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Joy and Anxiety (voiced by Amy Poehler and Maya Hawke) meet in Riley's head in Inside Out 2. Image courtesy of Disney/Pixar

Reviewed by Jeffrey Sanzel

Pixar has produced over two dozen animated features. Among the best are Up, Coco, Soul, Finding Nemo, and the Toy Story franchise, which managed to maintain its integrity through three sequels. 

The unique and wonderful Inside Out (2015) explored and explained the complicated inner feelings of young Riley and how she reacts to her family’s relocation. The film personified her basic emotions—Joy, Sadness, Fear, Disgust, and Anger—in colorful (and color-coded) beings. 

Director Pete Docter (Monsters, Inc., Up, and Soul) co-wrote the screenplay with Meg LeFauve and Joshy Cooley. Docter gathered an all-star cast of voices, including Amy Poehler, Phyllis Smith, Lewis Black, Mindy Kaling, Bill Hader, and others. It became one of the year’s most successful films, grossing over eight hundred and fifty million dollars and receiving nearly unanimous critical acclaim. 

Inside Out 2, the much-anticipated sequel, picks up a year later with thirteen-year-old Riley. Director Kelsey Mann makes an extraordinary feature debut, working from a beautifully fashioned screenplay by LeFauve and Dave Holstein. (Docter served as executive producer.) It is easy to be hyperbolic. (For example, “This is the worst film ever made.”) However, Inside Out 2 is, quite simply, perfect. 

On the verge of entering high school, Riley learns that her best friends and fellow hockey teammates, Bree and Grace, will attend a different school. Seemingly overnight, Riley goes from child to teenager, with mood swings and doubts becoming the norm. That summer, the trio attend a three-day hockey intensive, with Riley hoping success will lead to a place on the varsity Fire Hawks. At the camp, Riley meets her idol, high school hockey star Valentina Ortiz, and decides to court favor with the older girl and her entourage in exchange for her allegiance to Bree and Grace.

Inside Out 2 meets the original material directly and then logically—and brilliantly—elevates it as Riley enters the struggle that is puberty. Joining and fighting to replace Joy, Sadness, Fear, Anger, and Disgust are Envy, Ennui, Embarrassment, and, most importantly and most present, Anxiety. 

Ultimately, the story is the battle between Joy and Anxiety for control over Riley’s life. This significant metaphor embodies the steps from childhood to adolescence. At the heart is the idea that experiences become memories that generate belief, leading to a Sense of Self. Grappling with the need to manifest a Sense of Self fires the conflict. The ultimate resolution is heartfelt, honest, and cathartic. 

Once again, Poehler heads up a terrific company; she mines every bit of humor in Joy but never sacrifices the emotional integrity. Black and Smith return as Anger and Sadness, respectively. Like Poehler, they never lose the heart for the laughs. Lisa Lapira replaces Mindy Kaling as Disgust, and Tony Hale takes over from Bill Hader as Fear. (The sour note surrounds the film as Kaling and Hader ended up in a pay dispute with Disney, being offered only one hundred thousand dollars to Poehler’s five million.) Lapira and Hale both acquit themselves well. 

Maya Hawke brings dimension to Anxiety, allowing the emotion’s potential value to weigh against its damage. Ayo Edebiri’s Envy matches Disgust, and Paul Walter Hauser’s almost mute Embarrassment works well. However, the funniest addition is Ennui, with Adèle Exarchopoulos playing the boredom as a beatnik Parisian existentialist. Diane Lane and Kyle MacLachlan are back as Riley’s parents, and while they have limited screen time, they manage to imbue the parents with the right mix of love and frustration. Kensington Tallman’s Riley (replacing Kaitlyn Dias) truly holds center in a nuanced and wholly believable performance.

The designers and animators (and hundreds of artists and craftspeople) seamlessly shaped two parallel worlds: Riley’s almost hyper-realistic outside (down to the braces and single unmentioned pimple) and the softer, slightly two-dimensional inside (giving the world of emotions a hint of old Disney). The spherical memories, the islands, and the control consuls return, only to be taken to the next step. 

