Cindy Williams Movies

Returning from the original American Graffiti are Debbie Dunham, Steve Bolander, John Milner, Carol/Rainbow, Terry the Toad and Laurie Bolander (Candy Clark, Ron Howard, Paul LeMat, Mackenzie Phillips, Charles Martin Smith and Cindy Williams), but Richard Dreyfuss is missing and Harrison Ford shows up in a gag cameo. The sequel brings its principles into the more radical end of the 1960s, with Steve and Laurie, now married, on the fringes of the protest movement. Debbie and Carol have been lured into the flower-power milieu by rocker Newt (Scott Glenn). And John has parlayed his love of hot rods into a drag-racing career. ~ Hal Erickson, All Movie Guide

Cheech Marin and Eric Roberts play two draft-dodging hippies who flee to a commune in Central America where they stay for 20 years. When they return in 1989 and seek out some of their old NYC buddies, they find they've turned yuppie and things just aren't what they'd expected. ~ All Movie Guide

A husband and wife are initially thrilled to have moved to an idyllic, leafy town, but its apparent perfection -- no crime, noise, or violence -- gradually unnerves them. Even the town's male fraternity is unusually staid, which leads our protagonists to believe that something sinister is at work in their ostensibly blissful little burg. ~ Rebecca Flint Marx, All Movie Guide

Made between The Godfather (1972) and The Godfather Part II (1974), and in part an homage to Michelangelo Antonioni's art-movie classic Blow-Up (1966), The Conversation was a return to small-scale art films for Francis Ford Coppola. Sound surveillance expert Harry Caul (Gene Hackman) is hired to track a young couple (Cindy Williams and Frederic Forrest), taping their conversation as they walk through San Francisco's crowded Union Square. Knowing full well how technology can invade privacy, Harry obsessively keeps to himself, separating business from his personal life, even refusing to discuss what he does or where he lives with his girlfriend, Amy (Teri Garr). Harry's work starts to trouble him, however, as he comes to believe that the conversation he pieced together reveals a plot by the mysterious corporate "Director" who hired him to murder the couple. After he allows himself to be seduced by a call girl, who then steals the tapes, Harry is all the more convinced that a killing will occur, and he can no longer separate his job from his conscience. Coppola, cinematographer Bill Butler, and Oscar-nominated sound editor Walter Murch convey the narrative through Harry's aural and visual experience, beginning with the slow opening zoom of Union Square accompanied by the alternately muddled and clear sound of the couple's conversation caught by Harry's microphones. The Godfather Part II and The Conversation earned Coppola a rare pair of Oscar nominations for Best Picture, as well as two nominations for Best Screenplay (The Godfather Part II won both). Praised by critics, The Conversation was not a popular hit, but it has since come to be seen as one of the artistic high points of the decade, as well as of Coppola's career. Its atmosphere of paranoia and suspicion, combined with its obsessive loner antihero, made it prototypical of the darker "American art movies" of the early '70s, as its audiotape storyline also made it seem eerily appropriate for the era of the Watergate scandal. ~ Lucia Bozzola, All Movie Guide

The owner of a financially foundering skin-flick production company decides that the only way to save it is to put on a Busby Berkeley-esque pornographic musical -- sort of a Broadway meets Times Square affair. Ribald humor, bawdy songs and plenty of skin abounds in this sophomoric satire that while unabashedly trashy, has developed a bit of a cult following. Songs include: "The First Nudie Musical," "The Lights and the Smiles," "Lesbian Butch Dyke," "Five Dancing Dildos," "Perversion," "Honey, What Ya Doin' Tonight," "I Don't Have to Hide Anymore," "Where Is a Man." ~ Sandra Brennan, All Movie Guide

Originally broadcast as an installment of ABC's Disney Sunday Movie anthology, The Leftovers marked the TV acting debut of singer John Denver. He is cast as Max Sinclair, the director f a foster-care facility for older orphans who, for various reasons, no one has ever adopted. Described themselves as "the leftovers", the six kids form a strong bond, refusing to be farmed out to separate families, even though orders have come down for Sinclair to vacate his facility within five weeks. Amidst the seriocomic intrigue, Max falls in love with widow Heather Drew (Cindy Williams), the facility's housekeeper--and an orphan herself. A few potential stars can be glimpsed among the supporting players, notably a pre-Urkel Jaleel White as wisecracking "leftover" Jake. The Leftovers debuted on November 16, 1986. ~Saw Film/TV Guide/Internet/Marrill/Expert ~ Hal Erickson, All Movie Guide

Thirty-three years after the demise of The Patty Duke Show, you'll be glad to know that Patty Lane is still seeing the sights a girl can see from Brooklyn Heights, and that her identical cousin Cathy still prefers the minuet and crepe suzette, judging from the evidence presented in this made-for-TV movie. Patty Duke once again plays both Patty and Cathy; these days, Patty is a drama teacher at her old high school, and while she's still sees her old boyfriend Richard (Eddie Applegate), they got married after high school and have since divorced; they have a grown son and a granddaughter. Cathy, on the other hand, is a widow with a teenage son, currently living in Scotland. When the two cousins meet again at a family reunion, they join forces to do battle with Patty's arch-enemy Sue Ellen (Cindy Williams), who plans to buy Brooklyn Heights High School, tear it down and put in a strip mall. Also reprising their roles from the original TV series are William Schallert and Jean Byron as Patty's parents. ~ Mark Deming, All Movie Guide

In the lively comedy/adventure Travels with My Aunt, adapted from Graham Green's book, Henry (Alec McCowan), a timid, bookish accountant whose life seems to have died stillborn, discovers how to live with gusto thanks to the rough ministrations of his thoroughly eccentric aunt Augusta (Maggie Smith). Aunt Augusta bursts into Henry's life during the funeral for his mother, Augusta's sister. She whisks him to her apartment for a general cheering up, and he is thoroughly bemused by her bohemian ways and her much-younger black Caribbean boyfriend. In the next few hours, she manages to pry him from his dusty life and involve him in a series of incredible adventures involving old love affairs, espionage, kidnappings, and more money than he has ever dreamt of. Before the story ends, Henry has properly gotten into the spirit of his madcap aunt's adventuring. ~ Clarke Fountain, All Movie Guide

A small California town is gripped by UFO fever in this well-acted, surprisingly rich comedy. At the center of the mania is Arlene, a grocery store clerk and born-again Christian fascinated with flying saucers. This interest soon evolves into a full-blown obsession when Arlene is visited by a visionary dream, which she believes predicts the imminent arrival of a vessel from outer space in the nearby desert. Not even the doubts of her skeptical boyfriend, a good-hearted petty thief named Sheldon, are enough to dissuade her from her new role as prophet of the coming spaceship. At first hesitant and awkward, Arlene soon blossoms into a confident leader, and Sheldon puts aside his disbelief to revel in their sudden fame. Indeed, two have soon attracted enough of a following to pique the interest of Reverend Bud Sanders, the local revivalist preacher. Soon, Reverend Bud has joined in the crusade, and a good portion of the town has gathered to anxiously await the spaceship's arrival. Rather than resorting to easy ridicule, director John Binder creates an unexpectedly sympathetic, yet still comedic, portrait of the UFO believers, neither condemning their faith nor denying the fine line between belief and gullibility. ~ Judd Blaise, All Movie Guide