Irwin Winkler Movies

Elvis Presley plays Guy Lambert, a musician (so far, so good) who is touring Great Britain (something Elvis never managed in real life). Jill Conway (Annette Day), a wealthy heiress, is a big fan of Guy's who has developed a very serious crush on him; her family wants to keep her away from the romantically-inclined singer, so they send her to Belgium, not realizing that Guy has a string of gigs set up there. En route to Brussels, a pair of hapless jewel thieves (Norman Rossington and Chips Rafferty) hide their loot in Guy's luggage, which makes the singer the unwitting target of three equally inept detectives (Harry, Herbert, and Sylvester Wiere). While wooing Jill and avoiding her treacherous uncle Gerald (John Williams), Guy also finds himself pursued by the worldly Claire Dunham (Yvonne Romain). Elvis sings nine songs along the way, including "Long Legged Girls with Short Dresses On" and "Baby, if You Give Me All Your Love." 18 months after Double Trouble was released, Presley's career was revitalized by his 1968 comeback special, though he would also release four more films before it aired. ~ Mark Deming, All Movie Guide

A pair of crooks conspire to rob the ticket booth at the Los Angeles Coliseum during a Rams game. Before they can perform the heist, the two must find precisely the right henchmen to join them. Each potential gang member must undergo a rigorous test of skill. Thanks to care and precise planning, the caper comes off smoothly and afterward the gang leader (Jim Brown) hides the money in the apartment of his ex-wife (Diahann Carroll). She only agrees to keep the money on the provision that he reform so they can get back together. Unfortunately, the wife's lust-crazed landlord (James Whitmore) busts into her house the next day and tries to rape her. During the struggle he kills her and then takes the loot. Later a crooked cop (Gene Hackman) investigates. Meanwhile, when the gang members learn that the loot is missing, they suspect a double-cross and engage in a huge battle. The cop finds the money and at first keeps it for himself. The head crook eventually figures out that the cop has it and so goes to him to make a little deal. ~ Sandra Brennan, All Movie Guide

Prince Leo (Marcello Mastroianni) is the exiled ruler from an unnamed country living on the edge of a London ghetto with his harridan mistress Margaret (Billie Whitelaw). While viewing birds through his telescope, he witnesses the struggles of his black neighbors to survive their harsh urban environment. When Salambo (Glenna Forster Jones) is forced into prostitution by Jasper (Keefe West), the prince decides to take action. He rescues the woman after she is raped and makes her his ward and protectorate. When the royal guards invade the neighborhood, Leo and a makeshift troop of residents repel the advance with fireworks and homemade explosives. The film is based on the George Tabori play "The Prince" and deals with class struggles of the poor against the haughty royals. ~ Dan Pavlides, All Movie Guide

A drug addict seduces his lover into sharing his chemical joys and together they begin a wrenching downward spiral into destruction in this unflinching, well-wrought drama. Before getting hooked on speed, the woman had a successful career. But, despite the efforts of those who would help her, the couple cannot seem to kick their habit. ~ Sandra Brennan, All Movie Guide

In this adventure, a stereotypical hippie couple hitchhikes around California and meets various odd people ~ Kristie Hassen, All Movie Guide

Joseph Wambaugh's best-seller about patrol-car cops in urban Los Angeles is given a competent yet antiseptic treatment by director Richard Fleischer. The film has a bad-tasting us-versus-them mentality in its depiction of patrolmen-civilian interaction, and its hopeless atmosphere carries over into the bleak suicide of one of the principle characters. But behind its rancid veneer, the story is the old "B"-movie police story concerning a rookie cop being shown the ropes by a kindly and wizened old veteran. Roy (Stacy Keach) is the young patrolman introduced into the ways of Los Angeles street life by Kilvinsky (George C. Scott), the philosophical old pro. Kilvinsky is just short of retirement and wants to educate Roy to succeed him when he leaves. Roy, however, is on the edge because of a recent divorce, and it takes many speeches by Kilvinsky and the love and affection from his new black girlfriend Lorrie (Rosalind Cash) to keep from going over the deep end. ~ Paul Brenner, All Movie Guide

