Rarely seen 80s Hollywood star is unrecognizable from legendary comedy movies as he's spotted in LA – can you guess who?
A rarely-seen film star shocked onlookers this week after being spotted out and about in Los Angeles looking worlds away from his Hollywood heyday.
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He was once romantically linked to actress Valerie Bertinelli, and he's worked with some of Hollywood's biggest names from Michael Keaton to Farrah Fawcett and of course Bill Murray.
The actor, 62, is best known for his role in the cult golf comedy Caddyshack alongside Murray.
He played the cocky teen caddie Tony D'Annunzio in the 1980 film.
Despite his success, Scott Colomby has kept a low profile over the years with fans rarely catching a glimpse of the former screen star.
And gone was the mop of dark hair and tight vests showing off his ripped physique.
Instead, he kept it casual in a dark T-Shirt, grey tracksuit bottoms and sneakers.
He also sported a pair of glasses hooked onto his shirt.
Fans of the era might remember him not just from Caddyshack - which also starred Chevvy Chase, Rodney Dangerfield and Ted Knight, but from the raunchy teen hit Porky's where he played smooth talking Brian Schwartz.
The Brooklyn born star began his career in the early 70s and appeared in all three Porky films, which were major box office hits.
The original flick in 1982, directed by Bob Clark, raked in a staggering $160 million off a modest $4-5 million budget.
Shelley Hack: From Charlie's Angels Star to Hollywood Producer
Porky's also featured a young Kim Cattral and followed a gang of high school boys in the 1950s Florida on a chaotic, coming-of-age quest involving strip clubs and revenge.
Meanwhile, his former flame Valerie was seen out with her new man Mike Goodnough last year, but fans thought it was her body guard.
The One Day at a Time star walked with him after she left the set of The Drew Barrymore Show in New York City.
Another man stood, now known to be Mike, walked beside her on the sidewalk.
A fan spotted them and uploaded the photo via Instagram Threads and captioned it "Hiding in plain sight."
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The Guardian
21-07-2025
- The Guardian
‘I am elated each time I watch': why Rushmore is my feelgood movie
'Let's hope it's got a happy ending,' Herman Blume, played by Bill Murray in one of his best roles, says near the end of Wes Anderson's 1998 film Rushmore. He makes the remark about an over-the-top, literally pyrotechnic school play that his teenage friend Max Fischer (Jason Schwartzman) has just debuted to an audience of dazed teachers and parents. But his comment stands in for the whole movie, an audacious and risky comedy that should not work, but does. I am elated each time I watch this poignant, wise and wildly funny film – and, yes, there is a happy ending. Rushmore is about children trying to act like adults and adults acting like children. Fischer is a precocious scholarship student at Rushmore, a prestigious private boys' school. He is the sort of bright but naive young person who tries to impress an adult by telling them, with a straight face, that he plans to apply to Oxford and the Sorbonne for university, with Harvard as a 'safety.' In fact, Fischer spends more time planning lavish plays and starting school clubs than studying. He is one of the school's 'worst students,' his headmaster (Brian Cox) sighs. One day Fischer meets Blume, a local industrialist whose sons are students at Rushmore. Blume is a self-hating rich man – his loathing of his boorish, silver-spoon-fed sons is one of the film's many funny running jokes – and he takes a shine to the scrappy Fischer. Despite their difference in age, the two develop a sincere and surprisingly equal friendship. A wrench is thrown into their bromance when Fischer meets Rosemary Cross (Olivia Williams), a new teacher at Rushmore and a recent widow, and develops a powerful crush. In addition to the obvious hurdles – he is a child, and she is not interested – his friend Blume becomes smitten, as well. (Talking to Fischer by cellphone, Blume tries to talk him out of his crush on Rosemary. 'I mean, she's not that beautiful. She's not that intriguing,' he argues, as the camera pans to reveal that he is spying on her through a classroom window.) The two friends spiral into an infantile battle for Rosemary's attention – without, in classic male fashion, having given much thought to her feelings. A love triangle (sort of) between two adults and a teenager is an odd, even uncomfortable, premise for a movie. Rushmore's protagonist, Fischer, is also frankly a bad person: a shameless operator who manipulates people, subjects the exasperated Rosemary to grand and misguided romantic gestures, and acts ruthlessly to realize his overambitious projects. (Perhaps Anderson is trying to tell us something about auteur filmmakers?) There's a