For those old enough to remember the beginnings of the DVD Boom (I’m capitalizing because, yes, it is an actual era in the history of film distribution), it’s safe to say that there was only one label to turn to for solid genre output: Anchor Bay. When they weren’t churning out their 9,000,000th release of an EVIL DEAD franchise entry, the Bay were putting out titles that made die hard horror fans salivate. Whether your tastes leaned toward Argento (their 3-Disc SUSPIRIA release is still busted out several times a year in my house), or you wanted to revisit some seriously schlocky VHS slasher with significantly better picture quality and no pesky “tracking” issues (how many times have they reissued that SILENT NIGHT, DEADLY NIGHT twofer pack?), Anchor Bay was your label of choice.
Sadly, as the years went on and the company grew (and was bought out by Starz Entertainment in 2006, renamed Starz Home Entertainment in 2007 and then subsequently reverted back to Anchor Bay in 2008), their interests and business model shifted toward acquiring and releasing new low-budget genre fare to theaters/DVD/VOD instead of generating catalog titles; a shame since they helped set the gold standard for home entertainment. A few other companies have matched or exceeded Anchor Bay in terms of quality cult, horror and exploitation fare (Bill Lustig’s Blue Underground label is my favorite of all time) but, to many, their name still represents a historical landmark in terms of niche market home entertainment.
These days, Shout! Factory (and their genre arm Scream Factory) have picked up right where Anchor Bay left off. For the last two years, the company has specialized in genre releases that put the old dogs to shame. “From the Factory Floor” will be a chronicling of the best of the best of these titles (which, believe you me, will be hard to distinguish at times), as both Shout! and Scream Factory continue to blow minds with such under-appreciated and, in some cases, flat out forgotten gems as HALLOWEEN III: SEASON OF THE WITCH and FUTUREWORLD. These are the movies that make serious genre fans like myself happy, and their 2013 lineup looks to be nothing less than amazing (ROLLING THUNDER! THE BURNING! LIFEFORCE!).
Film number ten in the series is the anarchic, irreverent Zucker Bros. sketch comedy classic, THE KENTUCKY FRIED MOVIE (1977)…
I can’t remember who it was (and, even if I did, probably wouldn’t directly quote them as if feels like a bit of a call out), but a while back, some name critic started to get a bit poncey on Twitter and proclaimed (and I’m obviously paraphrasing), “I don’t understand why people would get drunk during movies. I would never do that, as it takes away from the experience.” To this now nameless dilettante I say simply, “THE KENTUCKY FRIED MOVIE begs to differ”. Insane, irreverent and brimming with the gag-a-miniute style that would go on to be the ZAZ calling card, THE KENTUCKY FRIED MOVIE is a film that implores you to enjoy it with a case of beer or a bong whose bowl is filled to the brim with the best kind bud the viewer can find.
David Zucker, Jim Abrahams and Jerry Zucker didn’t even know how to properly format a script when they first approached John Landis about the idea for THE KENTUCKY FRIED MOVIE. Having honed their sketch comedy talents as The Kentucky Fried Theater, an improvisational sketch group, they believed in the material they perfected night in and out before a 140 seat auditorium. After spotting director John Landis on “The Tonight Show” (where he was promoting his first film, the monster movie tribute SCHLOCK), the three comedians thought that he would be an easy choice to reach out to, as there was no way a 21 year old kid was going to turn down a meeting with them. Upon hearing that they had no script, or even an inkling as to the craft behind such a document’s creation, he immediately pulled a spec from the trunk of his car (which just happened to be titled AN AMERICAN WEREWOLF IN LONDON) and told them to get back to him when they had something on paper. Using WEREWOLF as a basic guide to formatting, the three began work on what would eventually become the screenplay for THE KENTUCKY FRIED MOVIE.
While it’s easy to simply view THE KENTUCKY FRIED MOVIE as being a series of barely connected shorts (which, to be fair, is mostly true), the reality is that the Zucker Brothers and Jim Abrahams were on to a totally new and experimental comedic format. Freed from the trappings of any kind of narrative, the trio were able to throw as many jokes at the wall as they could, hoping that at least some would stick. In many ways, THE KENTUCKY FRIED MOVIE actually works as goofier cinematic kin to Robert Downey Sr.’s PUTNEY SWOPE, as the film parodies everything from grindhouse trailers to commercials for household products to full on action films (their answer to ENTER A DRAGON, A FISTFUL OF YEN, is one of the absolute highlights). While we now live in a post SNL, MadTV and In Living Color world, in 1977 this format was revolutionary. Basing an entire 83 minute film around it? Unheard of.
Also, don’t be fooled by the intro, in which I might lead you to believe that this is all “stoner humor”, because there are moments inside of THE KENTUCKY FRIED MOVIE that are positively subversive, as the Zuckers approach race and creed with reckless abandon, tossing in a healthy amount of naked breasts to keep teenage boys fantasizing for years to come (CATHOLIC HIGH SCHOOL GIRLS IN TROUBLE, indeed). The film also takes on the very industry the Zuckers were finding impossible to break in to as, much like the duo’s instaclassic AIRPLANE!, it spoofs not only disaster movies (THAT’S ARMAGEDDON!) but creates a trailer for the Blax/Jewsploitation movie I’ve wanted to see my entire life (CLEOPATRA SCHWARTZ). While a gorilla assaulting a news team will always be enhanced by marijuana (or mushrooms, or LSD or…), you don’t need any aid in finding these other bits not only funny, but daring and intelligent.
There’s obviously a “hit and miss” factor to any work that even skirts toward being an “anthology”, but the hits in KENTUCKY FRIED MOVIE are so huge that you forgive an ill-conceived or overlong segment. So my advice will be a simple refrain: buy this movie. Buy a case of cheap beer. Call your friends. And be prepared to laugh your ass off at one of the most innovative comedies of all time.
Special Features: You don’t get many on this disc, but the bonuses you do get pack a hell of a wallop. Anybody whose witnessed any kind of interview with John Landis over the years knows how insightful and entertaining he can be, and his commentary track (where he’s joined by both the Zuckers and producer Robert K. Weiss) is no exception to that rule. Listening to Landis regale you with stories not only about the film’s production, but also the influences behind it, is a real treat. The same goes for the nearly 70 minute long interview with David and Jerry Zucker, as the two bounce off of each other like a regular Laurel & Hardy, playfully answering any and all questions about the production, their career and cinematic loves. While the only other feature is the original theatrical trailer (which is, in fact, hilarious) these two bonus additions are well worth the price of the blu.