Showing posts with label romantic. Show all posts
Showing posts with label romantic. Show all posts

Saturday, June 15, 2013

THE LOVE BOAT: erotic moments from "Herbie Goes Bananas" (1980)

A few words before I jump into this entry: Once again I am confronted with a real struggle as to how I should articulate my feelings for CMS. How far do I go in expressing my interest in this particular actor? Or to be more specific: how far is too far? Does making the entries more explicitly sexual result in material that ultimately disrespects Mr. Smith? Determining this has slowed down my output on this blog more than any other factor. But I also have an overwhelming eagerness to express my strongly held opinion: Charles Martin Smith is the Sexiest Man Alive. My passions have been aroused and I am ready to dive in, hopefully with readers understanding that my intentions concerning Mr. Smith are ultimately good and that my desires are sincere. You've waited long enough for a new entry (two whole months!), so let's get on with it!

Last entry, we took a look at the hella-hot appearance made by Charles Martin Smith in the 4th film in Disney's Love Bug franchise, "Herbie Goes Bananas" (1980). I only managed to get through the first 15 minutes of the movie, thanks to the super-sexy shorts CMS was sporting (leaving me extra excited by the sight of his beautifully displayed butt and legs). Although we don't get to see my favorite actor in such a revealing outfit in the rest of the movie, we still get many moments of sexual suggestiveness and horny hotness to examine in this entry. Once again, there's so much material to examine that I'll be devoting another whole entry to a relatively small chunk of the film. Let's rejoin our characters as they travel aboard the cruise ship Sun Princess, bound for Panama...


It's dinnertime onboard, and the ship's Captain Blythe (Harvey Korman, acting like he's escaped from a Mel Brooks movie) entertains and horrifies the guests at his table with outrageously provocative tales of piracy on the high seas. "Well, the booty was taken aboard the man-of-war and the enemy vessel scuttled," he begins with a gruff and dramatic voice. "Each captive seaman was given 100 lashes with the cat, spread eagled on the rigging." At a nearby table, insatiable nymphomaniac Louise Trends (Cloris Leachman) sits with her mousy niece Melissa (Elyssa Davalos), eavesdropping on the captain's salacious stories. "They were met with stiff resistance as they clambered aboard," the captain continues. "It was parry and thrust, thrust and parry!" he shouts out, grabbing a sword-like carving knife and plunging it deep into the candle on the table in front of him, one phallic symbol violating the other. Meanwhile, Melissa asks her aunt what she's having for dinner as they peruse the menu. "I think I'll have that captain on a bed of roses," she says playfully as she eyes him across the dining room. Melissa just shakes her head. "Aunt Louise, you're incorrigible," she mutters. "I know! I've never regretted a moment of it," Louise sighs, as she proudly ponders the plethora of penises that have previously penetrated and pounded her pussy. 


Into this depraved dining room step our heroes, Pete Stanciczek (Stephen W. Burns) and Davy Johns AKA DJ (CMS). As we saw last entry, they are the new owners of the famous VW Beetle, Herbie. They're now on their way to Brazil to enter the Grand Primeo race, their newly acquired race car stashed away in the cargo hold. They are placed at the table with Aunt Louise and Melissa and introduce themselves to the ladies before sitting, Louise excited by their handsomeness as her niece cringes with embarrassment.


As I pointed out in the previous entry, I have a theory that these two guys are more than just platonic friends. I pick up hints of something more sexual between them. Just look at that admiring way in which DJ gazes fondly at Pete as they're making their introductions. I think there's some love there in his eyes, I really do. And there's more of that coming up ahead too.


Their low-key gayness stands in sharp contrast to Louise's lasciviousness, as she barely restrains her drooling when she shakes their hands. Melissa almost overcompensates for her aunt's brazenness by retreating into nerdy asexuality. There's a moment of awkwardness as it sinks in for DJ and Pete that their dinner with these two could become real uncomfortable real fast. But they're gentleman, and they barely lose their polite smiles and keep it friendly as they take their seats. When Louise asks them if they're going to Rio, she explains it's a city of romance. "You really, to get the most out of it, have to share it with someone," she says flirtatiously as Pete squirms uncomfortably in his seat, unsure if he should tell her he already has a cute guy to romantically share Rio with.


