Dorothy Tristan Movies

This drama about a family of Italian-American apple farmers sees New York entertainment publicist Bob Tredici (Marc Grapey) return to the family farm in Indiana after learning that his father, Franco (Robert Breuler), has been in an accident. Since Bob rejected farming duties long ago to pursue a career in showbusiness, his cousin Greg (Jeff Puckett) assumes that he will take over the farm when Franco dies. Bob, however, discovers that he likes farming, and he convinces his secretary Happy (Rebecca Harrell) to come to the farm and pose as his wife to help him win back his father's trust. A Piece of Eden also features Tyne Daly and Frederic Forrest in supporting roles. ~ Rebecca Flint Marx, All Movie Guide

Down and Out in Beverly Hills is an updated remake of the 1932 Jean Renoir film Boudu Saved From Drowning. Philandering businessman Dave Whiteman (Richard Dreyfuss) rescues scraggly tramp Jerry Baskin (Nick Nolte) from drowning himself in Dave's swimming pool. Much against his will, Jerry is invited to enjoy the hospitality of Dave, his social-climbing wife Barbara Bette Midler, and their sexually ambivalent son Max (Evan Richards). The hapless hobo bonds only with the family dog Matisse, which fascinates Barbara to the point that she's willing to share her bed (and a few other things) with him. Dave is twice cuckolded when Jerry makes out with the maid (Elizabeth Pena), with whom he has been carrying on a torrid--and noisy--affair. He plans to wreak revenge on the tramp, but several plot twists result in Dave and Jerry becoming bosom companions. Little Richard appears as the family's easily irritated next door neighbor. Down and Out in Beverly Hills was the R-rated film which compelled the Disney Company to create its adult-oriented Touchstone Films division. The property was later cleaned up for TV consumption and converted into a short-lived Fox Network sitcom. ~ Hal Erickson, All Movie Guide

T.T. (Dennis Christopher), a Midwesterner, has traveled to the beaches of California for a dose of the surfin' life. He believes that the people he finds there are glamorous and knowledgeable. They reject his Midwestern nerdiness, make fun of him, and generally give him a hard time for not fitting in and wanting to. However, eventually he figures out that they are no wiser than he is, and that their lives are surprisingly empty. ~ Clarke Fountain, All Movie Guide

Rollercoaster was a by-product of the brief "Sensurround" craze of the 1970s. Nutsoid Timothy Bottoms sabotages an amusement-park roller coaster, killing several innocent revelers. After several other acts of terrorism, Bottoms (whose character is credited as Young Man) presents his demands to the authorities via audio tape: one million dollars, or he'll stage five roller-coaster disasters simultaneously in five different parks. Because detective Harry Calder George Segal evinces a grudging respect for the elusive extortionist, Bottoms declares that only Detective Calder will be permitted to deliver the money. Thus the stage is set for an explosive climax, which during the film's original run was accompanied by the Sensurround effect, a gimmick that electronically caused the filmgoer's chairs to begin shaking and vibrating during the "thrill scenes." As with most disaster flicks of the era, Rollercoaster is top-heavy with "guest stars," including Richard Widmark, Henry Fonda, Harry Guardino, and Susan Strasberg. Watch for 13-year-old Helen Hunt as Detective Calder's spunky daughter. ~ Hal Erickson, All Movie Guide

Jeff Griffin (Peter Falk) is dying of cancer. Sarah Phoenix (Jill Clayburgh) is suffering from terminal leukemia. Ignored or reviled by their respective families, Griffin and Phoenix turn to each other for emotional support. Deciding to live their last months to the fullest, they indulge in outrageous, childish public behavior and vent their anger at their conditions full-force, knowing full well that they won't have to answer for their silliness or rage. They also fall in love with each other. The only proviso to their relationship is that Griffin must promise not to visit Phoenix in her final days, and vice versa. Written by John Hill, Griffin and Phoenix: A Love Story was first telecast on February 27, 1976. ~ Hal Erickson, All Movie Guide

