Hal B. Wallis Movies

In the year 2018 violence has been outlawed and corporations have replaced government as the ruling party following the demise of politics. With the absence of war or conflict, a forcibly passive population's bloodlust is satisfied by a brutal new sport known as Rollerball. A high-octane melding of the outlawed sports of the past, the worldwide phenomenon of Rollerball has resulted in a corporate-backed sensation. The most popular athlete in the world, Jonathan E. (James Caan) has steadily risen through the ranks to become a legendary veteran of the sport. When the corporate backers of Rollerball begin to fear that Jonathan's popularity has instilled him with a potentially dangerous amount of power, a thunderous struggle between man's free will and the oppression of the masses threatens to shatter the fragile strings that the puppet masters use to manipulate mankind. His determination to remain with the sport flying in the face of the very reason Rollerball was conceived, the corporate rulers hatch a plot to abandon the rules in hopes that Jonathan will be killed and their grip of power will remain an unyielding chokehold on an increasingly bloodthirsty populace. ~ Jason Buchanan, Rovi

Based on a play by Terence Rattigan, The Nelson Affair recounts an infamous 18th century British scandal in slow-paced, talk-heavy fashion. Lord Nelson (Peter Finch) returns from battling Napoleon's navy and takes some well-deserved leave. He immediately picks up where he left off with Lady Hamilton (Glenda Jackson), blatantly carrying on their affair in public view of his family and beleagured wife (Margaret Leighton). Hamilton herself is under strain due to her advancing age and Nelson's unflagging need to return to sea. The picture plays more like a filmed theater piece than an epic historical romance (the famous Battle Of Trafalgar was filmed indoors and utilized stock footage), but Finch and Jackson turn in their usual excellent performances. ~ Don Kaye, Rovi

In this drama, based on a novel by Richard Bradford, an adolescent boy and his mother are sent to live in New Mexico after his father goes off to fight WW II. The move is hard on both mother and son. The boy, one of the few whites in the area, must deal with making friends, the strange new land, and first love. Meanwhile, his mother becomes increasingly withdrawn. When they learn that his father has been killed, the son must fight with his mother's lover to become the real head of the household. ~ Sandra Brennan, Rovi

Get Carter stars Michael Caine as Jack Carter, a powerful British gangster out for blood. His brother has been murdered in Newcastle, prompting Carter to declare a one-man war on other racketeers. Carter must also get his niece out of the life she is leading as an actress in pornographic films. Now that he is a loose cannon, Carter must be eliminated. Get Carter is typical action fare of the 1970s in that there are virtually no "good guys" -- in fact, the assassin is probably the most likable character in the piece! Originally rated X for violence and female nudity, Get Carter was reclassified as an R after subsequent crime films became even more bloodthirsty. ~ Hal Erickson, Rovi

In this romance, an ex-Marine begins looking for a fellow Vietnam vet in hopes of making it as musicians in New York. He does not realize it, but he is driving in stolen cars. After being chased by the police, he ditches the cars and hitchhikes the New York. By the time he arrives, his pal has already left. At the friend's former apartment, the Marine gets romantic with a hippie chick and begins singing in the Village where he finds audiences unreceptive. He then boards a bus where he meets a young woman on her way to marry a Marine who ends up refusing to marry her. Soon she and the musical Marine are traveling companions. They are accompanied by a trick chicken, and a midget. Just as he finally finds his friend, the girl states that she is pregnant and the honorable fellow offers to marry her, but she will not. Then her old fiancé appears and a fight ensues. She ends up going with him. When the singer finally gets his big chance, he sees the girl watching him and realizes they are in love. ~ Sandra Brennan, Rovi

In fine Hollywood tradition, John Wayne had to play a "one-eyed fat man" before the Motion Picture Academy considered him worthy of an Oscar. In True Grit, Wayne plays grumpy, pot-bellied U.S. marshal "Rooster" Cogburn, hired by 14-year-old Mattie Ross (Kim Darby) to find Tom Chaney (Jeff Corey), who killed her father. The headstrong Mattie could have had her pick of lawmen, but selects the aging Cogburn because she believes he has "true grit" (she talks this way all through the picture, so be prepared). Also heading into Indian territory in search of Chaney is Texas Ranger La Boeuf (Glen Campbell), who wants to collect the reward placed on the fugitive's head for his earlier crimes. Complicating matters are Chaney's scurrilous cronies Ned Pepper (Robert Duvall), Quincy (Jeremy Slate), and Moon (Dennis Hopper), who have no qualms about killing a troublesome teenaged girl like Mattie. While the plot of True Grit, adapted (and streamlined) by Marguerite Roberts from the novel by Charles Portis, maintains audience interest throughout, the glue that truly holds this Western together is John Wayne, delivering one of his finest performances (though some believe he was better in She Wore a Yellow Ribbon). Wayne's casual charisma is infinitely more effective than the mannered method acting of Kim Darby and the floundering non-acting of poor Glen Campbell. And who could not love the climatic face-off between Duvall and company and John Wayne, whose "Fill your hand, you son of a bitch!" is not only a classic bit of dialogue, but the apotheosis of the Wayne mystique. In 1975, Wayne repeated his True Grit characterization opposite Katharine Hepburn in Rooster Cogburn, but the film failed to match its predecessor and the overall effect was blunted. ~ Hal Erickson, Rovi

