James Flavin Movies

Francis Gary Powers: The True Story of the U-2 Spy is a TV dramatization of the notorious Cold War incident of 1960. The story is told from the point of view of Powers (Lee Majors), an American pilot who was shot down over Russia while taking photographs on behalf of the CIA. The event occurs just before a crucial summit meeting between American President Dwight D. Eisenhower (James Flavin) and Soviet premier Nikita Khrushchev (Thayer David). Eisenhower tries to cover up the incident, allowing Khrushchev to make propagandistic hay of the whole affair. Robert E. Thompson's teleplay tends to depict the Americans as jerks, and the Russians as essentially good guys; even Powers' Soviet interrogator, portrayed by Nehemiah Persoff, comes off comparatively sympathetic. Also in the cast are Noah Beery as Powers' father and Lew Ayres as Allen Dulles. Francis Gary Powers: The True Story of the U-2 Spy was originally telecast September 29, 1976. ~ Hal Erickson, All Movie Guide

Richard Brooks wrote and directed this stark black-and-white (with brilliantly evocative cinematography by Conrad Hall) study of two drifters who murder a family, based on Truman Capote's non-fiction novel In Cold Blood. The film takes place in Holcomb, Kansas, where four members of the Herbert Clutter family are roused from their sleep and brutally murdered. The killers, Perry Smith (Robert Blake) and Dick Hickock (Scott Wilson), are two ex-cons who plan to rob the Clutters of $10,000 kept in a safe in their home. But Dick and Perry find no safe and no $10,000 and end up leaving the murder scene with only $43. The police, led by Alvin Dewey (John Forsythe) of the Kansas Bureau of Investigation, try to track down the killers. Meanwhile, Dick and Perry take off to Mexico, where Perry has fantasies of prospecting for gold. But when his dreams of prospecting come to naught, Dick insists that they return to the United States. Confident that they have left no clues, they cash bad checks, and the police track them down in Las Vegas. During questioning, their alibis are broken when they are separated and tell conflicting stories. ~ Paul Brenner, All Movie Guide

John Ford's last western film, Cheyenne Autumn was allegedly produced to compensate for the hundreds of Native Americans who had bitten the dust in Ford's earlier films (that was the director's story, anyway). Set in 1887, the film recounts the defiant migration of 300 Cheyennes from their reservation in Oklahoma territory to their original home in Wyoming. They have done this at the behest of chiefs Little Wolf (Ricardo Montalban) and Dull Knife (Gilbert Roland), peaceful souls who have been driven to desperate measures because the US government has ignored their pleas for food and shelter. Since the Cheyennes' trek is in defiance of their treaty, Captain Thomas Archer (Richard Widmark), who agrees with the Indians in principle, reluctantly leads his troops in pursuit of the tribe. While there was never any intention to shed blood, the white press finds it politically expedient to distort the Cheyennes' action into a declaration of war. Thanks to the cruelties of such chauvinistic whites as Captain Oscar Wessels (Karl Malden), the Cheyennes are forced to defend themselves--and whenever Indians take arms against whites in the 1880s, it's usually misrepresented as a massacre. Only the intervention of US secretary of the interior Carl Schurz (Edward G. Robinson) prevents the hostilities from erupting into wholesale bloodshed. Based on a novel by Mari Sandoz, Cheyenne Autumn is a cinematic elegy--not only for the beleaguered Cheyennes, but for John Ford's fifty years in pictures. It is weakest when arbitrarily throwing in a wearisome romance between Richard Widmark and pacifistic schoolmarm Carroll Baker, who out of sympathy for the Indians has joined them in their 1500-mile westward journey. When the Warner Bros. people decided that the film ran too long, they chopped out the wholly unnecessary but very funny episode involving a poker-obsessed Wyatt Earp (James Stewart). Contrary to popular belief, this episode was included in the earliest non-roadshow prints of Cheyenne Autumn; the scene was excised only when the film went into its second and third runs in 1966 (it has since been restored). ~ Hal Erickson, All Movie Guide

In the conclusion of a two-part story, Lucy (Lucille Ball) and Mr. Mooney (Gale Gordon) are freed from the bank vault in which they've been locked up for 18 hours. In trying to explain to the media how she accidentally locked the door in the first place, Lucy succeeds in trapping Mooney in the vault all over again! The only person in town qualified to open the vault is candy manufacturer Mr. Bundy (Jay Novello), who'd once served time as a safecracker. Unfortunately, the temptation of all that money proves too much for the "reformed" Bundy, and he ends up robbing the safe and taking Lucy and Viv (Vivian Vance) hostage! The episode's riotous climax finds our two heroines, tied back to back, happily hopping around to sample the tasty confections in the back room of Bundy's candy store. ~ Hal Erickson, All Movie Guide

Twilight Zone's only foray into old-time slapstick comedy, this episode stars the great Buster Keaton as Woodrow Mulligan, a 19th century janitor fed up with the hustle, bustle, and noise of "modern life." While working in the laboratory of scientists Gilbert and Fenwick (Milton Parsons and George E. Stone), Woodrow stumbles upon a newly-invented time helmet. Reasoning that he will enjoy more peace and quiet in the future, Woodrow activates the helmet and ends up in 1962 -- where, not surprisingly, he doesn't find things to his liking! The first half of this episode is delightfully staged in the manner of a silent movie, replete with flickery photography, gag subtitles, and a rinky-tink piano score (written by William Lava, performed by Ray Turner). The 1962 sequences are done in full sound, and they aren't quite as satisfying, though there's a terrific recreation of a key gag from the 1918 Fatty Arbuckle/Buster Keaton two-reeler The Garage, with Stanley Adams standing in for Arbuckle. Most of the episode was directed by silent-movie veteran Norman Z. McLeod, with the exception of an intrusive sequence set in a repair shop, which was helmed by Les Goodwins. Written by Rod Serling, "Once Upon a Time" was first telecast on December 15, 1961. ~ Hal Erickson, All Movie Guide