Melissa explains that she's going to South America to study for her doctorate in Latin American Cultures, but her aunt hushes her, irritated that she would spoil the mood with such dry discussion, and she brings the conversation back to the men by asking them why they are traveling south of the equator. Pete informs then that he and DJ are entering a car in the Brazil Grand Primeo. "Pete here handles the wheel, the rest is my lookout," his partner adds. Hmmm... what exactly does "the rest" entail? How many of Pete's needs does DJ attend to? Since he is a mechanic, after all, I am sure that means he is quite good with his hands. Lucky, lucky Pete...


"Oh! Oh! I just love race cars!" Aunt Louise exclaims excitedly. "Don't you, Melissa?" Her niece looks over with an irritated look. "Not really," she answers coldly. Gosh, it's getting more awkward at the table, as Pete and DJ look over at each other nervously. What have they gotten themselves into? Louise seems to calm down at this point. "Hungry?" she asks the men, and this time I think she is taking a break from double entendres and really just referring to the consumption of food.

Chaos breaks out in the cargo hold as that adorable automotive Herbie "comes to life" and drives around smashing into stuff and making a huge mess. When he's finally caught in a big net, the stowaway hiding inside is discovered: prepubescent pint-sized Puerto Vallartan pickpocket Paco (Joaquin Garay III). So the little volkswagen is secured in place while the child is locked up in a cage (yikes!)... and then there's the matter of all the damage done.


Despite not being behind the wheel of the car at the time, Pete (as owner of the troublesome little car) is held fully responsible for paying for it, as the captain barely conceals his rage as he struggles to  suppresses his sadistic tendencies, firmly fingering a leather whip in his hands, holding it almost phallically at one point. Maybe it's just my dirty mindset, but all the dialogue here seems rife with double entendres. "Now... how did you want to... handle that?" the captain growls out, seeming to refer to the phallically brandished whip (or even the cap's own fleshy phallus) as much as to the restitution for damage incurred below. 


"You mean pay for it?" DJ responds incredulously. He just as easily could be talking about covering the costs of Herbie's rampage, or maybe replying that he has never had to pay money to handle anyone's phallus. DJ's certainly cute enough to never need to seek sex that costs money. And besides, he's got his cuddle buddy, Pete! 


Captain Blythe continues to careen back and forth between moods like a bipolar kook who's gone off his meds, switching from polite and proper to sinister and screaming. "I'm your captain, judge and jury! I'll decide what's your responsibility!" he barks out at one point, punctuating his momentary madness with a sharp crack of the whip. Jeez! Of course, Pete and DJ recoil in horror at the outbursts of this deranged person in front of them. Poor guys... they don't deserve this brutal treatment!


After more stern lecturing and accusations of importing illegal aliens (thanks to their bratty little stowaway), a judgement is made: Herbie is to be impounded until their financial obligations are met. Aw, crap! There's no way the guys will be able to afford that! Their plans of racing their troublesome VW are all going to hell... Damn. At least they have each other for comfort, right? Maybe that's their idea: head back to the cabin for a consoling cuddle. The two make to leave and start heading for the door.


But Blythe isn't done just yet. "Oh gentleman," he calls out in a courteous tone, and the two fellas stop in the doorway and turn to face him. "I do hope you've been enjoying the cruise so far," the captain continues. "Remember we have a shuffleboard tournament on main deck at four bells... and, uh, disco lessons in the lounge at six bells." Disco lessons? We all know what a code for gayness THAT is. And to underline the gaiety, the captain makes a strange miming gesture with his fists moving towards his mouth that (I swear!) looks like an oral sex simulation. As he imitates the motion of jacking two dicks off in his face, the film soundtrack punctuates his hand-and-mouth action with a fruity shake of the maracas. It's not a pretty sight, so I won't be posting a screen cap of that. Instead you'll see the adorably appalled look DJ and Pete give each other in response to Blythe's announcements.


