Movie: (1959) A teen bombshell is sent to a Catholic reform school after she’s framed for a murder.
First shown: 7/16/94
Opening: Preparing for Dr. F.’s big announcement
Intro: Dr. F. unveils the Umbilicus
Host segment 1: Tom “scats” until Mike and Crow have had enough
Host segment 2: Mike explains the “honor system”
Host segment 3: Designing the woman of the future
End: M&TB make good use of the Umbilicus
Stinger: “You tell that boy to go home right now, or I’ll call the police!”
(107 votes, average: 4.71 out of 5)
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Off we go on season six!
• The stretch between the end of season 5 and the beginning of season 6 was 161 days, the seventh-longest amount of time MSTies had to wait between episodes.
• For me, this is one of those episodes where the movie, and riffing of the movie, are great fun, but the host segments…meh. Nothing really catches fire. Of course, the big news in this episode was the introduction of Umbilicus — the physical link between Deep 13 and the SOL — with its umbuliport, umbilipod and other umbili-named things that would come later, which was connected to Gypsy, until it wasn’t. The science of the thing is, of course, crazy (and how does he eat and breathe?) but who cares? The Brains said the idea was to create a way for more interaction between the SOL and Deep 13, and that it certainly did, though I don’t really think it got off to an auspicious start with the pie gag.
• This episode is not yet on home video.
• References One they missed is the reference to the mostly-forgotten TV show “Father Dowling Mysteries.” They also missed “We’re all bozos on this bus,” a Firesign Theatre reference (and one of the first since Joel’s departure).
• There’s a ladies’ room on the SOL?
• The Power Steves are Mary Jo, Paul and writer David Sussman in, I believe, his only appearance on the show. Sussman joined the writing staff for some season four episodes, worked on a lot of season five (including helping to write some of the songs) and the first five episodes of season six, before he dropped off the credits. He remains something of a mystery. If anybody knows David, please let him know we’re trying to find him for an interview. And David, if you’re out there, email us.
• Non-spaghetti ball bumpers: desk calendar, beaker, bulletin board, film canister.
• This episode may have the most Bill Clinton jokes of any show they did, largely because that one guy sort of looked like him.
• Each of the host segments just kind of lays there for me. Segment 1 (“Tom scats”) is pretty much a one-joke bit that goes on too long even though they hurry through it. Segment 2 (“the honor system”) is cute, but we can see the punchline coming down Broadway, and the payoff is nothing special. Segment 3 is just weird.
• As the differs return from segment 2, Mike has to help an engorged Tom Servo into his seat.
• Annoying commercial: My copy is from the ’94 Turkey Day, and featured bumpers featuring Mamie and Adam West. It also features that incredibly irritating (apparently homemade) commercial for a CD featuring comedian Jackie “the Joke Man” Martling.
• Callbacks: “Shut up, Iris!”(Beatniks) “No ,Lupita!” (Santa Claus) “Radar!” (Radar Secret Service) “He’d never touch you, Terry, you’re dirt,” (Teenage Crime Wave) and ”Who’s gonna make, Daddy-O”
• I love Tom’s “..and then he died” bit during Kitten’s confession.
• Cast and crew roundup: Producer Albert Zugsmith also produced the movie in the next episode, “Invasion USA.” John L. Russell was his cinematographer for both movies, and he also worked on “The Indestructible Man.” Makeup guy William Tuttle also worked on “The Painted Hills.” In front of the camera, Mamie, of course, is also in “Untamed Youth.” Dick Contino, of course, is also in “Daddy-O.” Peter Leeds is also in “High School Big Shot.” Gloria Talbott is also in “The Leech Woman.”
• CreditsWatch: New season, several changes: Mike Dodge joins the writing staff (he would stay for the entire season). Tim Scott joins the writing staff (he would stay for five episodes). Contributing writer Colleen Henjum-Williams becomes Colleen Williams. Host segments directed by Trace Beaulieu. Audio guy Brad Keeley and technical supervisor Tim Scott switch jobs. Production coordinator Ellen McDonough becomes Ellen McDonough Thomas. The post of assistant editor (held by Brad) is gone and now both Brad and Tim are editors. Jann is alone in the position of post production coordinator (last season she shared it with Ellie, and they will share it again later in the season). Interns, for this and the next 11 episodes, are David J. Belmont, Shannon McNelly and Peter Ncolai.