Written by Rod Serling, this episode represented the joint Twilight Zone debut of actor Jack Klugman (who went on to star in three additional episodes) and director Don Medford. Klugman stars as trumpet player Joey Crown, who, regarding his life as empty and futile, tries to kill himself. Instead, he is briefly hurtled into Limbo, where he learns a number of valuable lessons from a mysterious musician named Gabe (played by Twilight Zone "regular" John Anderson). Originally telecast May 20, 1960, "A Passage for Trumpet" was the first of four Twilight Zone episodes introduced by the "big-eye" opening logo. Also: watch for a brief "inside joke" when Joey Crown passes by a construction company named for series producer Buck Houghton. ~ Hal Erickson, All Movie Guide

Lumber tycoon Bill Fleming (Paul Douglas) knows that his wife, Laura (Dody Heath), is unfaithful, but he draws the line at killing Laura's love, Philip Baxter (Hugh Marlowe). However, Fleming changes his mind when a young acquaintance named Sandy (Robert Morse) cites an archaic but still viable law, which declares that Fleming cannot be prosecuted if he kills his rival in a duel. What Sandy doesn't tell Fleming is that this law has its own peculiar conditions. ~ Hal Erickson, All Movie Guide

Young schoolboy Johnny Rocco (Richard Eyer) has a stuttering problem. Though this in itself is not unusual, the source of Johnny's nervous impediment is off the beaten track: Johnny's father (Stephen McNally) happens to be a high-ranking mobster. When Lois (Coleen Gray), the boy's teacher, takes a special interest in Johnny's plight, she finds her life in danger. Rival mobsters and police officials alike pursue Johnny and Lois because of privileged "inside" information that the boy carries in his head. The script for Johnny Rocco was based on a story by actor Richard (I Led Three Lives) Carlson. ~ Hal Erickson, All Movie Guide

Art Carney guest stars as Cyril T. Jones, a timid gunsmith who is caught in the crossfire of a gangland killing. Though his wound is minor, Cyril is afraid to leave the hospital for fear he has been targeted for death because he witnessed the earlier "hit." Finally, Cyril hits upon a brilliant idea that will ensure him round-the-clock police protection: he will commit a murder himself. ~ Hal Erickson, All Movie Guide

Wild Is the Wind represents a (perhaps deliberate) reversal of the situation in The Rose Tattoo (1955). Whereas in Tattoo, Anna Magnani played a widow who could never find a man to measure up to her late husband, in Wind her character, Giola, marries widowed rancher Gino (Anthony Quinn), who is haunted by the memory of his first spouse. The situation is dicier in Wind, since Italian immigrant Gino's deceased wife was Giola's sister. Eventually tiring of her husband's mood swings, Giola turns to his son, Bene (Anthony Franciosa), for emotional and sexual gratification. A Hollywood approximation of the Italian neorealist school of filmmaking, Wild Is the Wind was based on Furia, a story by Vittorio Nino Novarese. ~ Hal Erickson, All Movie Guide

Another of director Allan Dwan's underrated but well-crafted westerns of the 1950s, The Restless Breed stars Scott Brady as a young gunslinger who lives for revenge. When Brady's father is killed by gun runners, he pursues the villains across the Mexican border. Gang leader Jim Davis, beyond the reach of American law, is confident that his henchman can get rid of Brady in short order, but he's wrong. As his hired guns drop like flies, Davis is forced to accept Brady's challenge to a showdown. Anne Bancroft is intriguingly if incongruously cast as an Indian girl who falls in love with Brady. ~ Hal Erickson, All Movie Guide

When an Army general is appointed to the sensitive diplomatic post that the powerful publisher of a prominent news magazine had hoped would go to a particularly qualified civilian, she launches a vitriolic campaign to discredit the general. First the publisher orders one of her cameraman to snap a few incriminating photographs of the general. In order to get them, she invites the general out for a night on the town. No matter how hard she tries to get him drunk, the general remains sober. Unfortunately, she ends up quiet tipsy and falls in a pool where she nearly drowns until the general rescues her. The sodden but grateful publisher kisses him and it is at that point that they realize that animosity is rapidly turning to love, at least for her. When she discovers that her newborn love is fated to remain unrequited because of things from the general's past, the jealous publisher pens a poisonous article about him. This creates all kinds comical obstacles and further misunderstandings. ~ Sandra Brennan, All Movie Guide

"Wild Bill" Elliot once again plays diligent police lieutenant Boyle in Footsteps in the Night. This time, Doyle investigates the murder of a friend, who was killed shortly after a high-stakes card game. The principal suspect is Henry Johnson (Douglas Dick), who was heavily in debt to the dead man. But Doyle finally deduces not only the identity of the actual killer (it's a real surprise!) but the misguided motivations that led to the crime. Much of the film was lensed just outside the studios of Allied Artists, fomerly Monogram and currently the home of Los Angeles' PBS outlet. ~ Hal Erickson, All Movie Guide