As Pete and DJ walk along the boat deck complaining and joking about their new predicament, DJ accidentally stumbles onto an idea. "Maybe Aunt Louise will bail us out," he says. "You are a beautiful dreamer, DJ," Pete replies. Aw, that he is... But seriously. DJ really likes this idea. "She likes cars, and she's trying to get her niece hooked up." Pete is resistant to the idea, but DJ keeps pushing. "All you gotta do is keep the 'doc' enthralled with your tales of derring-do while I initiate Aunt Louise into the delights of Formula One racing." Recruit a middle-aged nympho to sponsor the release of their race car and seduce a seemingly frigid nerd? Truth be told, I side with Pete here. It doesn't sound like a very good plan and it seems to me like DJ is displaying a little bit of a douchey streak. Aw, well... At least he's an adorable douche, right?


That night is a costume party, which seemingly every guest on the boat is prepared for , as everyone is decked out in appropriate accoutrements. Aunt Louise is dressed as Little Bo Peep, shamelessly drooling over Captain Blythe (who's wearing an exact replica of some historical uniform from maritime history, of course). Pete and DJ go the lazy route and just wear their racing gear. As DJ lures Louise away from the captain and sits her at a nearby table, Pete and Melissa (in a jungle explorer costume) take to the dance floor to share a slow song together.


"It's the absolute thrill of a lifetime when you see that car that belongs to you streak across that finish line a winner," DJ tells the aunt as he starts to lay down his sales pitch. "Not only that," he continues. "You're part of the technological advancement of the automotive world." Jeez, DJ... you're really laying on the BS pretty thick. But Louise doesn't seem to notice, as she admires Pete and her niece holding each other close on the nearby dancefloor. "They seem to be enjoying themselves," she observes approvingly.


"Yeah," DJ adds. "They're really hitting it off. Pete's a great guy. He's what I call a beautiful person." And he looks over at his buddy adoringly. Awww... his feelings for his favorite fella are so seriously sweet. Meanwhile, Pete shares stories with Melissa of his exciting racing lifestyle as the slowly move across the dancefloor together: "Usually when we race, a good time means towing the crew across Texas in the middle of August, looking for a Denny's... then bedding down in some fleabag motel." The crew? Who does that consist of? It seems it's a crew of one: DJ. And after their racing adventures under the hot summer sun, what happens when they crash out in that fleabag motel together? What sexual fun transpires between the two of them when the door closes and they take to their bed?


Pete leaves this part of the story out, instead turning the conversation towards something more romantic. He removes her glasses from her face, apparently exposing her feminine beauty supposedly hidden behind the unflattering eyewear, and she shyly looks away. Nearby, DJ watches the slowdancing pair with a slightly nervous look. Yeah, this whole fake seduction of the niece was his idea, but now it looks like he might have regretted suggesting  it. Is that a bit of jealousy I see there in DJ's eyes?

For the one and only time in the entire film, we then see Pete in a scene where is he not with his special pal DJ. He walks Melissa to the door of her cabin and finishes off his flirtation with a rather chaste kiss. He's apparently not very into it, just acting the part of the straight boy and coming across a bit cold, but she looks like she has a miniature orgasm, her eyes closed in a brief moment of ecstasy. Hate to tell you honey, but you don't stand a chance. You don't have what DJ can give...


Pete is soon reunited with his true flame, but there's no romance in the air as he grumpily stomps into the cabin he and DJ are sharing and plops himself down on his bed, a massively mopey frown on his miserable mug. DJ is already in the other bed, under the covers, down to his undies, casually reading a magazine. He pauses in his perusal of the publication as he listens to Pete complain about how uncomfortable he is pretending to have feelings for mousey Melissa.