William Devane stars as John Henry Faulk, a popular radio and TV entertainer of the 1950s. In 1956, Faulk is blacklisted on the basis of an attack from the self-appointed anticommunist group AWARE. Fired by CBS, Faulk decides to sue AWARE for libel. His attorney Louis Nizer (George C. Scott) warns him that such a case will take several years to get to court, thus Faulk reluctantly takes a series of low-paying jobs to sustain himself during his "down period". In 1962, the case is finally brought before a judge, with several witnesses pointing out the idiotic iniquities of the Blacklist mentality (one child actor was prohibited from working because he had a name that sounded like that of an adult blacklistee). Appearing as themselves during the courtroom scenes are actress Kim Hunter, herself a blacklist victim, and producers David Susskind and Mark Goodson. Faulk wins his case, though his original award of $3.5 million in damages is later reduced to $550,000, and he is never able to completely return to his pre-blacklist prominence. Like several other filmic recreations of the "witch-hunt" era, Fear on Trial was first presented in the mid-1970s (October 2, 1975, to be exact), long after the most zealous of the 1950s anti-Red groups had fallen by the wayside. The film earned an Emmy award for screenwriter David Rintels. ~ Hal Erickson, All Movie Guide

Man on a Swing, purportedly based on a true case, is a puzzling crime thriller concerning a clairvoyant who helps find a murderer. After a murder is committed, supposed clairvoyant Franklin Wills goes to police Chief Lee Tucker (Cliff Robertson) and gives him details of the crime that he has seen in visions. The details are startlingly correct and could only have been known to the killer. Tucker, not convinced that Wills is indeed clairvoyant, begins to suspect him of the murder. Man on a Swing, directed by Frank Perry, over-complicates its central theme, distracting the viewer from the film's strong central theme, the ambiguity of Wills. Joel Grey gives an outstanding, scene-stealing performance in that role, giving Wills both menace and a surprising vulnerability. Cliff Robertson is far-less successful in his portrayal of the no-nonsense police chief. The film's ambiguous ending should increase the suspense of the film but instead further confuses the viewer. However, because of the superb performance of Grey, Man on a Swing is worth a view. ~ Linda Rasmussen, All Movie Guide

An ex-con learns the value of friendship in Jerry Schatzberg's picaresque road movie. Trying to hitch a ride on a desolate California road, fresh-out-of-prison Max (Gene Hackman) meets ex-sailor Lion (Al Pacino). They are both headed east, as Max dreams of opening a deluxe car wash in Pittsburgh and Lion believes that the wife and child he left behind will still welcome him home. The two decide to journey together, forging an increasingly deep yet uncertain friendship, as Lion teaches Max how not to be so pugnacious and Max senses Lion's fragility. When the pair hits Detroit, Lion finally gets in touch with his wife and discovers how she really feels. When Lion is shattered by the revelation, Max must decide if he should forge on alone or sacrifice his carefully guarded savings to help his friend. One of a cycle of late 1960s-early 1970s buddy movies that included Midnight Cowboy (1969) and California Split (1974), Scarecrow suggests how alienated men had become from such traditional institutions as marriage and family. Max's and Lion's salvation comes from being on the road with each other, rather than settling down with jobs and families. Pacino's first film after his triumph in The Godfather (1972), and Hackman's follow-up to The Poseidon Adventure (1972) and his Oscar for The French Connection (1971), Scarecrow won the 1973 Palme d'Or at the Cannes Film Festival, but the two stars were not enough to make it a hit. Even so, their nuanced performances enhance this moody study of contemporary dislocation. ~ Lucia Bozzola, All Movie Guide

Rated "X" upon its initial release in 1970, End of the Road would probably rate at most a hard "R" today. Stacy Keach stars as Jake Horner, a college professor beset with a wide variety of emotional problems. He seeks out help in therapy, conducted by unorthodox psychologist Dr. D (James Earl Jones). This treatment turns out to have a disastrous effect on Horner, leading him into the arms of Rennie Morgan (Dorothy Tristan), the wife of a fellow teacher. End of the Road was adapted from a story by John Barth. ~ Hal Erickson, All Movie Guide