'Eastwood Goes West' is the genius programming catchline Pearl has given its Clint fest (obviously inspired by the tribute on Pearl last week) which looks like sprawling over a few Sundays. First is Sergio Leonne's stylish spaghetti Western Fistful Of Dollars (Tonight, Pearl, 9.30 pm) in which Clint shot to international stardom as the Man With No Name.
I don't know what we've done to deserve it but World is giving us The Simpsons Monday to Friday (6.30 pm) and I, for one, say thank you, repeats or not. My generosity is not so forthcoming for It's A Mad, Mad, Mad, Mad World (Monday, World, 9.30 pm) which has its moments with some comedy greats, most notably Terry Thomas, but I can only imagine that Spencer Tracy had bills to pay to get tangled up in this one. An even sillier movie is Killer Tomatoes Eat France (Tuesday, World, 9.30 pm); the first one was funny but by this, the fourth, it's downright dumb.
The initially intriguing but ultimately unfathomable Oliver Stone's maxi-mini-series Wild Palms starring Jim Belushi and Dana Delaney makes a return (Wednesday, Pearl, 1.30 am). Much better is the new series American Gothic (Friday, Pearl, Midnight) which, like the very entertaining Frasier (Thursday, Pearl, 11.35 pm), deserves to be on in prime time. Written by former teen rocker and Hardy Boy Shaun Cassidy, it revolves around a pretty little town called Trinity where Sherrif Lucas Buck, played by Gary Cole, masquerades as a do-gooder all the while ruling without law or conscience. It has received rave reviews in the States and comparisons in its quirkiness with The X Files.
Cool World (World, Friday, 9.30 pm) has an interesting cast of Kim Bassinger, Gabriel Byrne and Brad Pitt but the scenario sounds all too like Roger Rabbit and, on this point, over to Leonard Maltin who described it as a 'Roger Corman version of Roger Rabbit'.
The pilgrimage to Graceland is about to begin, and what better salute to The King's talents than his best film, Jailhouse Rock (Saturday, Pearl, 11.45 pm), though I hope this is not the colourised version. The title song is brilliantly choreographed by the young Elvis, who's flaming star burns so bright in this, his third film, that it's quite sad to reflect on the dross, albeit with its endearing kitsch, that followed.