version of Rushmore that reads like Fatal Attraction; it is a testament to the film's intelligence that it instead bubbles over with charm, warmth, and emotional observation. I first watched Rushmore in high school, when I was old enough to appreciate the movie but not really to fully understand it. It was recommended by a friend who had a touch of Fischer to him, and perhaps saw a touch in me, too. Watching the movie, I had a strange shock of recognition: not just 'Where has this been all my life?' but 'How is it that some people I've never met made something perfectly tailored to my sensibilities?' Of course, a good film offers more, not less, each time you watch it. I've come back to Rushmore again and again, and each time I catch things – jokes, call-backs, themes, smart symmetries and flourishes – that I hadn't noticed before. The film is the best of Anderson's quirky vision, without an overindulgence in the aspects of his style that can be grating or 'twee,' to cite a common criticism. One reason may be the contribution of the actor Owen Wilson, who co-wrote Anderson's first three films (including another fan favorite, The Royal Tenenbaums). I suspect he balanced Anderson's whimsy with a certain groundedness and emotionality. Rushmore is stamped with the famous Anderson aesthetic, but its characters and story also have a realness that his more recent work sometimes lacks. As entertainment, the film gives me sheer pleasure. Yet it is also a profoundly shrewd study of relationships, ego, and growing up, whose emotional maturity is all the more impressive given that Anderson and Wilson started writing it when they were still in their twenties. And the film's iconic soundtrack of British Invasion pop-rock is perfectly chosen, none more so than in the final scene. As characters dance sweetly to Faces' Ooh La La, the lyrics offer a summation: 'I wish that I knew what I know now … When I was younger.' Rushmore is available on Hoopla in the US or to rent digitally in the UK and Australia
The Guardian
21-07-2025
- The Guardian
‘I am elated each time I watch': why Rushmore is my feelgood movie
'Let's hope it's got a happy ending,' Herman Blume, played by Bill Murray in one of his best roles, says near the end of Wes Anderson's 1998 film Rushmore. He makes the remark about an over-the-top, literally pyrotechnic school play that his teenage friend Max Fischer (Jason Schwartzman) has just debuted to an audience of dazed teachers and parents. But his comment stands in for the whole movie, an audacious and risky comedy that should not work, but does. I am elated each time I watch this poignant, wise and wildly funny film – and, yes, there is a happy ending. Rushmore is about children trying to act like adults and adults acting like children. Fischer is a precocious scholarship student at Rushmore, a prestigious private boys' school. He is the sort of bright but naive young person who tries to impress an adult by telling them, with a straight face, that he plans to apply to Oxford and the Sorbonne for university, with Harvard as a 'safety.' In fact, Fischer spends more time planning lavish plays and starting school clubs than studying. He is one of the school's 'worst students,' his headmaster (Brian Cox) sighs. One day Fischer meets Blume, a local industrialist whose sons are students at Rushmore. Blume is a self-hating rich man – his loathing of his boorish, silver-spoon-fed sons is one of the film's many funny running jokes – and he takes a shine to the scrappy Fischer. Despite their difference in age, the two develop a sincere and surprisingly equal friendship. A wrench is thrown into their bromance when Fischer meets Rosemary Cross (Olivia Williams), a new teacher at Rushmore and a recent widow, and develops a powerful crush. In addition to the obvious hurdles – he is a child, and she is not interested – his friend Blume becomes smitten, as well. (Talking to Fischer by cellphone, Blume tries to talk him out of his crush on Rosemary. 'I mean, she's not that beautiful. She's not that intriguing,' he argues, as the camera pans to reveal that he is spying on her through a classroom window.) The two friends spiral into an infantile battle for Rosemary's attention – without, in classic male fashion, having given much thought to her feelings. A love triangle (sort of) between two adults and a teenager is an odd, even uncomfortable, premise for a movie. Rushmore's protagonist, Fischer, is also frankly a bad person: a shameless operator who manipulates people, subjects the exasperated Rosemary to grand and misguided romantic gestures, and acts ruthlessly to realize his overambitious projects. (Perhaps Anderson is trying to tell us something about auteur filmmakers?) There's a version of Rushmore that reads like Fatal Attraction; it is a testament to the film's intelligence that it instead bubbles over with charm, warmth, and emotional observation. I first