• Fave riff: “Do you know ‘White Light, White Heat’?” Honorable mentions: “The last call shall be answered first…” and “We are knee-deep in a Freudian quagmire here!”
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Great episode (the pie gag was one of the first times I think I saw MST on TV), and I’ve always loved the “honor system” segment.
Perhaps the umbilicus party on the sol would
have gone better if Crow had gotten a vocal
accompaniment to the band. How about
Paul Anka or Mel Torme doing a scat version of
Lady Of Spain? Perhaps the band might have
been more dynamic if it had been All-Observer. :smile:
you will always find you’ll come out with peace of mind in girls town girls town!
Catchy theme.
This is a suprisingly good ep. I liked it a lot :)
Heres a weird anecdote: One time I was in a music store and found a Paul Anka CD which apparently had “Lonely Boy”. I had a good laugh that I found a CD of someone I recognised from MST.
Now I need to find the Beau Brummels on CD :lol:
This is another episode that will have trouble winding up on DVD. I also wondered about David Sussman. Oh well. This was an ok episode.
Mel Torme, further proof of my theory that some people were just meant to be old. (Included in this are Jerry Orbach, Rue McClanahan, and Betty White.)
Anyway, I like this episode a lot, despite the lackluster host segments. Although I really enjoy the mention of a VFW post during Crow’s introduction of The Power Steves.
Favorite Riff: Crow as maitre de: “Here’s a table for you and your jailbait.” When that delivery man takes Silver out to dinner.
rowzdower, rowzdower, bippiy, boppidy, bowserdower, rowzdower
I like this one, strong riffing thhroughout. Greco-Roman Catholic wrestling, the Father Knows Best and Andy Griffith references, good stuff. The host segments were a little off on this one, and of course, the entire premise of the Umbilicus was silly, but this episode kicks off one of the strongest seasons in my mind.
Something funny I always thought about this movie; the singer with by far the best voice never sang a note in this movie (Mel Torme). Paul Anka must have had a better agent then.
Silver could certainly spout out the mid-century American slang. Maybe just a little over the top. Or maybe I’m just in queersville daddyo!
I also love this episode. Nuns, teenagers, and fifties slang make for some great riffs.
Also, I really like the “Tom scats” host segment.
Don’rt remember much from this episode. I have vauge memories about the Umbilicus…this must have been when I moved and the new house did not get the show for a while.
I’ve often thought the Umbilicus was based on this scientific concept that’s been around for a long while!
http://en.wikipedia.org/wiki/Space_elevator
Other callbacks: “Shut up, Iris” from The Beatniks, and “Tom Stewart killed me” from Tormented.
Commercials from my copy: A few really annoying Dr. Katz ones. Don’t know what year I taped it, but it was around Mother’s Day, because they advertised an “Absolutely Fabulous” Mother’s Day marathon. Also, the obligatory Sprint, Big Red, Craftmatic Adjustable Bed, Art Instruction School and that spoof of study at home schools with the Comedy Central Institute with Sally Kellerman.
This was a so-so ep. I thought I liked it better, but when I just rewatched it, it didn’t get many laughs. It had some moments here and there. The movie itself wasn’t SO terrible, but not a gem, either. The host segments were pretty bad. You could tell they were just running out of ideas here. I think maybe they did the lame pie thing because there was a lame pie thing in the movie? (Mel gets hit in the face with one at the fight scene toward the beginning when he goes to the Dragon’s party to find Silver and there’s a big, lame melee). :roll:
Mel Torme and his date at the beginning really showed they were slime when they saw who they thought was Silver being attacked by Chip and just laughed it off and went back to making out. :mad:
Some good lines:
At the opening credits when we see Harold Lloyd, Jr., and Charlie Chaplin, Jr. are in it, Crow says, “With Fatty Arbuckle, Jr., Larry Fine, Jr., and Sammy Davis, Jr. Jr.”
Crow: Why does it hurt when I P & Q?
Mike: Mel ALWAYS looked fifty.