The script is smart, and the dialogue is clever, but neither ever becomes self-conscious, finding unique voices for every character. The film does not trade on its predecessor but builds, expands, and matures it. (It also contains one of the greatest puns in any film—but no spoilers here.)

Inside Out 2 offers great truths with remarkable awareness: growing up is messy, change is complex, and everyone is a roiling sea of turmoil. It also shows that every emotion and experience—every color, every shade—lead us to who we are and who we can be. If art’s purpose is to reflect the human condition, then Inside Out 2 is art and much, much more.

Rated PG, the film is now playing in local theaters.

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A scene from 'The Watchers'. Photo courtesy of Warner Bros.

By Jeffrey Sanzel

Author A.M. Shine set his 2022 Gothic horror The Watchers in his native Ireland. The debut novel dealt with an uncharted forest that ensnares people within its woods. At the heart of the mystery is folklore dealing with fairies best known as changelings, malign shapeshifters studying their captive human quarry. 

Ishana Night Shyamalan (daughter of auteur M. Night Shyamalan, who produced) directs and pens her first film, having only worked on episodes of the television series Servant (for which her father was showrunner) and directed the second unit on the films Old and Knock at the Cabin (her father’s films). Additionally, she collaborates with her older sister, the R&B singer-songwriter Saleka, on the latter’s music videos. Her first solo outing has distinctly mixed results. 

A scene from ‘The Watchers’. Photo courtesy of Warner Bros.

First seen vaping in the pet shop where she works, Mina (Dakota Fanning), an American artist living in Galway, leads a disconnected life. Sent to deliver a parrot to a zoo, Mina finds herself trapped in the forest along with Ciara (Georgina Campbell), Daniel (Oliver Finnegan), and the self-appointed leader, Madeline (Olwen Fouéré). 

They live in a cement structure with a two-way mirror that prevents the inhabitants from seeing out into the night. They have dubbed this strange dwelling the Coop. Here, they are surrounded by the nocturnal Watchers. With shades of Black Mirror, Shyamalan manages to crank up the atmosphere and “creep” factor before losing steam. She wisely eschews jump-out scares, but she fails to explore the claustrophobic nature of the Coop’s dwellers as well as the conversely frightening sense of being completely exposed by the ceiling-to-floor window. 

Eventually, the four discover an underground bunker in the Coop that leads to explanations of their entrapment and the nature of the ancient entities that hold them prisoner.

Shyamalan goes to great lengths to establish Mina’s lack of identity, a theme that will play throughout the film. Sometimes a bit heavy-handed, the definition of self and self-reflection are given less-than-subtle imagery but do not hamper the story’s progression. In the novel, Madeline explains the creatures: “What do they look like?” [Mina] asked. “Like us, I suppose,” Madeline replied calmly. “But they’re not like us. They’re leaner and they’re longer, and I won’t describe their faces to you. I couldn’t, to be honest, even if I tried.” 

The film gets faster to the concept that the Watchers take on the visages of the people they study. (“Even when wearing the mask of man, still they are monsters to the eye,” writes Shine.)

As in the book, the film builds to a climactic twist. Here, Shyamalan slightly improves the source material, creating an extra layer in the reveal. Unlike the novel, she finds closure, where the book leaves off on a cliffhanger. (The book’s sequel, Stay in the Light, drops on October 2024.) Additionally, while hewing closely to the general plot and tone, she adds more background and clarification to the dark world of the fairies and their connection to the contemporary world. 

Fanning is a solid, grounded actor and leads the cast as best she can. Her performance is honest and introspective, and she never crosses the line into Scream Queen. Campbell is given less to play but is equally believable as the woman waiting for her husband to return. Finnegan’s Daniel has more spark than Shine’s sketch, which serves the actor but undermines the character’s doubts and frailties. 

As Madeline, Fouéré has the most interesting role and finds a slow-burn ferocity. Unfortunately, Shyamalan stripped most of Madeline’s most interesting aspects—a woman whose “silence was like a sleeping dragon.” Oddly, Shyamalan makes the quartet more resourceful, lowering the danger/struggle quotient.