DJ insensitively dismisses Pete's pained protests: "Come on, just a couple more days. I already got the money. Aunt Louise gave me a check. We got the car out of hock. And get this, kiddo. She's gonna sponsor us all the way. We name it, she buys it, no limit! All you gotta do is keep making like Burt Reynolds." Not the least bit interested in the progress his pal has made, Pete seems a bit skeptical that DJ has actually secured the funds. "So, that's the deal?" he grumbles distrutingly. It seems he knows his buddy well and is aware of his tendencies to stretch the truth. Seeming to admit to this, DJ just shrugs his shoulders. "Well, I sorta read it between the lines," he acknowledges. "Anyway, the important thing is we're back in the running. Ahh! Nothing's gonna stop us now."

In the movie, the scene stops here. But like DJ, I am also eager to read between the lines. If the scene was allowed to continue, I imagine it would go something like this:


Despite DJ's enthusiasm, Pete remains sullen, sitting sadly as he sulks on the opposite bed. "Oh Pete," DJ sighs. "It's not that bad, is it? It's not like you're going to have to go all the way with Aunt Louise's niece. She seems too prim to actually expect to go all the way. She's clearly not the nympho that her dear aunt is." He chuckles to himself, but his buddy Pete stays stuck in his messed-up mood.


DJ gets a bit irritated and starts getting a little snappy, speaking sharply to his sad-sack sidekick: "Hey! I thought we were in this together. We've had a dream of making it in a real big race for years now, and I know we can win the Grand Primeo! I'll do whatever I have to to keep us on track, and you should be too. Listening to that dingbat Louise ramble on is no picnic, you know. So I don't want to hear your whining!" DJ stops himself and brings the conversation down a notch. "Look, I'm sorry," he apologizes. "Let's not fight about this, OK? You're my best buddy, and I love you. We've had enough stress on this trip already."


DJ reaches down to grab the  sheet and blanket covering his lower body laying across the bed. "I think I know what will cheer you up and take your mind off all this," he grins, and he pulls back the sheets to reveal his bulging crotch, the cotton briefs barely concealing his throbbing erection. "Wanna have some make-up sex?" he asks his pal Pete, who slowly starts to smile as he begins to slip out of his silver racing jumper and move towards his horny pal's bedside.


DJ laughs as he pulls off his underwear, his hard member pointing vertically towards the ceiling as a glistening drop of liquid appears at the tip of the engorged head. "Come and get it," he smiles as he puts his hands behind his head and looks over in excited expectation. 

Woah! I've got to stop myself right there! This entry is getting way too hot to handle and I'm getting seriously caught up in the fantasy. I think I'm going to end this here for now, as I feel something getting stiff in my pants that requires my attention. Excuse me while I take matters into my own hands, so to speak..... See you next entry for one last look at "Herbie Goes Bananas" and another dose of CMS love! 

Monday, February 18, 2013

WHERE IS THE CMS LOVE?


Gosh, what's going on? Valentine's Day has come and gone and I've missed the opportunity to make a holiday-appropriate amorous tribute to CMS. And plus here I am on the verge of looking through the sexy appearances my favorite actor made on the big (and small) screen throughout the '80s, a decade of hotness that puts his work in the '70s to shame. You'd think I would eagerly dive in and tear though this stuff, wouldn't you? Truth be told, I've been rather distracted and have neglected one or two things. Like this blog.


But don't worry, readers. I still love Charlie and his work, and he still occupies a special place in my heart. I have been getting back to it, working on the entry for the next CMS movie I will be discussing: "Herbie Goes Bananas" (1980). You'll be shocked and amazed at the incredible hotness I uncover hiding in this supposedly family-friendly G-Rated Disney film. I'll see you next entry with the photographic evidence and in-depth analysis of that delicious one-of-a-kind sexiness that only Charles Martin Smith can provide. The CMS love is on it's way...

Tuesday, October 23, 2012

GEORGE + BRENDA: More from "Cotton Candy" (1978)

I'm having a little trouble with this entry's film, "Cotton Candy" (1978). With Charles Martin Smith featured in almost every scene playing the main character, high school rock band leader George Smalley, there ends up being too much captivating cuteness and heartbreaking hotness to be contained in just one post. Despite the reputation the film has for being squeaky-clean and innocently naïve, there are surprising undercurrents of sexuality that occasionally come bursting out at unexpected moments (see last entry's strip poker scene). This leaves me with much to say and many screen caps to share. 