Mike: (about Mel getting a can of soda thrown in his face): That’s an Orange Crush and I’m a diabetic!
When Paul Anka says, “Can I see Serafina?” Crow says, “It’s sold out.”
Mike: Another successful sexual intervention courtesy of the Roman Catholic Church.
When Chip’s father says to Silver, “I don’t know what my son ever saw in you”, she turns and Crow says (as her): “Do THESE explain anything?”
Mike: (about Anka’s song at that swinging all girl’s party) This song is longer than InnaGoddaDavida. (And when Anka mentions the word “lonely” again in this song, when he just sang “Lonely Boy” at the club): ‘Lonely’? -Would you find a new theme?
Mike: Follow the trail of scat.
When something is said of Paul Anka’s act, Crow says, “You know I don’t have an act.”
Mike: We are knee deep in a Fraudian quagmire, here. (Regarding Jimmy and Serafina)
The only scene where I was really laughing was when Mary Lee was on the phone, looking for, like, hours, in the phone book, searching for “Girls Town” and Servo and Mike are saying things like, “Let’s see, girlsville, girls(something or other, I forget) and she’s looking on all these pages like there’s five million things with the word “girls” in front of it, then she finally gets them on the phone and Crow says, “Earl’s town”, and Servo says, “D’oh!” That made me crack up. :lol:
Hey, they actually say “bitch” in this one. Tom says it as Silver saying it to Mother Superior or whoever she was and Mike, I think says it back as the nun. (Or vice versa).
Pretty good, overall, but not stellar.
“It’s you and me against the world!”
“I love you Mommy!”
Helen Reddy (between beatings by her husband) singing that song to her daughter. Great reference.
One of those episodes that’s great to pop on to cheer yourself up, the film itself is bright and breezy and the riffing is similarly up-beat.
Personally this is one of my favorite episodes. The host segments are kind of weak but for me the Deep 13 intro more than makes up for it. Frank’s reaction as we wakes up and looks around to orient himself amongst a sea of empty chairs during Dr. Forester’s speech is classic TV’s Frank.
I know I’m nitpicking here but it’s something that’s always bugged me. Near the beginning of the episode when the character Chip goes over the cliff and is clinging to the bush Mike says, “Aaaaaaah! Hey, look, a morel. Aaaaaah!” The problem is he he pronounces morel (m?-r?l’) like the work moral (môr’?l). I live in Michigan and I’ve never heard it pronounced that way. Is it pronounced differently in Minnesota or Wisconsin?
Pretty good episode. I thought the pie bit was hilarious. The honor system bit was nice too. Otherwise host segments were ok. Movie’s good but nothing really sticks out for me.
Charming episode. I’ve always thought that this movie was one of the best movies that the Brains made fun of (along with “Kitten With a Whip,” despite the latter’s idiot plot).
I though this epsiode was good not great. The whole point of the movie having mel torme as a badass just made me laugh. this is the beginning of the weirdest season they ever did. it is all over the place with great, good, average and awful episodes.
I always crack up when Mike sings “GI-GAN-TOR,” although it almost feels like the host segment discussing changes in conceptions of beauty is there explain (or defend) the joke.
I also really liked when Sarafina sees Paul Anka outside: Jimmy’s here!
Tom: He’s back from fighting Nazis on the moon!
I have to wonder (along with Mischu) what the idea behind having Torme in there and not having him sing is all about. He is particularly laughable as a young tough. My favorite Torme moment in this is after the large Dragon thug sprays him with beer and Mel does his best tough guy yell of “it’s on!” and fisticuffs ensue.
The whole Anka character is bizarre and imminently riff-able. Clearly Jimmy is trying to push Sarafina over the edge.
…and as soon as you find out Torme is in the movie you know Kevin will be doing some scatting. I just assumed that the scatting host segment was a way to let him get it out of his system.
Overall this movie seems miserably acted to me (even in comparison to the average experiment) and the dialog is awful as well…or is at least being delivered by some of the unhippest people they could find. Mamie Van Doren sounds like somebody’s mom trying to talk the kids and embarrassing the hell of her child.
So all in all, I enjoyed it…but they should have worked Torme or Anka into the stinger.
My favorite riff, after the Platters performance..