Filmed on location, Eli Arenson’s cinematography contrasts city and forest and embraces some beautiful Irish vistas. Ferdia Murphy’s production design ranges from the gritty to the pastoral. As for the monsters themselves, they are adequate if little seen. Sadly, where the film succeeds least is Shyamalan’s strained dialogue, which is leaden and predictable and serves neither cast nor plot. 

In the universe of horror movies, The Watchers is a minor and easily forgotten entry. Not a failure on a large scale, but certainly one to be consumed (or not) and forgotten, the film marks the beginning—or ending—of a second-generation cinematic voice.

Rated PG-13, the film is now playing in local theaters.

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From left, Mike De Caro, Alvin Hall, Saro Varjabedian at The People's Film Festival. Photo courtesy of WMHO
Filming for the documentary took place at the Three Village Inn on Feb. 18, 2022. Photo courtesy of WMHO

The Ward Melville Heritage Organization (WMHO) has revealed that the documentary Driving the Green Book, which features the historic Three Village Inn in Stony Brook, has won ‘Best Documentary’ at The People’s Film Festival in Harlem. The announcement was made in a press release on June 11.

On February 18, 2022, WMHO had the distinct pleasure of hosting filmmakers Saro Varjabedian, Mike De Caro, and Alvin Hall at the Three Village Inn. They discussed the Inn’s mention in the Green Book, an annual guidebook for African American travelers during segregation, highlighting safe and welcoming establishments across the nation.

In Driving the Green Book, WMHO President Gloria Rocchio explores the connection between the Green Book and the Three Village Inn, which was owned by philanthropist and businessman Ward Melville. She also delves into the history of the Dogwood Hollow Music Festivals in Stony Brook, which featured legendary African-American performers such as Duke Ellington, Louis Armstrong, and Count Basie from 1955 to 1970.

“WMHO is honored to have contributed to a project that sheds light on an important part of American history,” read the release.

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mage courtesy of Fathom Events

Fathom Events and Warner Bros. invite fans to experience one of cinema’s most iconic fantasy epics as “The Lord Of The Rings” Trilogy returns to select theaters nationwide  this month.

Each screening puts the spotlight on the remastered, extended editions of Peter Jackson’s Oscar®-winning adaptations of J.R.R. Tolkien’s novels, kicking off with The Fellowship Of The Ring on June 8, 15 and 22; The Two Towers on June 9, 16 and 23; and The Return Of The King on June 10, 17 and 24.

In the first part of J.R.R. Tolkien’s epic masterpiece, The Lord of the Rings, a shy young hobbit named Frodo Baggins inherits a simple gold ring. He knows the ring has power, but not that he alone holds the secret to the survival—or enslavement—of the entire world. Now Frodo, accompanied by a wizard, an elf, a dwarf, two men and three loyal hobbit friends, must become the greatest hero the world has ever known to save the land and the people he loves.

In the second part of the Tolkien trilogy, The Two Towers, Frodo Baggins and the other members of the Fellowship continue on their sacred quest to destroy the One Ring—but on separate paths. Their destinies lie at two towers—Orthanc Tower in Isengard, where the corrupt wizard Saruman awaits, and Sauron’s fortress at Barad-dur, deep within the dark lands of Mordor.

In the conclusion of J.R.R. Tolkien’s epic masterpiece, The Return of the King, as armies mass for a final battle that will decide the fate of the world—and powerful, ancient forces of Light and Dark compete to determine the outcome—one member of the Fellowship Of The Ring is revealed as the noble heir to the throne of the Kings Of Men. Yet the sole hope for triumph over evil lies with a brave hobbit, Frodo, who, accompanied only by his loyal friend Sam and the hideous, wretched Gollum, ventures deep into the very dark heart of Mordor on his seemingly impossible quest to destroy the Ring of Power.

This landmark franchise won a combined 17 Academy Awards®, including Best Picture honors for The Return Of The King and Best Director for Peter Jackson; and boasts groundbreaking effects, sets, and costumes, fueled by a star-studded ensemble featuring Elijah Wood, Ian McKellen, Sean Astin, Viggo Mortensen, Cate Blanchett, Christopher Lee, Orlando Bloom, Liv Tyler, Hugo Weaving, John Rhys-Davies, and Brad Dourif, among others.

Locally, participating theaters include AMC Loews Stony Brook 17, Island 16: Cinema de Lux in Holtsville; AMC Huntington Square 12 in East Northport, AMC Shore 8 in Huntington, Showcase Cinema de Lux in Farmingdale, and Regal UA in Farmingdale. To purchase tickets in advance, visit www.fathomevents.com.

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'The Muppet Movie'

Fathom’s Big Screen Classics series continues with the fan-favorite 1979 comedy “The Muppet Movie” returning to select theaters nationwide for its 45th anniversary on June 2 and 3.

Exclusive to the Fathom screenings is an introduction by renowned film historian and critic Leonard Maltin, exploring the lasting legacy of Jim Henson and his beloved creations, which continue to captivate and inspire generations of filmgoers.

They’re irresistible! They’re irrepressible! They’re The Muppets, starring in their first full-length movie! After a fateful meeting with a big-time talent agent in a Southern Swamp, Kermit heads for Hollywood to be a star. Along the way, a cast of lovable Muppet characters, including the dazzling Miss Piggy, the charming Fozzie Bear, and Gonzo the Great, join him to become movie stars, too! Together they rub elbows with some of the biggest names on the silver screen! When the evil Doc Hopper tries to thwart Kermit’s show biz plans and kidnaps Miss Piggy, Kermit rushes to the rescue and falls right into the evil Doc’s trap! Filled with memorable music, this critically acclaimed comedy is a Muppet classic your whole family will enjoy!

In addition to boasting the talents of Muppet mastermind Jim Henson and Frank Oz, the Oscar®-nominated film features appearances by entertainment trailblazers Orson Welles, Mel Brooks, Steve Martin, Richard Pryor, Milton Berle, Charles Durning, James Coburn, Bob Hope, Dom DeLuise, Madeline Kahn, Carol Kane, Elliott Gould, Telly Savalas and John Landis.

Locally the film will be screened at AMC Loews Stony Brook 17 on June 2 at 1 p.m. and 7 p.m. and on June 3 at 7 p.m.; Island 16 Cinema de Lux in Holtsville on June 2 at 1 p.m. and June 3 at 7 p.m.; Showcase Cinema de lux Farmingdale on June 1 at 1 p.m. and June 3 at 7 p.m.; Regal UA Farmingdale & IMAX on June 2 at 1 p.m. and 7 p.m. and June 3 at 7 p.m.

To purchase tickets in advance, visit www.fathomevents.com.

See trailer here.

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A scene from 'Unfrosted'. Photo courtesy of Netflix

Reviewed by Jeffrey Sanzel

Oh, for the comedic integrity of Sid and Marty Krofft’s 1971 Lidsville. The creators of H.R. Pufnstuf, The Bugaloos, and Sigmund and the Sea Monsters offered a world populated by talking hats. Compared with Netflix’s Unfrosted, the anthropomorphized Saturday morning toppers were comic gold along the lines of Chaplin, Keaton, and Larry David. 

Unfrosted tells the fictional tale of the creation of the Pop-Tart. The premise hinges on the 1963 toaster pastry battle between Kellogg and Post, in Battle Creek, Michigan. Jerry Seinfeld directed, co-wrote, co-produced, and stars as Bob Cabana, a Kellogg executive. So, guess who is responsible for this overbaked, leaden soufflé? 

The film attempts to be “ZANY!!!” (Yes: all caps, bold, italics, underlined, and three exclamation marks. Perhaps “zzz-any” would have been a better summation.) Rarely has so much energy and celebrity power been squandered on forced, unfunny material as artificial as Pop-Tarts themselves. Strawberry Pop-Tarts contain less than two percent dried strawberries. Unfrosted contains less than two percent real comedy. (Maybe the film needed an injection of soybean and palm oil with tBHQ for freshness.)

The film’s humor is low-hanging fruit (there are those dried strawberries again). Unfrosted spoofs corporate espionage, the moon landing, awards shows (the Bowl and Spoon Awards), genetic engineering (a ravioli stuffed with Sea Monkeys escapes the lab), the Cuban Missile Crisis, and a dangerous milk syndicate. A benign throughline about disgruntled product mascots, led by Frosted Flakes’ Tony the Tiger, becomes a tasteless and horrifying send-up of January 6. 

With witty dialogue including “What are you, some kind of ding dong?” and “Uh-Oh! Spaghetti O’s!” along with punchlines relying on dumpster diving, former Nazi scientists, and high fructose corn syrup, how could they go right? (And just when you think it is over, there is a full-cast song with bloopers and outtakes.)

Seinfeld recruited and sadly misused a first-rate roster. Melissa McCarthy is Donna Stankowski, Cabana’s former cohort who went to NASA. Here, she turns in her standard comedy-for-paycheck performance. Jim Gaffigan blusters as Edsel Kellogg III, playing opposite Amy Schumer’s uncomfortable Marjorie Post. Hugh Grant appears as a version of Hugh Grant as Thurl Ravenscroft, the Shakespearean actor who is the rebellious Tony the Tiger. 

For no apparent reason, the research team is composed of Jack LaLanne (James Marsden), Steve Schwinn (Jack McBrayer), Harold von Brauhnut (Thomas Lennon), Chef Boyardee (Bobby Moynihan), and Tom Carvel (Adrian Martinez). Cumulatively, they do not manage more than one-and-a-half dimensions and two-and-a-half laughs. 

Most of the starry company feature in a handful of brief scenes. Christian Slater as a smilingly sinister milkman. Bill Burr’s sexed-up John F. Kennedy (with the gratuitous Marilyn Monroe references) is matched by Dean Norris’s Nikita Krushchev, a mumbling version of Bullwinkle and Rocky’s arch-enemy, Boris Badenov. Peter Dinklage is amusing as Harry Friendly, leader of the milk syndicate, and John Slattery and Jon Hamm’s Mad Men ad men are a welcome surprise (until they start pitching, and then it’s back to business as usual). Kyle Dunnigan’s Walter Cronkite presents a decent impersonation, but jokes about Cronkite’s bad marriage (huh?) fall flat. Dozens more fill out the cast in supporting roles and cameos. One hopes everyone was well paid or at least given a good lunch. 

Visually, Unfrosted appears in a Barbie style that seems like a brighter version of Asteroid City or Don’t Worry, Darling—that late 1950s/early 1960s hyper vibrance. Cinematographer William Pope, editor Evan Henke, production designer Clayton Hartley, and costume designer Susan Matheson provide what little style the film achieves. 

On April 29, Netflix released a promo explaining that Unfrosted referenced two hundred and twenty-one trademarked breakfast cereals without permission or legal clearance. The promo runs two minutes and thirteen seconds. The film lasts ninety-six minutes. Do yourself a favor: Skip both. 

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Mike Faist and Zendaya in a scene from the film. Photo courtesy of MGM Studios

Reviewed by Jeffrey Sanzel

The plethora of sports films would take up pages, if not volumes. From comedies (Bull Durham, A League of Their Own) to dramas (Rocky, The Boys in the Boat) to the better left undefined (Space Jam?), cinema has often trained its eye on everything from football (Friday Night Lights) to curling (Men with Brooms). While not as popular as baseball or football, tennis is featured in films such as King Richard, Borg vs. McEnroe, 7 Days in Hell, Wimbledon, and even the thriller Match Point. 

Zendaya plays tennis star Tashi Duncan in ‘Challengers’. Photo courtesy of MGM Studios

Challengers presents doubles partners and best friends Patrick Zweig (Josh O’Connor) and Art Donaldson (Mike Faist). After a bold win, they meet superstar Tashi Duncan (Zendaya). All are high school seniors on the cusp of entering college, though Tashi has the skills and ferocity to skip the university level for a professional career. The boys are immediately smitten with the independent Tashi and vie for her affection. Tashi and Art attend Stanford and play college tennis. Patrick turns professional, carrying on a fractious long-distance relationship with Tashi. Early on, Tashi suffers a knee injury, ending her career. She shifts her focus and becomes Art’s coach and then wife.

Challengers is a lust triangle that zig-zags through thirteen years. Beginning in the present of 2019, the film flashes backward and forward through time. Sometimes, the narrative returns to the beginning and sometimes to just a few days prior. Unobtrusive but necessary title cards clarify the time frame, removing the guesswork. Given the short time span and the aging of late teens to early thirties, it would have been almost impossible to follow without them. Notwithstanding changes in hairstyle and facial hair, the outward changes to the characters are minor.

Director Luca Guadagnino is known for his bold style and surprising choices. His most popular film, Call Me by Your Name, garnered numerous accolades, with substantial nominations and awards. His other films have included the violent remake of the horror film Suspiria and the “cannibal love story” Bones and All. He does not shy away from crossing lines or making an impact. 

Josh O’Connor and Zendaya in a scene from the film. Photo courtesy of MGM Studios

Strangely, with Challengers, he seems to pull his punches. Justin Kuritzkes’ functional screenplay is at its best when it draws on the similarities between sex and tennis. Perhaps intentionally, it makes the latter far more exciting and passionate. Challengers takes a benign stab at privilege with Art and Patrick as boarding school boys who have been roommates since they were twelve. Later, Patrick tries to put himself forward as the starving athlete living in his car. Tashi calls him out on the façade. This provides one of the few references to the nature of their indulgence and her place as an outsider. Much has been made of the trailer’s indication of another layer to the menage, but the film skirts around this, with nods towards the homoerotic but never fully embracing it. 

Where the film succeeds is in the three central performances (no one else gets much of a look in). Faist makes the sweeter, more conservative Art as likable as possible, showing an easy but often brittle charm. O’Connor gives Patrick a certain amount of doubt and introspection, even when his behavior is terrible. The sense that he is always on the edge softens an otherwise narcissistic individual. 

But Zendaya owns the film, bringing raw energy to the femme fatale struggling with her constantly shifting and mixed feelings about these two man-children. She balances an electric presence with unspoken frustrations and even simmering rage. She makes every moment, every beat count. She is both queen and pawn. Is she a homewrecker or a victim? 

As a tight ensemble, the trio owns the shifting dynamics, which are interesting and intense as they try but fail to define themselves. The repetitions and changing of partners create a sort of interpersonal hell where, ultimately, none are winners. Rages lead to broken rackets; disappointments lead to double-crossing. 

The tennis is filmed with energy and style, bringing as much excitement and edge to the game. Even the peripatetic timeline enhances the somewhat predictable plot. But where the film frustrates is its overuse of slow motion and a heavy-handed, pulsing soundtrack, adding minutes that become endless. Dwelling on predictable cuts, sweaty faces, hard stares, and triumphant grimaces eventually feels like a parody. 

Judicious editing, trimming to a lean ninety minutes, would have made the film a winner. However, Challengers at two hours and eleven minutes is just challenging.

Rated R, Challengers is now playing in local theaters.

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Fathom’s Big Screen Classics series continues with Sony Pictures Entertainment’s beloved 1989 Southern drama Steel Magnolias — returning to theaters nationwide just in time for Mother’s Day in honor of its 35th anniversary on May 5 and 8.

‘Steel Magnolias’

Six icons of the silver screen — Sally Field, Dolly Parton, Shirley MacLaine, Daryl Hannah, Olympia Dukakis and Julia Roberts — come together in this hilarious and heartwarming story of life, love, and loss in a small Louisiana parish. At the center of the group is Shelby, newly married and joyfully pregnant, even though her diabetes could make childbirth life-threatening. Terrified at the possibility of losing her only daughter, M’Lynn looks to her four closest friends for strength and laughter as she battles her deepest fear of death to join Shelby in celebrating the miracle of new life.  

The Oscar®-nominated film, with a screenplay by Robert Harling (based on his stage play) and directed by Herbert Ross features a star-studded ensemble cast featuring appearances by Tom Skerritt, Dylan McDermott, and Sam Shepard.

Exclusive to each Fathom Big Screen Classic film is a special introduction by esteemed cinema legend Leonard Maltin, this one shedding light on the heartfelt performances and gripping drama that has made Steel Magnolias a cherished favorite for more than three decades.

Locally the film will be screened at AMC Loews Stony Brook 17 on May 5 at 4 p.m. and 7 p.m. and on May 8 at 7 p.m.; Island 16: Cinema de Lux in Holtsville on May 5 at 4 p.m. and May 8 at 7 p.m.; Showcase Cinema de Lux in Farmingdale on May 5 at 4 p.m. and on May 8 at 7 p.m.; and Regal UA Farmingdale on May 5 at 4 p.m. and 7:20 p.m. and on May 8 at 7:20 p.m. To order tickets in advance, visit www.fathomevents.com.

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Michael Douglas stars as 'Franklin' on Apple+. Photo courtesy of Apple+

By Leah S. Dunaief

Leah Dunaief,
Publisher

Could the colonists have won the Revolutionary War without the aid of the French? “Franklin” is currently streaming on Apple+ and deals with that question as it also shows that founding father to have been quite human. An eight-episode story, it stars Michael Douglas, and I have watched five installments, starting with Franklin’s landing on the shores of France in December 1776. He did so at great risk, for had he been caught by the British during the voyage, he might have been hanged as one of the signers of the Declaration of Independence. His mission was to get France to supply and join the colonists in their struggle against the British, also enemies of the French.  

The plot, with its court intrigue, violence, spies, and photogenic 18th century clothing and luxury, along with both the brilliance and character failings of its polymath hero, make for good entertainment. And I came to wonder what eventually happened to two others who played a role at that time.

One was Temple Franklin, the illegitimate son of Franklin’s own illegitimate son, William, Governor of New Jersey, and Benedict Arnold, who provided the decisive turning point in France’s decision to join with the colonists.

Temple, who accompanied his 70-year-old grandfather, was 17 when they landed and served Franklin as his private secretary, keeping records as the Franco-American Treaty of Alliance was negotiated in 1778 and then the Treaty of Paris in 1782.

Temple became a European, embracing French culture, values and rakish friends. In no way was he able to emulate his grandfather. When he returned to Philadelphia with Franklin in 1785 at the end of the war, he did not fit in. Despite his grandfather’s efforts, he did not receive a diplomatic post, although he hungered to be appointed to the court of France. He returned to Paris in 1796, after a stint in London with his father, and died there penniless in 1823. A friend had to pay for his burial.

As for Benedict Arnold, he was a British military officer (remember, they were all British before the War) who fought with the Continental Army, and was responsible for the critical victory at Saratoga that convinced the French to join the war. He became a major general, and earned Washington’s complete trust when put in charge of the fort at West Point before defecting to the British in 1780. Later in the war, he rose to brigadier general and led the British Army in their fight against some of the men he had formerly commanded.

His name became synonymous with betrayal and treason.

How could that happen? Many historians say, “Cherchez la femme.”

Arnold mingled in Philadelphia with upper class Loyalists, living well beyond his means. Despite his several substantial military contributions to the Revolutionary War effort, he became enchanted with Peggy Shippen, and married into her staunchly Loyalist family. She was good friends with Major John Andre, who became head of British Intelligence. Arnold was offered 20,000 pounds if he surrendered West Point to the British, and Shippen passed messages between the two men.

As we know from our Culper Spy local history, Andre was caught with incriminating papers by American militiamen as he rode north to meet Arnold, who was warned of the capture. He fled across the Hudson and joined the British camp; Andre was hanged.

Arnold subsequently caused much damage in Connecticut, leading troops that burned down New London and slaughtered surrendering forces after the Battle of Groton Heights, just a few miles down river from the town where he was born and grew up.

In 1782, he and Peggy moved to London, where he was well received by King George III and the Tories, given 6000 pounds and an annual pension of 360 pounds, but shunned by the Whigs and most Army officers. He moved to Canada in 1787 to run a merchant business, but was extremely unpopular and returned to London in 1791. He died there ten years later.

Their lives were footnotes in history with two sad tales.

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Dave Morrissey Jr. as Col. Benjamin Tallmadge in a scene from 'One Life to Give.' Michael Pawluk Photography

By Rita J. Egan

For nearly 15 years, Dave Morrissey Jr.’s career path has taken him from playing Revolutionary War hero Col. Benjamin Tallmadge in independent productions to taking on bad guy roles on television. In a recent phone interview, the actor said he credits his theatrical experiences on Long Island for helping him pursue his acting goals.

Currently living in Bushwick, Brooklyn, Morrissey was born in Port Jefferson and grew up in Selden and Miller Place. He said the seeds of his career were planted during his formative years studying at The Performing Arts Studio of New York in Port Jefferson, which his mother, Terri Morrissey, owns, along with Deborah and Michael Livering.

Playing a hero

A graduate of Suffolk County Community College and Fashion Institute of Technology, Morrissey first had the opportunity to play Tallmadge, who oversaw the Setauket spies during the Revolutionary War, in the independent film The Culper Spy Adventure. He became involved in the movie thanks to his connection with one of the directors, Michael Tessler, who had attended The Performing Arts Studio of New York. He would have the chance to play Tallmadge again for the TBR News Media-produced One Life to Give and its sequel, Traitor: A Culper Spy Story.

Morrissey said being part of the two films with local actors was a fun and “sweet experience.” One of his favorite memories includes the night when the actors decided to sleep over at Benner’s Farm in East Setauket, one of the film’s locations, to get the feel of sleeping in a fort, which was constructed by the crew.

“That was a real fun method-acting experience because it was July Fourth weekend, and it was camping out with a bunch of reenactors,” he said.

Regarding playing Tallmadge, Morrissey said he wished he could do it again. “I still get people reaching out to me, texting me or messaging me on social media saying, ‘Oh, I saw you in The Culper Spy Adventure,'” he said.

One of the things the actor appreciated most about appearing in the independent films was that they weren’t as dramatized as they were in Turn: Washington’s Spies, the AMC series about the Culper Spy Ring.

“The thing that I liked about One Life to Give was that it had a certain level of authenticity,” Morrissey said. “Everyone really loved that time period. Everyone really loved the experience. I don’t know if I’ve ever really had a set that magical.”

Taking on the bad guys

Since his time on the One Life to Give and Traitor: A Culper Spy Story sets, he has had roles on Law and Order: Organized Crime, American Horror Story and FBI, where he has been cast as bad guys.

“I quickly found that casting is going to like me if I play a bad guy, and I’m not a bad person,” he said, adding the roles are fun to play. “It’s a challenge, and it’s complex.”

Having varied experiences when starting a career in movies and television is essential as well as producing content, according to Morrissey. “When I got out of high school, it was right when content creation was kind of starting, and everyone was saying you have to make your own work,” he said. “I really leaned into that.”

It led to the creation of the former Bluebox Theatre Company with his friend Joe Rubino, where they produced what he called “dark” productions. Morrissey also produces, hosts and directs gaming technology and branded content. 

In addition to playing Tallmadge and bad guys, Morrissey said one of his favorite performances has been in the movie Our Lady of Queens, which he produced and acted in along with prolific character actor Austin Pendleton. He described the film as a family drama that delves into the subject of dementia. He recently submitted Our Lady of Queens to film festivals along with a short film he narrated titled Cowboy Killer.

Currently, the actor said he’s been busy completing a documentary series with the United States Space Force and Space.com and a short documentary, Chasing Electric, about the rise of electric motorcycles. Morrissey is also appearing in a play about artificial intelligence titled A Groundbreaking Achievement of Outrageous Importance at Theatrelab in New York City through May that is produced and directed by fellow Long Islander Andrew Beck. 

Sharing advice

His advice for people interested in acting is that they can start at any age, and he said living on Long Island is a good place to start as the “industry is right here.”

“When you really see what the industry is made of, you’ll be less intimidated by it,” he said. “So, you should just go for it 100 percent.”

Among advice such as actors must know what type they are before getting headshots and having the pictures taken before trying to find a manager, Morrissey said it’s important for aspiring actors to “spread yourself out and make your pond as big as possible.”

The actor added that he believes the local Long Island theaters provide different perspectives essential for actors entering the entertainment industry.

“You’ll see there are some people who come out of Long Island who are unbelievable and they succeed,” Morrissey said. “I think it’s because we have the opportunity to really have these different communities that are really so amazing — these theater communities on Long Island.”

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