I've already admitted several times how much I love the sight of CMS holding a guitar, and you might have noticed the plentiful images of him and his instrument to be found here. But there's more to my enjoyment of this movie than just CMS and anything appealing he brings to his part. It's true, the film is somewhat dated and the dialogue is occasionally cheesy (amusingly so). But at it's core is a compelling and entertaining piece of storytelling that vividly and engrossingly details a high school misfit's efforts to find his place in the world and have his meaningful moment of musical merriment. I don't understand why director/co-writer Ron Howard would not be proud to have "Cotton Candy" seen today, but it's rumored he's intentionally keeping it locked away and off the market. Gosh, if Howard can stand behind an unwatchable misfire like "How The Grinch Stole Christmas" (2000), then he can certainly embrace this charming cult classic.


It's fun seeing CMS in a romantic role again, something I've only seen him do so far in "American Graffiti" (1973). Like Candy Clark in that film, Leslie King is lovely and likable. And like that hit film's pairing, it just feels good to watch the two of them share a scene together. Let's rejoin George Smalley (CMS) and Brenda Matthews (King), shall we? Brenda approaches George at school as he sits on some steps working on new Cotton Candy songs. After chatting a bit about their classes, she asks if he's free before the next band practice to help her work out some of the harmonies she's struggling with. How about 8:30 tonight, after he's through at work? Awww... it's so cute watching them take these tentative little steps towards dating.


That night, after a pleasant evening together talking and harmonizing, George (with some gentle nudging from Brenda) gets up the nerve to ask her out for dinner and a movie. Of course she's interested. How could she not be falling for this adorable guy? After they agree on next week Friday for their date,  George leans in and gives Brenda a little kiss. Awww! Such cuteness goin' on! As he rolls off into the night on his bicycle, a sweet instrumental melody starts to play on the soundtrack. We'll later hear it's a tune that George has been writing to play for Brenda.


We next see the budding lovebirds on Date Night, leaving a movie theatre together. What did they go to see? I'm not sure, because an unseen staff member is in the process of removing the title from the marquee as the scene begins. All that remains of the date movie's name is the letters KY. Hmmm... Should I read anything into that? Maybe it is an intentional lubricant reference, since there seems to be more subliminal messages planted in the scene by director Ron Howard. As George and Brenda walk down an alleyway running along the side of the theatre discussing the film they just watched, we see a series of movie posters on the wall next to them. The first poster we see is for "The Goodbye Girl" (1977), which would seem to reference Brenda's eventual departure to attend MIT in the fall. The last poster they pass (and George even bumps into it, before he stops and leans against the wall) is for "High Anxiety" (1977), mirroring George's nervousness about the date in progress (or perhaps his concern about how the band is doing). 


Brenda is criticizing the movie they watched for being unconvincing, pointing out how it's unrealistic for the main character to be such a loser then turn around and be a big success at the end. This seems to strike a nerve with George, who not only seems to have identified with the character in question, but also possibly feels like they could just as easily be talking about him. "It's kind of nice to be able to think that even if it's a long shot that a guy who isn't doing so hot can turn it around," he say to her (at the moment he bumps into the "High Anxiety" poster). "I mean... I don't know," he continues awkwardly. "What... Like our band," he adds, starting to sound a little more confident. "We're long shots. But what if we actually won that 'Battle of the Bands'? I'd like to think that stuff like that can happen. And I do. I do think that." They both smile hopefully and put their arms around each other as they continue down the alley to Brenda's car.