“now leave out the back”.
I love this episode, it’s not one of the all time classics, but it’s very entertaining (the movie is so goofy that it almost doesn’t need riffing).
This is one of the eps that I rewatch the most and overall this season has some of my faves, especially from the CC era. It’s weird how much that detective who posed as a delivery guy looked like Cary Grant. I was just waiting for them to make a joke about it and when they finally did, I was in stitches. The Clinton jokes are great too and that guy really looked like him. Overall, a solid ep; but hey how can you go wrong with Mel Torme as the baddie, Dick Contino, a bunch of nuns, and some crazy 50s “kids”?
Fave riffs:
Earl’s town!
Jude’s wearing a wire!
I love it when Anka is singing his song in the club and Mike says “doing the butt” – that cracks me up every time.
I knew someone would reference the “Nazis on the moon” bit; that whole string of gags with Jimmy and Serafina gets progressively better as the episode goes on, because it really is such a terrifyingly dysfunctional relationship that it lends itself to jokes. Definitely the high point of the episode.
Although I also have a soft spot for, “I’m just a lonely boy…” “Now why does that not surprise me?”
“I’m O.D.ing on slang here!”
I love this episode. It’s quite a way to kick off Season 6, which tends to be pretty hit-or-miss for me. The movie itself is almost decent enough to stand on it’s own, with a kick-ass cast and the boys throwing down some darn funny riffing. And really…how can you go wrong with a movie that invites you stare at Mamie’s, uh, “goodies” the whole time?
I’ve always wondered about this ep: The filmmakers absolutely REFUSE to show the lead singer’s face onscreen when The Platters are performing. Why? Was he blacklisted?
They make it even more obvious with a long shot from behind a screen at the back of the room. The backing singers are all clearly visible, but the lead’s face is totally obscured by the latticework…even when his is the only voice you hear!
Also: Why does this bother me so much?
Otherwise, a great ep. Anka personifies wimpiness. I guess the studio figured Mel was too old to be the dreamboat, but a “streetwise tough”? Don’t think so.
My favorite riff: Mike (as Paul, stiffly): “You see, I have a lot of ‘the street’ in me.”
I thought maybe I was the only one who noticed the let’s-not-show-the-lead-singer’s-face thing when the Platters are up.
“if they were Baptists, they could’ve gotten the Platters.”
“…a Greek not a Jew.”
Even if the riffing wasn’t as solid as it is this would be a fun ep. I wish they had done more of these type of films, maybe a Jayne Mansfield or two…ahem. There are lots of swinging fifties beat girl in trouble films out there. Maybe CT will pick up one.
Some of my fav riffs revolve around the girl stalking poor sappy Paul Anka. (Because of this film I no longer mix him up with Neil Sedaka). Very funny stuff.
As for the morel mentioned in post #15 I always thought Mike was riffing “moral” as in there’s a moral in this story somewhere…silly me. Am I wrong? Anyone?
The host segs do sag…perhaps if the Brains had dropped their political correctness a little more than usual and had Mamie Van Doren bust into the Sol. Anyone else think, with the right adornments, Mrs. Bridget Nelson would have made a smashing Mamie Van Doren?
A-
Re: morel / moral
It could be Mike meant “moral.”
The annotatedmst.com site made reference to it as morel,
Aaaaaaah! Hey, look, a morel. Aaaaaah!
A morel is a type of mushroom.
Chip’s face is low to the ground where one would find morels so this seems to make sense but now that you mention it “moral” would make sense here too. Oh well, not a big deal one way or the other. Like I said it’s just something that I always wondered about.
I looooove this ep. But I do have an observation that nobody has mentioned yet. What I perceive as 2 veiled shots at Joel. As any fan knows, 2 of Joel’s favorite references are “It’s Hayley Mills in…” and “It’s time for the Banana Splits show!” Both of these are used here in what I believe are devisive ways. Crow says “It’s Hayley Mills and Hayley Mills with Hayley Mills and Hayley Mills…” as his voice trails off. Later Tom does the Banana Split intro in a equally devisive way. Did anybody else notice this or am I reading too much into it.