watched Rushmore in high school, when I was old enough to appreciate the movie but not really to fully understand it. It was recommended by a friend who had a touch of Fischer to him, and perhaps saw a touch in me, too. Watching the movie, I had a strange shock of recognition: not just 'Where has this been all my life?' but 'How is it that some people I've never met made something perfectly tailored to my sensibilities?' Of course, a good film offers more, not less, each time you watch it. I've come back to Rushmore again and again, and each time I catch things – jokes, call-backs, themes, smart symmetries and flourishes – that I hadn't noticed before. The film is the best of Anderson's quirky vision, without an overindulgence in the aspects of his style that can be grating or 'twee,' to cite a common criticism. One reason may be the contribution of the actor Owen Wilson, who co-wrote Anderson's first three films (including another fan favorite, The Royal Tenenbaums). I suspect he balanced Anderson's whimsy with a certain groundedness and emotionality. Rushmore is stamped with the famous Anderson aesthetic, but its characters and story also have a realness that his more recent work sometimes lacks. As entertainment, the film gives me sheer pleasure. Yet it is also a profoundly shrewd study of relationships, ego, and growing up, whose emotional maturity is all the more impressive given that Anderson and Wilson started writing it when they were still in their twenties. And the film's iconic soundtrack of British Invasion pop-rock is perfectly chosen, none more so than in the final scene. As characters dance sweetly to Faces' Ooh La La, the lyrics offer a summation: 'I wish that I knew what I know now … When I was younger.' Rushmore is available on Hoopla in the US or to rent digitally in the UK and Australia
Daily Mail
19-07-2025
- Daily Mail
Valerie Bertinelli says she's been 'talking' to her late mom as she writes her new book
Valerie Bertinelli has been hard at work on her new book, and has shared a couple of things that have given her inspiration during the process. The actress, 65, who is also recently pushed aside her anxiety to return to acting, shared a few thoughts with her fans on social media Friday. 'As I sat down at my computer to continue edits, and reading, and writing for my new book, (I'll let you know more when it gets closer to pub date) I started thinking about inspiration and how my work surface has changed through the years,' she began in the long post. . 'I've had this quote *Life does not put things in front of you that you are unable to handle* for what feels like forever, always sitting there, always reminding me,' the Bingo Blitz host said. Speaking from personal experience she told her follower the saying 'has proven to be quite true.' 'Life may feel incredibly difficult and challenging sometimes, but I always get through it. And the happier, peaceful times far outweigh the difficult ones.' She then revealed she had added an old photo of her mom, Nancy, who died in 2019. Referring to the black and white snap of a young woman she write, 'This is her at 18, I think. Isn't she beautiful?' The Hot in Cleveland star then revealed, 'I've been talking to her a lot lately.' She continued sharing by stating, 'I know she hears me. I can feel it, but I wish she were here so I could see it in her eyes,' Referencing her mom's sudden death nearly six years ago, the Valerie's Home Cooking author explained, 'There was so much left unsaid when she was alive. My regrets have passed, but I hope she knows how much I loved her.' Many of the One Day at a Time star's fans wrote in sharing their own stories of love and loss. 'She's indeed beautiful Val. I have my favorite photo of my mother and I on my fridge. Some days I miss her terribly but always feel her presence,' wrote one follower. 'Reminds me of my mom who I lost in 22. I love remembering her and always find ways to bring her with me through life. Yaay for bringing your mom with you too as you create! ❤️❤️' commented another. The actress's mother passed away suddenly in 2019. 'I've been talking to her a lot lately. I know she hears me. I can feel it, but I wish she were here so I could see it in her eyes,' she wrote; Pictured with Nancy and Andrew Bertinelli in Los Angeles in August 2012 Some expressed their thanks for her words of wisdom. 'You are healing and helping many people with your words,' stated a fan. 'I want you to know I really appreciate your honesty about life's challenges and emotions. It's really refreshing to read. Keep it coming Valerie!' declared another. Sharing a photo from the end of her day on Thursday, the scribe wrote, 'I'v e written, read and edited many words today. My brain hurts.' Last week Bertinelli revealed she had wrapped the acting project that had caused so much stress for her. 'That's a wrap! Color me grateful and happy,' she wrote on Instagram.