They pull up to George's house, and there's some more awkwardness as George wants to kiss her, but instead he's nervously chattering in a joking manner. Brenda puts a stop to it, taking the initiative and planting a wet one on his lips. Oh, romance.... They begin to tenderly make out, and the scene fades to the exterior of the parked car, the steamed windows obscuring any activity that may be happening inside. How long are the two of them at it, and how far do they take it? The movie never reveals (there's no Brenda-gets-pregnant plot line or anything like that later), but it is easy to assume that they went all the way together. Maybe I'm just projecting myself into the situation, because I would definitely give it up to George Smalley on the first date.


I would have thought the film would save the Battle of the Bands for the finale, but halfway through the movie we are already at the event. It's being held at the Town East Mall in Mesquite (on the edge of the Dallas/Fort Worth Metroplex), in a large open area in the center of the building (complete with a revolving stage). Cotton Candy are moments away from performing, and George does what he can to calm the tense band before they go on, as he struggles with his own mix of nervousness and excitement.


I complained last entry that a lot of the YouTube clips for "Cotton Candy" have been recently removed. The entire "Battle of the Bands" sequence used to be on there for all the world to enjoy, but is no longer. However, there is a piece of the scene: Cotton Candy performing the song "She Rolls" (which seems to be a fan favorite among the lucky few who have seen this rare cult classic). It is one of their better songs, with George apparently singing about that date night with Brenda. Possibly even about hooking up with her... or at least the pleasures of being horny (that lyric "When she holds me I start to quiver" tells me something orgasmic may have been involved). Check out the clip and see for yourself before it too is inevitably removed for copyright violation.


After the applause dies down, Cotton Candy launch into a second song (a repeat of one heard earlier during the band practice montage, "Not Gonna Hold Me Down"). The scene fades to the next group of performers going on as George and his group celebrate their success backstage. When the announcement is made naming the 4 bands selected to compete in the final round later that night, of course Cotton Candy is one of them. The bandmates cheer in delight as they hoist George up on their shoulders and pump their fists in the air! Woo hoo! 


Since rival band Rapid Fire won the Battle last year, they automatically skipped the preliminary round and were also included in the final four. Their arrival that night is a big circus of screaming girls as leader Torbin Bequette (Mark Wheeler), dressed like some 1970s version of a 1930s gangster, stands on a moving electric cart chased by his adoring fans. As he heads backstage with his entourage, Torbin steps up to Cotton Candy (who have just finished setting up for their next performance) and looks George right in the eye. "You turkeys made the finals?" he smirks. "I can't believe it, competition's really slim!" And off he strides with his gaggle of groupies. But George doesn't let that smarmy little douchebag rattle him. You show 'em who's best, Smalley!


I mentioned last entry how I didn't know the official names of the Cotton Candy songs performed in the film, since the end credits are missing from the bootleg copy I ended up getting my hands on (and there's no soundtrack album). Cotton Candy starts their set with a new song, which I am going to guess is called "Making My Music" (which is a sweet and sincere little ditty about the pleasures of musical creation). As with the other Cotton Candy tunes, I think it's fun and catchy, and CMS gives a charmingly energetic joyfulness to the presentation.


Some sample lyrics from "Making My Music": "I get high just making my music / I get fine behind a rock-and-roll band / And when I'm old and grey / I just want to sing and play-ay-ay yeah / Making my own music just as loud as I can." Sing it, Charlie!


The film fades to an instrumental jam session starting with an impressive bit of drum playing from Brenda followed by an intense little guitar solo from George. The audience eats it up and responds eagerly and loudly, much to the irritation of Torbin Bequette. I'm responding to the performance too, but a lot of that probably has to do with how hot I think CMS looks with guitar-in-hand. 


We get to hear one more fragment of a Cotton Candy song, admittedly the silliest one of the bunch (but not without it's charms). This one is called "Starship" (which, this being the post-"Star Wars" world of 1978, is probably a nod to the sci-fi trend taking over pop culture at the time). It's another entertaining feel-good hit with the audience... and I must admit I like it too, despite the absurd goofiness of the lyrics. Gosh, I sure wish there was an official soundtrack album out there. I wonder what the hot pic of Charlie adorning the cover would have been like if such a record existed? 


