Teresa Wright Movies

This documentary is a loving look at the cinematic genius of Alfred Hitchcock. Speeding through much of his early British works, the film focuses on his American classics, such as Marnie, Vertigo, and particularly Psycho. The movie also neatly examines Hitchcock's signature touches, from his inevitable brief cameo to his famous MacGuffin. Kevin Spacey narrates, and there are interviews with such film figures as Jonathan Demme, Peter Bogdanovich, and Janet Leigh. Dial H for Hitchcock was screened at the 1999 Denver Film Festival. ~ Jonathan Crow, Rovi

Throughout the 20th century, women have met the challenges and struggles of balancing work and family. Narrated by Jane Fonda, A Century of Women: Work & Family weaves fictional and factual stories to illustrate the history of women in the workforce, as well as their roles as wives and mothers. Performances and testimonies from a stellar group of women including Meryl Streep, Gloria Steinem, Twyla Tharp, and Maya Angelou facilitate the film's innovative method of storytelling. Archival film, photographs, and interviews retrace historical events -- from the founding of the PTA to early unions -- that changed our social landscape. Diaries, letters, and personal memories honor women of the past and make it clear that the balancing of labor and family was a matter of life and death. ~ Brooke Hodess, Rovi

In this entry in the long-running mystery series, Perry Mason represents a Marine Officer who is accused of killing a Nazi war criminal. He is the prime suspect because the Nazi had treated his mother terribly at a concentration camp. ~ Sandra Brennan, Rovi

In this droll derivation of "Arsenic and Old Lace", former 1940s film ingénues Teresa Wright and Joan Leslie are cast as the spinsterish Appletree sisters, Cabot Cove's resident eccentrics. With the annual flower show coming up, it looks as though dear old Helen and Lillian Appletree are going to win first prize with their chrysanthemums, which have bloomed beautifully and beyond all expectations. What no one else in town knows is that the ladies have come upon a wonderful new "fertiziler"--namely, the body of one Morris Penroy (Henry Jones), whom they have buried beneath their flower bed. When a second corpse pops up at the Appletree house, Cabot Cove's new sheriff Mort Metzger (Ron Masak, making his first appearance in this recurring role) cannot help but suspect that the old biddies have committed murder--but as usual, Jessica (Angela Lansbury) has concluded that someone else is responsible. ~ Hal Erickson, Rovi

Bill: On His Own is the laudable made-for-TV sequel to the Emmy-winning 1981 film Bill. Mickey Rooney once more shines as Bill Sackter, a mentally-retarded adult struggling to survive in the mainstream. The owner of a coffee kiosk at the University of Iowa, Bill becomes disoriented when his friend and mentor Dennis Quaid moves to Los Angeles. Taking over Bill's case is idealistic young social worker Helen Hunt. While studying towards his Bar Mitzvah (which he was denied at the age of 13 because of his "incompetence"), Bill suffers a severe personal blow that threatens to send him spiralling back into helplessness. Bill: On His Own was originally telecast November 9, 1983, some four months after the death at age 70 of the real-life Bill Sackter. ~ Hal Erickson, Rovi

Christopher Reeve got away from Superman and related costume roles in this dramatic fantasy film, adapted from Richard Matheson's 1960s vintage novel Bid Time Return. A young playwright, Richard Collier (Reeve), is approached by an elderly woman on the occasion of his first triumph in 1972 -- all she says to him is "Come back to me" and leaves him with a watch that contains a picture of a ravishing young woman. Eight years later, he visits the Grand Hotel on Mackinac Island and comes upon a photograph of the same woman, whom he discovers was an actress who made an appearance at the hotel in 1912. He becomes obsessed with the image and what the woman -- who died the night she approached him in 1972 -- meant by what she said. In a manner somewhat reminiscent of the film Laura, he falls in love with her and her image as he learns more about her life and career. Then he comes upon the suggestion of a professor at his former college that time travel may, in fact, be possible, using an extreme form of self-hypnosis to free the person from the place they occupy in the time-stream. Collier's feelings for the woman are so strong that he succeeds, bringing himself back to the hotel in 1912 on the eve of her triumph. He meets the actress, Elise McKenna (Jane Seymour), and the two fall in love despite the machinations of her obsessive, autocratic manager (Christopher Plummer), who feels threatened by Collier's presence. ~ Bruce Eder, Rovi

