals echoing from the living room, and visits from stars who defined an era.

By the time Gary was a teenager, it was clear he had inherited more than just a famous name. He had a voice, a sense of timing, and a natural ease in front of the microphone. Along with his brothers—Phillip, Lindsay, and Dennis—he formed The Crosby Boys, a harmony-driven group that performed on radio and in nightclubs during the late 1940s and early ’50s. Their appearances were a hit with audiences who loved seeing Bing’s sons carry on the family tradition.

Gary’s first big break came through duets with his father. In 1950, they recorded “Sam’s Song” and “Play a Simple Melody,” two playful tracks that captured the charm of father and son trading lines. The records were a sensation, becoming the first double-sided gold record in music history. Suddenly, Gary wasn’t just Bing’s son—he was a star in his own right.

Radio soon beckoned. Gary appeared on programs like The Bing Crosby Show, where his easy banter and smooth vocals made him a natural fit. In the summer of 1955, he even hosted his own program, The Gary Crosby Show, on CBS—a bold step that showed he was ready to carve out his own space in entertainment.

Film followed quickly. Gary made his screen debut as himself in Star Spangled Rhythm (1942) when he was just a boy, sharing the screen with Hollywood’s biggest names. Later, he appeared in musicals and comedies throughout the 1950s, bringing his laid-back charm to the big screen. These early roles weren’t just cameos—they were proof that Gary had the charisma to hold his own in front of the camera.

Those early years were a whirlwind of radio microphones, studio lights, and family harmonies. Gary Crosby grew up in the glow of fame, but he didn’t just stand in his father’s shadow—he stepped forward, sang his own songs, and began writing the first chapters of a career that would span music, film, and television...