Unfortunately, Rapid Fire has already got an established fan base in attendance whose screaming adoration nearly drowns out their wretched cover version of "I Shot the Sheriff" (which seems to be the only song the band knows). George and his bandmates laugh at Rapid Fire's awfulness, but most of the people in attendance go crazy for it. So who wins the title? Is it popular choice Rapid Fire? Or is it the clearly more-talented Cotton Candy that gets the grand prize? I'm not sayin'. I've been bad enough about the spoilers as it is. You can look somewhere else for the answer, buddy.


There is one more scene in the film I want to mention before I  bring this entry to an end. It's really one of the highlights of the movie for me. Brenda visits George at his evening job working at a taco stand, and discovers he has a little surprise for her. He asks her to meet him out back behind the kitchen in a few minutes, then he shouts to his manager that he is going on break for a little bit.


George walks out the backdoor to find Brenda waiting for him. He steps towards her, his guitar in one hand, a boxed gift in the other. See, George worked it out and figured that today marked their two month anniversary (I'm not sure what he's using as the starting point, though). Brenda opens the present (a diamond pendant) and of course she loves it, but the best part is yet to come.


"I've got this song," he says to her. "It's just this little tune that I'm working on, and I've never really written anything like it before. Let me play it for you, OK?" And he sits her down by a stack of milk crates and begins to play a sweet little love song, one that I assume would be named "I'm the Kind of Guy Who Loves You" (or maybe just "I'm the Kind of Guy"). Of course, I am a huge sucker for this particular bit of music, which is one of two favorites I have in this film.


This video here is admittedly not a good-quality presentation of the song in question (I'm generally not a fan of those "point your cam at the TV" clips), but it's one of the last remaining "Cotton Candy"   scenes left on YouTube, and at least it will give you some idea of what it sounds like. I really think Charles sounds fantastic here, his vocal delivery seeming to display a touch of Buddy Holly influence that must have rubbed off from that previous stint playing in "The Buddy Holly Story" (1978). And you know what? Every time I hear CMS sing this, I  start to cry. Every single time.


When he's finished, George looks pretty happy with his heartfelt display of the true feelings he has for Brenda. And if I were in her shoes, I'd just throw my arms around him and be grateful to have found the greatest guy on earth at such a tender young age. Being such a huge fan of CMS, and having my own feelings of admiration and attraction to the guy, the chance to see him play such a wonderfully romantic scene really appeals to me. And I gotta say: this sequence here ranks among my all-time favorite CMS moments I have had the pleasure of watching since I started this whole immersion in Mr. Smith's filmography.


So... what is Brenda's response to George's sincere showing of songmanship? Like a few other things in this movie, the plot doesn't go the predictable route and unfold the way you'd expect it to. There's still way more sexy CMS moments ahead, many more compelling moments of humor and drama, and there's even another great Cotton Candy tune ("Born Rich", which would be my other favorite song in the movie besides "I'm the Kind of Guy"). In any case, I've opted to refrain from spoiling the last chunk of the storyline. If you go through all the effort to obtain a copy, you deserve an unspoiled ending. Right now, options for seeing the movie are sadly limited. It's possible you'll track down a bootleg copy like I ended up doing, or perhaps you'll find a used copy of the novelization to read and savor ("8 pages of photos!" Woo hoo!). Who knows? This particularly rare piece of '70s TV may finally find it's way into general release on disc or download (ideally, with a behind the scenes documentary and audio commentary with the Howard brothers, CMS and Leslie King). Maybe one day... and then the whole world can enjoy the wonderfulness that is "Cotton Candy" in all it's splendor. In the hopeful words of George Smalley himself: "I'd like to think that stuff like that can happen. And I do. I do think that."


I'll leave you with one final clip: an absolutely incredible tribute to "Cotton Candy" created by an extremely creative super-fan of the film. It's a song composed ENTIRELY of dialogue taken directly from the movie, strung together in an amazing arrangement of awesomeness! Bravo, buddy! Very nice work! Take a look and prepare to be entertained.