Mike Post Movies

Adam is the heartbreakingly true story of the disappearance of 6-year-old Adam Walsh (John Boston) at a South Florida shopping mall. Adam's anguished parents John and Reve Walsh (Daniel J. Travanti and JoBeth Williams) turn to the FBI for help in finding their son, only to discover that the federal organization does not involve itself in such cases. As hope for Adam's return fades, the Walshes begin an organization to aid and comfort other families of missing children. The story does not end happily for Adam or his parents, but as a result of this tragedy, Congress passes the Federal Missing Children Act in 1983. This made-for-TV drama, originally telecast October 10, 1983, was followed by a sequel three years later. The real-life John Walsh later hosted the popular "reality-based" TV series America's Most Wanted. ~ Hal Erickson, All Movie Guide

Television film featuring the Marvel Comics hero doing battle with a mad industrialist who wields a neutron bomb. ~ Nicole Gagne, All Movie Guide

Nice Night for a Hanging was the feature-length pilot film for the never-sold TV series Charlie Cobb. Clu Gulager stars as Cobb, a private detective operating in the Old West. Our hero comes to California at the behest of a powerful rancher (Ralph Bellamy), and is hired to locate the rancher's long-lost daughter, who was kidnapped in infancy. Cobb runs into resistance from several unsavory characters who have their eyes on his client's fortune. Produced by Columbo creators Richard Levinson and William Link, Charlie Cobb: Nice Night for a Hanging premiered June 19, 1977. ~ Hal Erickson, All Movie Guide

Another Law & Order spin-off from producer Dick Wolf, NBC's weekly, hour-long Conviction starred Stephanie March, recreating her familiar Law & Order: SVU role as Assistant DA Alexandra Cabot. Formerly imbedded in the Federal Witness Protection Program, Alexandra was once more able to move about and practice her trade, this time as bureau chief for a group of young, ambitious ADAs. Her new colleagues included deputy DA and law-office manager Jim Steele (Anson Mount); born-into-privilege lawyer Nick Potter (Jordan Bridges), who idealistically left a lucrative private practice to work with Cabot for a paltry 51,000 dollars per year; arrogant grandstander Billy Desmond (J. August Richards), who went to great lengths to secure for himself only those cases that he was sure to win; Jessica Rossi (Milena Govich), Nick Potter's unofficial assistant and a woman with a murky, working-class past; Brian Peluso (Eric Balfour), whose legal brilliance was mitigated by his slovenliness and his messy private life; and Christina Finn (Julianne Nicholson), who'd been working in the office for two years before finally landing her first case and was understandably anxious to make up for lost time. Eschewing the "procedural" format of the other series in the Law & Order franchise, Conviction was built more along the lines of the medical drama Grey's Anatomy, focusing more on the various lawyers' personal problems and hang-ups than on their professional activities. Also breaking away from the Law & Order formula was the series' predilection for having the attorneys inaugurate legal investigations before it was entirely certain that a crime had actually been committed. Conviction first aired on March 3, 2006. ~ Hal Erickson, All Movie Guide

Hoping to revive the glory days of Lou Grant, NBC, in association with Law & Order creator Dick Wolf, came forth with the weekly, one-hour newspaper drama Deadline. Oliver Platt starred as Wallace Benton, a Pulitzer Prize-winning investigative reporter whose dauntless dedication was matched by his short temper and gift for deception. Aided by Beth Khambu (Christina Chang) and Charles Foster (Damon Gupton), two students from the graduate journalism class that he taught in his spare time (what spare time?), Benton regularly riffed on the rich, powerful, and corrupt in his daily column "Nothing But the Truth." Because he ignored such journalistic niceties as press passes and off-the-record statements, Benton was the source of many a headache for his lawsuit-fearing publisher Si Beekman (Tom Conti) and his managing editor Nikki Masucci (Bebe Neuwirth). And because he cared more about "The Truth" than financial compensation, Benton was forever behind in alimony payments to his three ex-wives -- one of whom, Brooke Benton (Hope Davis, worked side-by-side with Benton on the same newspaper. Also featured was that singular actress Lily Taylor as Hildy Baker. Debuting October 2, 2000, Deadline was almost universally panned by real-life journalists, who complained that the sort of melodramatic pyrotechnics engaged in by Wallace Benton hadn't been used since the gonzo days of The Front Page -- and even worse, Benton was a poor and clumsy writer, whose stilted headlines and purple prose seemed calculated to drive readers to other sources of news. Undaunted, the series' producers described Deadline as "Columbo in a newspaper office," so the viewer knew exactly what to expect. ~ Hal Erickson, All Movie Guide