It seems as though every episode with Trace has at least one riff that he totally sells with Crow’s delivery. (This is true with Joel, Mike, Bill and Kevin too, but Trace seems to do it a lot). In an early scene in the D.A.’s office, Jimmy tells Serafina that he’ll come to visit her at Girl’s Town, and then asks Mother Veronica if that would be okay. When the nun towards him, Crow simply says (as MV), “Noooo.” I crack up each and every time I watch that scene. It’s only one word, but Trace’s timing and delivery are perfect.
Re 29
Dave, I think you’re reading too much into it. It is possible, even likely, that Hayley Mills and Banana Splits references came from some other writer on the show. Just because Mike had Joel riff them doesn’t mean that he wrote them (riffs were more or less handed out at random by Mike during the scripting process).
I think it’s much more likely that they all just got tired of them (those riffs) after a while…that could be the source of the derision.
I thought they did the Hayley Mills and Hayley Mills and…. because there were so many girls in the shot. I didn’t read any negative vibe into it. The same with the Banana Splits thing. Just because there were a bunch of goofy looking cars in the scene and the Banana Splits had that Splitsmobile or whatever they called it. I didn’t think they were being mean. At least I didn’t detect that tone.
I also thought Mike was referencing a “moral”. Try to rape date, die a horrible death. Poetic justice.
Just want to add I don’t hear the derision either…I remember the Mills riff now that Crowschmo has reminded me and think he/she is right.
I love all the Serafina fantasy/stalking quips, Paul driving her over the edge, and pretty much all the Paul Anka mockery. (I enjoy him as a singer/songwriter, but he’s so oddly cast in this — he doesn’t look any older than the girls!) Fave riff:
PAUL: Maybe I can do a song or two for you and the girls.
SERVO: Oh, they’re being punished enough.
If you’re like me, and I know I am, I just have to say, nice just on the screen capture, Sampo!
My old roommate could not wait to get this episode into his hands, (for, among other reasons, Mel Torme as the dewlapped greaser,) but he has yet to watch it.
Good Night!
Folks, those of you who are lukewarm on this episode astonish me. This is my all-time favorite episode of the entire series we all adore. To me the riffing hits its absolute prime here, a solid hit every few seconds. The movie is perfect for M&TB: it’s pretentious and awkward, the two aspects to which they respond the best.
I have a theory about the neuroscience of MST3K (no, really, stay with me here) and about why we enjoy this show so much. I think it calls on disparate sections if our brains to “fire” simultaneously, producing a pleasurable reaction not usually found in nature. The more disparate the connection the greater the neuronal pleasure. And it reaches it apotheosis in this episode. Take for example the moment where the two girls wearing Capri pants are fighting and M&TB remark that they look like dueling Laurie Petries: “There can be only onnnnne…” (in quavering, Mary Tyler Moore c. 1962 voice.) This quip demands that we simultaneously hold in our brains Mary Tyler Moore in the DICK VAN DYKE SHOW and … HIGHLANDER. Not concepts that are usually connected in our minds. A new neural connection is required, and the blazing of that new trail feels good inside our heads.
Even better is the moment when Silver (as Mike says, “boobs akimbo”) sneeringly asks after the identity of the statue of one of the saints and Servo says, “Some guy — supposed to be good for you.” This asks us to hold in our heads one of the most revered figures of Christendom — and a 1970s television campaign for LIFE cereal. A long, long reach across our brainpans, and (if I understand the neuroscience right) one that actually IS good for you.
(Unrelated — re: the “Cary Grant” guy Silver goes on the date with — you do know that’s bandleader Ray Anthony, referenced in the song “Opus One” and in real life married to Gigantor — I mean Mamie van Doren?)
On the list of Episode I have (still growing!), this is one of 20 or so that is high-lighted as a favorite (right up there with “Night of the Blood Beast”).
The crazy stalker girl riffs are great.
Anka: “Sarafina?”
Mike: “I don’t love you. Nyah, nyah, nyah, nyah-nyah!”
Anka: “Shake on it?”
Crow: “I’m your husband, dammit! Now SHAKE!”
One subtle riff was Torme sitting in the car at the diner, humming (via Crow) “Chestnuts, roasting on an open – hey, that’s what I’m in the mood for, chestnuts!” Torme, as some of you may know, actually wrote the classic “Christmas Song” this is from. (Although it was Nat King Cole who made it a classic).