Based on the hit Broadway play by Neil Simon, who made his screenwriting debut with this adaptation, Barefoot In The Park follows the lives of newlyweds Paul (Robert Redford) and Corie Bratter (Jane Fonda) as they adjust to married life in a tiny Greenwich Village apartment. Paul is a buttoned-down, straight-arrow lawyer who's wound a little too tight, while Corie is an effervescent free spirit who won't let anything disturb her romantic bliss. Aside from the five-flight climb and the hole in their skylight, the Bratters must also contend with eccentric upstairs neighbor Victor Velasco (Charles Boyer), who must go through their apartment to get to his. Corie hatches a plot to get her mother (Mildred Natwick) together with Mr. Velasco, but the entire evening goes awry and even casts doubt on the viability of the Bratters' new marriage, as Corie tries unsuccessfully to loosen Paul up. All ends well, however, and Fonda and Redford are full of youthful appeal in this light domestic comedy. ~ Don Kaye, Rovi

Rick Richards (Elvis Presley) is a helicopter pilot who is grounded when his chopper runs federal aviation official Donald Beldon (John Doucette) off the road in Paradise, Hawaiian Style. Already suspended as a airline pilot, he and partner Danny Kohana (James Shigeta) struggle to keep their business flying. Suzanna Leigh plays the pretty secretary, but Elvis does not limit his affections to just one girl. Technical credits and locations scenes of the beautiful islands are the highlight of the film. Presley warbles his usual slew of songs, but most are unremarkable. ~ Dan Pavlides, Rovi

Marc Camoletti's popular stage farce Boeing Boeing is watered down and realigned into a Tony Curtis/Jerry Lewis vehicle. Curtis plays an American journalist living in Paris; Lewis is his goonish (but surprisingly restrained) buddy. Partial to stewardesses, Curtis manages to juggle the affections of three luscious flight attendants (Dany Saval, Christiane Schmidtmer, and Suzanna Leigh), whose schedules are such that their visits to Curtis' bachelor pad never overlap. Complications ensue when the Boeing company speeds up its air service, and when Lewis tries to muscle in on Curtis' "racket." The best lines go to Thelma Ritter as Curtis' disapproving housekeeper. ~ Hal Erickson, Rovi

A high-class costume drama with a substantive historical basis, Becket is the true story of the friendship between King Henry II (Peter O'Toole) and Thomas à Becket (Richard Burton), a royal courtier and confidant whom Henry appoints as Archbishop of Canterbury. As Becket takes his duties with the Church seriously, he finds himself increasingly at odds with the King, who finally orders the death of his once-close companion when he continues to defy the throne. Burton is very good and O'Toole is even better: both men were nominated for the Best Actor Oscar, while Edward Anhalt's screenplay, based on the stageplay by Jean Anouilh, won for Best Adapted Screenplay. The basic theme of separation of church and state still reverberates today, while the top-notch production values ensure Becket's place as one of Britain's better historical epics. ~ Don Kaye, Rovi

In this romantic comedy, Bill Austin (Van Johnson) is an unsuccessful writer who lives in a forlorn New York tenement while his wife Bertie (Janet Leigh) earns an income for both of them. Their lives change dramatically when Bill's first novel becomes a best-seller. Bill persuades Bertie to quit her job and move to a grand house in an upscale suburb. Leaving his wife alone most of the time, Bill begins working long hours on Broadway adapting his novel for the theater, and he spends increasing amounts of time with his attractive agent, Lucinda Ford (Martha Hyer). Bertie suspects the worst and begins courting an actor, Gar Aldrich (Jeremy Slate). ~ Michael Betzold, Rovi

One of Elvis Presley's biggest moneymakers, Girls Girls Girls casts ol' swivel-hips as a tuna-boat fisherman working out of Hawaii. Elvis chases after all the wrong girls, while ignoring the girls who genuinely care for him. Here, as Ross Carpenter, Presley has two main love interests: sexy vocalist Robin (Stella Stevens and heiress Laurel (Laurel Goodwin), who pretends to be poor so as not to wound Ross's pride. When rude 'n' crude Wesley Johnson (Jeremy Slate), who owns Ross's boat, makes a play for Laurel, Ross punches him out. He loses his boat, but it hardly matters since he and Laurel have found true love. Songs crucial to the action are the title tune, "Return to Sender," and "Song of the Shrimp." ~ Hal Erickson, Rovi