James Congdon Movies

Upon knocking her noggin, a young, recently fatherless woman discovers an amicable apparition; the ghost of a young man who was killed in an aviation accident. As the spirit helps her cope with some of life's difficulties, the two fall in love. ~ Kristie Hassen, Rovi

In this heart-tugging kids movie, a vacationing family finds an abandoned mutt and kindly decide to name him Hobo and take him to their home in the big city. When their wicked landlord finds out about the pooch, he threatens to boot them out. Fortunately, Hobo helps to prove that the landlord isn't quite what he seems and manages to protect his newly adopted family. ~ Sandra Brennan, Rovi

A strange gardener who can turn into a tree can also create people-killing posies. He does just that, and sends the fatal flowers to a woman who has caught his interest. ~ Rovi

Based on the novel by Mary McCarthy, The Group was one of the slickest, and most highly publicized, cinematic soap operas of the 1960s. Filmed largely in New York, the story charts the exploits of eight young women, all of whom graduate from an exclusive Vassar-ish college in the middle of the Depression. Among the talented young actresses making their screen debuts herein are Candice Bergen as Lakey, the group's resident Lesbian; Joan Hackett as Dottie, a repressed socialite who takes up with bohemian artist Dick Brown (Richard Mulligan); Joanna Pettet as Kay, who marries philandering playwright Harald Peterson (Larry Hagman); and Kathleen Widdoes as Helena, the wealthiest of the girls who insists upon proving her value in the workplace. The other girls are Pokey (Marin-Robin Redd), who seems happiest when pregnant; Jessica Walter as Libby, the group's viper-tongued gossip and the darling of the Manhattan literary set (some have suggested that McCarthy based this character on herself); Elizabeth Hartman as Priss, the requisite heart-on-sleeve liberal; and Shirley Knight as Polly, whose bumpy love life culminates in a very colorful engagement party. Hal Holbrook, likewise making his first screen appearance, plays Gus LeRoy. Sumptuously produced, The Group is a bit empty dramatically, though the sheer volume of continuing characters manages to sustain audience interest. (Incidentally, here's a note for "blooper" spotters: wasn't the Pan Am building constructed in the 1950s? ) ~ Hal Erickson, Rovi

James Congdon plays Tony Nelson, a brilliant but foolhardy young scientist who is experimenting with matter and its relationship to time and space. Using a specially designed amplifier, he thinks he has found a way of releasing matter from the time and space that it occupies, thus allowing its atoms to freely intermingle with any surrounding matter without losing its integrity. After accidentally destroying the lab where he is working, he goes to his older brother Scott (Robert Lansing) for help. Scott is even more brilliant than Tony, but is his opposite in every other way: very orthodox, highly respected in his field, and also horribly overworked in his job and responsibilities. The two also have a fiercely competitive relationship that becomes more strained when Tony develops an attraction to Linda Davis (Lee Meriwether), Scott's fiancée. In testing Tony's equipment, Scott gets the experiment to work, passing one object through another, and achieves much more; his own hand accidentally passes through one of the test objects, gets caught, and then released. When he tries to repeat the experiment for Tony, he again passes his hand through the test object, and then discovers that the amplifier isn't functioning properly; the power to move into 4D is now being channeled through his own brain. He can pass through any solid object at will, and the previously staid, stolid scientist is uncharacteristically exultant at this success, though it seems to nullify the project he has spent years working on, the development of a supposedly impenetrable substance. Possessing this power causes Scott's basest desires to emerge for the first time; he starts out by going on a robbery spree, passing through locked bank vaults and stealing the financial reward that has been denied him in his job. The truly dire consequences of his new-found powers emerge the next morning, however, when Scott awakens to discover that he looks and feels at least 15 years older; apparently, using his new ability to move into 4D drains his life force. Worse yet, he discovers that he can replenish his life energy, but only by passing himself through people; this contact restores him, but accelerates their aging so that they shrivel up and die in seconds. Scott is riven by the struggle between his basic decency and his desire to survive, coupled with his now unbridled lust and greed, and the body count keeps rising as he rampages through the city. The police are unable to stop him, and Tony, feeling more responsibility than he's ever displayed before, prepares to turn the 4D amplifier on himself so that he can battle his brother. It is Linda, however, who takes the ultimate risk, luring Scott back to normal one last time. The story is exciting (albeit a bit grim) and played in a lively fashion, and the careful use of Ralph Carmichael's jazz-based score to accent the action also helps set 4D Man apart from other science fiction films of the era. ~ Bruce Eder, Rovi

First published in 1932, Philip Wylie and Edwin Balmer's speculative novel When Worlds Collide was immediately purchased by Paramount as a possible project for director Cecil B. DeMille. But because none of Paramount's scriptwriters were able to come up with an adequate screen treatment, the property lay on the shelf until 1950, when producer George Pal was casting about for a follow-up to his successful sci-fier Destination Moon. Though the film was top-heavy with special effects, Pal was able to bring When Worlds Collide in for under a million dollars, thanks to an inexpensive cast and a heavy reliance upon stock footage. The story is set in motion when Dr. Cole Henderson (Larry Keating) announces that a extraterrestrial planet is on a collision course with the Earth. No one believes Henderson's story, save for crippled financier Stanton (John Hoyt), who finances the construction of a gigantic spaceship, built for the purpose of transporting selected survivors from the doomed Earth to another Earthlike planet. As it becomes obvious that Henderson's predictions will come true, a worldwide lottery is held to select those people who will be rescued from oblivion by Stanton's spaceship. In the climactic scenes, the worlds do indeed collide, with appropriately spectacular results. But will the spaceship, overloaded with humanity, be able to take off and seek out a Brave New World? Amidst the thrills, a romantic triangle emerges, involving Richard Derr, Barbara Rush and Peter Hanson. ~ Hal Erickson, Rovi