Dr. Scorpion (Roscoe Lee Browne) is a megalomaniac genius, who plans to rule the world with or without the world's cooperation. His chief nemesis is marine biologist Jonathan Shackleford (Nick Mancuso), an ex-spy better known as "Shack". Shack was also the title of the TV series for which the filmed-in-Hawaii Dr. Scorpion was the pilot. Producer Stephen Cannell lost interest in the project almost from the beginning, thanks to the network-imposed casting of the Nick Mancuso in the leading role (Mancuso agreed that he was wrong for the part, but a buck's a buck). Still, the notion of a Hawaii-based spy appealed to Cannell, so much so that he later revitalized the notion as the moderately successful TV series Stingray. ~ Hal Erickson, All Movie Guide

Monie Ellis is the latest in a long line of movie and TV "Gidgets" in Gidget Gets Married. The title tells all: Francie "Gidget" Lawrence (Ellis) forsakes bikinis and surfboards for a wedding gown and corsage. Her husband, of course, is her faithful beau "Moondoggie", aka Jeff Stevens (Michael Burns). But the course of true love steadfastly refuses to run smoothly, as Gidget tries to deal with the snobbish social hierarchy within her husband's family and business associates. As he did in 1970's Gidget Grows Up, Paul Lynde steals the show as the waspish Louis B. Lattimer. Based on characters created by Frederick Kohner (whose own daughter was the model for the original Gidget), the made-for-TV Gidget Gets Married premiered January 4, 1972. ~ Hal Erickson, All Movie Guide

British director Tony Garnett's American film debut is a tale of revenge that criticizes American gun culture. Karen Young plays Kathleen Sullivan, an idealistic Boston educator who travels to Texas to teach. In her new home town she meets Larry Keeler (Clayton Day), a handsome lawyer who is obsessed with guns. On their first date together, things seem to go swimmingly, but on their second date, Larry brings his gun along and Kathleen finds herself raped with a firearm pointed at her head. Kathleen becomes consumed with vengeance; she learns how to handle a gun, becomes a crack shot, and goes forth to seek revenge for her rape. ~ Paul Brenner, All Movie Guide

The career of boxer Ray "Boom Boom" Mancini is the subject of the made-for-TV biopic. Doug McKeon plays Mancini, while Robert Blake co-stars as his father, Lenny Mancini. An excellent pugilist in his own right, Lenny's career is cut short by his wartime service. Son Ray carries on the tradition into the 1980s, battling his way towards the WBA crown. Heart of a Champion's executive producer was Rocky star Sylvester Stallone, who (it says here) staged the boxing sequences. This heartwarming "do it for the old man" effort was first telecast May 1, 1985. ~ Hal Erickson, All Movie Guide

Though the series proper debuted on Friday, October 3, 1986, L.A. Law was heralded by a two-hour TV movie, which aired Monday, September 15. The Steven Bochco production gets off to a good start, with no fewer than three cases resolved within the first installment. We first meet law-firm partner Michael Kuzak (Harry Hamlin) compromising his personal values with an odious client; our introduction to Arnold Becker (Corbin Bernsen) finds him personally involved in a divorce settlement; and Ann Kelsey (Jill Eikenberry) and Douglas Brackman Jr. (Alan Rachins) spar over a pro-bono case. Also starring is Richard Dysart as senior partner Leland McKenzie, and Jimmy Smits as tyro lawyer Victor Sifuentes. ~ Hal Erickson, All Movie Guide

"In the criminal justice system, the people are represented by two separate, yet equally important, groups: the police, who investigate crime, and the district attorneys who prosecute the offenders. These are their stories." With this pithy but all-inclusive prologue, thus began each hour-long episode of Law & Order, American network television's longest-running police drama.

This was not the first such program to equally divide its time between the arrest and the trial; indeed, there had been a series precisely titled Arrest and Trial back in 1963. But Law & Order was easily the most popular and successful of the batch, and as the series eased gracefully past its 11th, 12th, and 13th season, it was very likely that its creator and executive producer Dick Wolf would fulfill his dream of matching and even surpassing the longevity of Gunsmoke, which lasted 20 years, setting a record as American network television's most durable dramatic series. Although Law & Order boasted a large and fluid ensemble cast, there were no real "stars" per se, save for the city of New York (a point made by scores of TV historians, notably Tim Brooks and Earle Marsh). Virtually every episode starts out with the discovery of a dead body or evidence of a violent crime. A pair of NYPD detectives arrive on the scene, begin gathering evidence and eyewitnesses at the behest of their superiors, and -- generally after a handful of frustrating dead ends and false leads -- manage to collar the principal suspect. The story then shifts to the offices of the DA, where a team of brilliant prosecuting attorneys do their best to build a case against the accused, dodging the obstructive tactics of defense lawyers all along the way. Even when the case gets to court, the story is far from over, with several twists and turns -- and usually a shocking and unexpected denouement -- awaiting both the prosecutors and the viewer.