Having already exhausted the dramatic possibilities of fire with The Towering Inferno, producer Irwin Allen turns to water in the made-for-TV Flood! The film is set in a small community, conveniently (for the purposes of the plot) located near a huge earthen dam. As the flood waters rise and the dam threatens to collapse, we are made privy to the individual reactions of such all-star victims-to-be as Robert Culp, Martin Milner, Richard Basehart, Cameron Mitchell, Barbara Hershey, Teresa Wright and Carol Lynley. As in Inferno, helicopter pilots come to the rescue. Most of the film was shot in Eugene, Oregon. Flood! first aired on November 24, 1976. ~ Hal Erickson, Rovi

An all-star "disaster" flick set in an elevator: is there no limit? This made-for-TVer top-bills James Farentino as a bank robber suffering from claustrophobia. Fleeing from his latest crime, the criminal is forced to take an elevator, populated with the likes of Roddy McDowall, Craig Stevens, Teresa Wright, Myrna Loy and Carol Lynley. Naturally, the elevator stalls between floors, high above ground level. The Elevator debuted as an ABC Movie of the Week on February 9, 1974. ~ Hal Erickson, Rovi

Crawlspace is a quirky made-for-TV movie about a strange young drifter (Tom Harper) who arrives in a small New England town. He is sheltered by a generous middle-aged couple (Arthur Kennedy and Teresa Wright), but he insists upon living in a tiny crawlspace in the couple's cellar. His hosts had hoped that the boy would fill an emotional gap in their childless lives, but the young visitor refuses to leave his cramped living area, where he harbors disturbing notions of taking revenge on a world he feels has wronged him. Crawlspace was adapted from the suspense novel by Herbert Lieberman. It should not be confused with a 1986 slasher flick also titled Crawlspace, wherein Klaus Kinski hides in the homes of the beautiful girls he intends to murder. ~ Hal Erickson, Rovi

Hail, Hero! stars Michael Douglas in his screen debut as long-haired college student Carl Dixon. Reversing the usual procedure in late-1960s films, Dixon decides to quit school and enlist in the Army, even though he's already run afoul of the law as a Vietnam protestor. It is our hero's intention to use love, rather than bullets, to combat the Viet Cong. Needless to say, his idealism is no match for the harsher realities of war, but this doesn't stop him from endlessly spouting the sort of agit-prop rhetoric so beloved of filmmakers of the era. In addition to Michael Douglas, co-star Peter Strauss likewise makes his first film appearance in Hail, Hero! Dated in the extreme, the film is saved by the musical score by Gordon Lightfoot. ~ Hal Erickson, Rovi

Marion Brown (Teresa Wright) of Cleveland, OH, travels to Newark, NJ, there to meet and murder Bernice Brown (Jean Hale). It seems that Marion has discovered that her traveling-salesman husband (Dan Duryea) is a bigamist, and she is determined to knock off not only his "second" wife but also his "third" spouse, Lucille (Linda Lawson). Making matters worse for the peripatetic Mr. Brown is the fact that every time Marion strikes, he loses yet another source of income to feed his gambling habit...but the absolute worst is still to come. ~ Hal Erickson, Rovi

Small-minded small town 1950's mores threaten a youthful romance in this sudsy melodrama based on the play Teach Me How to Cry by Patricia Joudry and reminiscent of the previous year's Peyton Place (1957). Sandra Dee stars as Melinda Grant, an illegitimate girl facing the stigma of being a fatherless child in the rigidly judgmental atmosphere of her hometown. Melinda's problems are further compounded by the fact that her mother Elizabeth (Teresa Wright) is a neurotic woman slowly losing her mental grip. Then Melinda meets Will Henderson (John Saxon), the new boy in town, and the two fall in love. Will is from the wrong side of the tracks, however, and his down-on-his-luck father Ed (James Whitmore) doesn't do much to improve the family's reputation. Local tongues are soon wagging over the Melinda-Will romance, casting its future in doubt. ~ Karl Williams, Rovi