And it may come as a huge surprise to some of you, but Paul Anka (Lebanese, not Greek) – wrote Tom Jones’ “She’s a Lady” and Frank Sinatra’s “My Way” (a riff-reference they made in his first scene). And his song “Lonely Boy”, when it was released, was Billboard’s Hot 100 Number 1 Song for 4 WEEKS !
Suck on that, Contino.
Contino?
CONTINO!
“Even better is the moment when Silver (as Mike says, “boobs akimbo”) sneeringly asks after the identity of the statue of one of the saints and Servo says, “Some guy — supposed to be good for you.” This asks us to hold in our heads one of the most revered figures of Christendom — and a 1970s television campaign for LIFE cereal. A long, long reach across our brainpans, and (if I understand the neuroscience right) one that actually IS good for you.”
Jesus IS Life…(or else: my bologna has a first name, it’s J-E-S-U-S)
Great post, Gulliver. Though I think the the neurosynaptic pleasures you so well describe are one of at least several dozen quantifible phenomenon that occurr during any good viewing. (sorry I’m posting so much tonight…not often I get a chance).
In reference to the discussion on the Platters from 24 and 26 above: maybe the lead singer was not available and they could not find a suitable stand-in? Always wondered about this one myself.
GIGANTOR!
by the way, Sampo, the idea of interviewing David Sussman is something I’ve thought you should do for a while now. Any of the contributors like Mike Dodge and even further back to Colleen Henjum-Williams as well. Joel was friends with her I think so maybe you could ask him.
I dunno if they’d have anything to offer interview-wise, but on the production side there’s Alex Carr and Jann Johnson from the early days. Also Heide LeClerc, who transcribed the riffing into word (so would have most likely contributed) and original hair/makeup woman Faye Burkholder, who made some joke contributions as well as song.
The lead singer of the Platters may have been in jail at the time. In August 1959, the four male singers in the Platters were arrested for having relationships with underage (19-year-old) girls. They were eventually cleared of all charges or the charges were dropped, though I can’t find a date when that happened. The whole incident rates only a small mention in some bios of the group.
It’s also possible that Tony Williams had already left the group to pursue a solo career at the time of filming Girlstown, which was released in Oct 1959. He *officially* left the group in 1960 and was replaced by Sonny Turner.
Zippidee-boop-booop…Back it up!
Di-boobity boop-deee-ooop…For-ward! :cool:
(They’re scats, ya see?)
I am watching this episode right now, and I must say, while you can see the punchline coming right down broadway, I really like Mike playing the intellectual, discussing Demosthenes through the parable of George Washington and the cherry tree. It really was a long way from that segment to him dressing as a bumble bee and showing his deft communications skills.
Does anyone like Mike’s intellectual turn, or should I really just relax?
This is one of, if not my all time favorite. This seriously needs to be on dvd. Is it because of the songs that this is not out yet, or what?
countrybat:
This is most likely not out yet because it is owned by MGM. I don’t think anything Best Brains used from MGM has been released yet. They probably feel it would cut into the profit made by their films on other releases (hard to believe in this and some other cases), or Rhino/Shout! are not able to meet the asking price for rights to release it.
I like Mike as an intellectual. I think it’s an essential part of his character. He is also repulsed by “areas, batches, etc.”
Mike as an “intellectual” is funny because so often, in later episodes particularly, he comes off as such a rube.
But then they all seem to take turns being “smart” or “rock stupid” – I suppose based on demand. Everyone’s got to be the straight-man sometimes.
Kevin’s Catholic upbringing clearly came in handy in this episode.
Some more faves –
Clyde: “It isn’t prison, Silver.”
Mike: “It’s just the Catholic Church.”
Jimmy (Anka): “No offence, Mother – ”
Mike: “But you’re hot.”
When Torme is harrassing Mary Lee:
Crow: “Pinch his dewlap!”
Mike: “Hit him – he’ll cry!”
I liked this episode a lot. I laughed a lot. If others find it not as funny that is okay.
I like laughing.
BEST. EPISODE. EVER.
“Siddown, Silver… if you can.” :lol: