Jo-Jo

DVD, Starsky & Hutch S1 (Jo-Jo)

A proper 'issues' episode whose story deals with some tough stuff, though true to the series it plays at it, but barely goes deeper than the surface, stuck in the rut of having to convert to a lighthearted final scene so the audience goes away happy, not depressed, but also with less to think about. But there's plenty between the ears in this one - ironic considering its title comes from the moron who ruins people's lives for the thrill of it and foolishly believes he'll be a big man in the eyes of his boss and the boss' men. Jojo Forentik is a tragic figure, coming to a bad end, betrayed by his associates to death, playing both them and the cops while still finding time to have 'fun' in his 'work,' but you never feel sorry for him. The Federal guy, Bettin, is almost as shortsighted as Jojo, finding it difficult to believe the man would be stupid enough to commit murder while acting as an undercover snitch to get the 'big man' Dombarris, and demonstrating how little he understands this petty criminal. All Bettin could see was Dombarris, and to him, catching the guy was all that mattered. If a few lives were ruined along the way, you can almost imagine him citing the greater good.

Not quite, though. He's a good enough law enforcer to realise when his strategy's blown up in his face, but as has happened many times, S&H fail to get through to those in authority in time and there's rarely any comfort in being right when the result is rape and murder. Previously it's been internal affairs or high up officials, and this time they're butting heads with the Feds, but it doesn't matter who gives them orders, when they know what's right they do their own thing. On the one hand this makes them heroes, willing to stand up to anyone who doesn't see the small people in the big picture, they stick up for those people, and it's a joy to see them rush to the rescue in the first scene, defying orders with nary a second's thought. But on the other side of their and other's behaviour we have the change in culture that is so radical, watching with today's eyes. I've commented before about how they get away with so much, and again they defy Bettin, Dobey and everyone else to threaten Jojo when he's released to work for the Feds. Nowadays the villain could, and probably would pull charges and lawsuits for harassment (not that Jojo was that bright). Equally, the lack of regard for Jojo's victims by Bettin is incredible: he actually wants to allow Jojo to go through with rape so he can get the bigger prize of Dombarris!

Unprofessional behaviour is only one of the issues on show, and an unintentional one at that. The real spotlight is (supposed) to be on the horrible crime of rape, its consequences and the difficulty in getting victims to testify. It would be easier in some ways now, with DNA evidence - I don't get the impression such advances were being used at that time. Even computers were not yet a part of the working environment, and indeed seem to be seen in a negative light, as unfeeling, insensitive, cold machines, if S&H's analogy of Bettin to one is anything to judge. Surprisingly there's a further development, one that appears more modern, and may have been cutting edge at the time: that of the victim becoming a suspect for murder because she knew self-defence and had a motive for revenge. Again, sensitivity would be much more in evidence in today's proceedings I imagine, but it was a side to the story that dug a little deeper into such personal crime, though it's pretty much left hanging so that we can get to the roundup of the bad guys.

Time constraints were always present, but they didn't need to maintain the action quotient at the expense of more exploration, though really it's what the series was all about, and any time they showed a degree of intelligence in the subject matter should be cause for congratulation in part at least. The villains were a motley crew, with Dombarris, or Tom Jones, leading the way. He wasn't a big enough character to make him a real threat and there was never any impression of power and corruption - he lived in a warehouse full of junk, such as traffic lights and indoor hammocks, with a dozy hippie, a cool dude who wears shades all the time and a chubby, world-weary heavy. His plan of escape when S&H inevitably show up for the showdown is to fire a rifle at them and retreat into a boatyard out back. It very much reminded me of 'Texas Longhorn' as both villains hide out in a junkyard firing rifles as S&H dodge around until they get him. There were also parallels in the drug and rape themes.

S&H did get to dramatically throw themselves around as they close in on Dombarris (though the music doesn't reflect that, opting for a 'cool' jazzy flavour instead of thrilling danger), but they didn't even get to do that against his subordinates. Though the pizza ruse was a good one, all that happens is that Sulko and the fat guy (Dixie?), get thrown to the floor outside their caravan. I was surprised when Jojo ended up dead, as even having watched the episode a few times over the years I didn't remember that happening. I believe that this may have actually been the first episode I ever saw of the series, when I caught it on Channel 5 on a Tuesday morning in the early 2000s (being a student who didn't attend college on those days). If it wasn't the first, it was one of them, as I distinctly remember seeing S&H charge down the hill at the beginning.

Regardless of the unpleasant subject matter I'd still put this in the positive category. We don't see tramps or backstreets, and it's much more about the feud S&H have against authority, men in suits messing up their beat. One of the few scenes set on 'the street' is when they stop by Huggy for information. This one really made me see how much he needed to get back to his bar and restaurant business. His business ventures have been wacky before, but know he's dressed in a priest's robes with a matching cream cap trying to peddle glow-in-the-dark crosses! Hug's been turned into pure comic relief, not that this was the episode to fit such things into, but I miss the early days when they were integrating Huggy and Dobey better. Dobey does continue the trend of solidarity with his men, sticking up for them in the face of higher powers, but he's not in it much.

It's Merl The Earl that lifts the episode and helps to disguise the turn away from seriousness into the jollier mood to end on, his unique way of talking, all-encompassing fanaticism for cars to the exclusion of all else, and quick temper ("Let me find somethin' to hit you with") puts him firmly in the category of this week's quirkiest character. He works wonderfully as a character (one that had to return and did), but it was the tying into the running joke of Hutch's car that cemented him as one of the top guest characters this season. It wasn't really until S&H pull up outside the bad guy's place and his horn blares out unremittingly that it crossed my mind how strange it was that they never used the Torino, and I don't remember any explanation of why they're driving around in Hutch's heap all the time (could it be urgent repair work was needed on the Torinos?), but it's always funny when Starsky starts moaning about Hutch's dump of a car, dating right back to the pilot! He also mentioned his Uncle Al (who we'd heard of before, in 'Snowstorm') who can help Hutch out with a new car.

Merl's only competition in the quirk stakes came from the drippy girl with Dombarris and the lady at the restaurant Starsky takes Hutch (and Jojo) to - she orders Hutch's food for him and when it comes she carries the cutlery in her armpit! Typical of Starsky that he loves such a place, and typical of his partner that he hates it! I suppose Jojo fitted into the 'odd' category too, though he's an unsavoury character with no light humour to him at all. He was very ape-like, ruled by his own tendencies, loping around with unconcealed, restless, violent energy - when he pulls himself up some stairs with the tree in the foreground I could see him swinging from branch to branch like a chimpanzee. It was wise of his victim to learn Karate (I'm sure he'd have found a baseball bat wouldn't cancel out that martial art if she was good enough), though it looked more like Judo the way she threw Starsky across the room.

I noticed the stuntmen had one of their busiest periods as there were a lot of stunt moments, my favourite being when S&H drive after Jojo when he's been let out, Starsky hanging onto the door until he leaps and rolls, then charges full speed after his quarry - notice he keeps his head down so you can't see it's the stunt man as easily. That guy must have been made of rubber the way he leaped, flew, sprung and crashed about this episode! Even Jojo had a double at least once: in the opening scene when he's chucked over a table into the wall. Other points I always look for were sparsely represented: Starsky walks (and dives) over Hutch's bonnet, one of those things they always do to each other's cars, and there were a few references, though mainly thrown in at the end. Opening the episode Starsky grumbles about all the sports he's missing as he has to work on a Saturday; another time Hutch calls him a 'Man of Steel' (a Superman reference even then, I think), and Starsky compares one of Earl's magnificent vehicles to the works of Leonardo ('and' da Vinci) and Rodin.

This is close to being one of the better entries this season, but it doesn't go far enough in examining the story's constituent parts, doesn't create proper characters as enemies and while full of the usual wit, gags and fun, it doesn't necessarily sit so well with the subject matter. Even though I have some nostalgia for this story as my probable first exposure to the series it doesn't make it across the line as one of those you must see. Sorry Earl.

**