The series made its NBC network debut Thursday, September 13, 1990, moving to its originally scheduled Tuesday-night slot October 23. The original cast included, on the side of "Law," chubby, hard-boiled veteran detective Sgt. Max Greevey (George Dzundza) and his younger, more athletic partner, Mike Logan (Chris Noth). Their supervisor was Captain Donald Cragen, played by Dann Florek. Once the detectives had completed their share of the work, the scene changed to the "Order" team of District Attorney Adam Schiff (played by Steven Hill), who appeared in all but the pilot episode, and a brace of intense, dedicated assistant DAs, the Caucasian Ben Stone (Michael Moriarty) and African-American Paul Robinette (Richard Brooks). The program's first season had several distinctions: In keeping with network's promise of delivering TV's top "action series," the scenes in which Greevey and Logan track down the perp are top-heavy with noise and violence (generally implied, but not always so), vertigo-inducing handheld camerawork and punchy background music. Also, individual scenes run a bit longer than the later short-and-sweet vignettes that would become the series' stylistic trademark. And unlike the relatively dispassionate detectives seen in later seasons, Greevey and Logan tend to become emotionally involved in their work; similarly, lawyers Stone and Robinette seem to take every legal setback personally, much more so than their successors in the series' subsequent years, although DA Schiff exhibits as much calm, stoic integrity in his first appearance as he would in his last, a decade later. Even in its earliest episodes, however, the emphasis is on the story rather than personalities: All we learn of the regulars' private lives is revealed in fragmentary fashion, and only when it bears some relevance.

Fans of the latter-day Law & Order will notice that the first season lacks the gender balance of the series' later years -- or, put more bluntly, the series was pretty much an "all boys' club." Although dozens of prominent actresses appeared in supporting roles, there were no regular female characters, a fact that tended to weaken the series' ratings in its formative seasons. Still, it would not be until the fourth season began in 1993 that any distaff characters would be added to the weekly lineup. One element of the series was established early on and would remain in place forever afterward: Most of the stories on Law & Order were "ripped from today's headlines," often with only the names changed to protect the innocent (?). In season one alone, the series offers fictionalizations of the Bernard Goetz subway shootings, the Menendez killings, the Central Park "Preppie Murder," the "Mayflower Madam," the Tawana Brawley imbroglio, and the Steinberg child-murder case. So close did the last-named episode come to the actual facts that the series' producers were compelled to include a disclaimer at the beginning of several episodes, assuring viewers that, although the story was inspired by real happenings, the script itself was otherwise purely a work of fiction. The fact that Law & Order was frequently pre-empted by network specials indicated that NBC wasn't all that sure of the series' success. By the end of the first season, however, the ratings, if not spectacular, were good enough to warrant a renewal -- while backstage intrigues assured that the series would undergo the first of its many abrupt cast changes. ~ Hal Erickson, All Movie Guide

Another major casting change occurred during the third season of Law & Order, although not until the series had offered eight episodes. In "Prince of Darkness," an undercover police operation goes tragically awry, and Detective Phil Ceretta (Paul Sorvino) ends up seriously wounded. Though Ceretta would recover sufficiently to take up a desk job, Sorvino himself decided to leave the series for good; like George Dzundza before him, the actor felt that the series' format was too confining for his talents. Brought in as Mike Logan's (Chris Noth) new partner was Jerry Orbach as laconic veteran detective Lennie Briscoe, a recovering alcoholic with a multitude of family problems (which, in fine old Law & Order tradition, were only revealed to the audience on a "need to know" basis). At the time Orbach joined the series, there was much speculation (usually tongue-in-cheek in nature) as to how long it would be before he, too, was shot down in the line of duty, just like Logan's two previous partners, Greevey and Ceretta. As it turned out, Orbach not only outlasted Noth as Logan, but by season 13, he had been on the series longer than any other regular. A few stylistic changes marked season three. The "street action" was more or less cut to the bone, as was the background music. Also, in answer to viewer demand, the handheld camerawork became more steady and less distracting. One thing still remained constant from season one: the series' lack of regular female characters. At least Carolyn McCormick, in the recurring role of police psychologist Dr. Elizabeth Olivet, was spotlighted in the compelling episode "Helpless." Once again, Law & Order was honored with several Emmy nominations during the 1992-1993 season. This time out, the series copped the Emmy twice, for Elaine Stritch's guest-star turn in "Point of View" and for Constantine Makris' photography. Ratings remained steady, if not spectacular, but things would change dramatically during the next season. ~ Hal Erickson, All Movie Guide