Peter Hyams made his feature-film directing debut with this clumsily paced crime film concerning two Los Angeles vice-squad detectives. Michael Keneely (Eliott Gould) is the swaggering non-conformist and Patrick Farrel (Robert Blake) is the cocky follower. The two cops live for their work and spend most of their time busting call girls, massage parlor employees, and homosexuals. Keneely and Farrel eventually come to the conclusion that every criminal act in Los Angeles is due to the efforts of crime lord Carl Rizzo (Allen Garfield). The boys begin to harass Rizzo to the point of distraction, but their singular attempts to arrest Rizzo cause them to become the targets of, not only the criminal population, but the police force as well. ~ Paul Brenner, All Movie Guide

James Toback made his screenwriting debut with this taut drama, loosely adapted from the story by Dostoevsky. Axel Freed (James Caan) is an intelligent and well-respected professor of literature at a noted New York university, who uses great writing as a springboard for examining moral and philosophical issues in his class. But when he's not in front of the chalkboard, Axel has a serious problem -- he's hopelessly addicted to gambling. Axel will bet on almost anything, and while he lives for the heady rush of winning, it doesn't happen all that often, and Axel's latest losing streak has put him in debt to his bookies to the tune of $44,000, more than a college professor could hope to pay in 1974. Even after tapping his mother (Jacqueline Brookes), his grandfather (Morris Carnovsky), and his girlfriend (Lauren Hutton) for cash, Axel still owes thousands to his bookie Hips (Paul Sorvino), who is quickly losing his patience with Axel, especially when he learns after he finally scored a major winning streak, rather than paying off his bills he used the money to keep gambling ... and lost it all, leading to visits from an increasingly threatening series of underworld "collectors." The Gambler also features supporting performances from Burt Young, James Woods, and M. Emmett Walsh. ~ Mark Deming, All Movie Guide

In this comedy drama that spoofs detective pictures from the 1940s, Tucker (Michael Caine) is a private eye hired by Anglich (Michael Constantine), a wealthy man who is trying to find the whereabouts of his long lost daughter. Tucker's sleuthing leads him to Ellen (Natalie Wood) and Mianne (Kitty Winn), two members of the decidedly unusual Prendergast Family. So far as Tucker can tell, either Ellen or Mianne is Anglich's missing child, but he's not quite sure which. The supporting cast includes Timothy Carey, Thayer David, Liam Dunn, and Liz Renay; Humphrey Bogart impersonator Jerry Lacy appears in the opening credits. ~ Mark Deming, All Movie Guide

Peter Bogdanovich's early career as a film writer stood him in good stead for this comedy drama about the early days of the motion-picture industry, based in part on his interviews with pioneering directors Raoul Walsh and Allan Dwan. Leo Harrigan (Ryan O'Neal) is a lawyer and Buck Greenway (Burt Reynolds) is a cowboy and gunman. Both are sent to California to shut down a renegade group of silent-movie makers -- financed by blustery H.H. Cobb (Brian Keith) -- who are in violation of the Motion Picture Patents Co. Trust. Harrigan and Greenway somehow find themselves working with the movie crew instead of shutting them down; they join forces with cameraman Franklin Frank (John Ritter), leading lady Kathleen Cooke (Jane Hitchcock), and precocious prop girl Alice Forsyte (Tatum O'Neal). Greenway becomes a star and Harrigan a respected director, but both battle over the affections of Cooke. Incidentally, Cobb's big speech near the end is taken almost verbatim from a quote given to Bogdanovich in an interview with actor James Stewart. ~ Mark Deming, All Movie Guide

Rudolph Valentino, born in Italy in 1895 as Alfonzo Raffaele Pierre Philibert Guglielmi, emigrated to the U.S. and became for a time the reigning male romantic lead of the silent-film era. He died in 1926, having led a short, troubled and tempestuous life which included several stints in prison. The crowds surrounding his coffin before and during his funeral were among the largest ever seen in the U.S. In this film, Ken Russell has used events from the famous actor's life as the basis for an extended meditation on the nature of stardom, and especially on what it means to be a sex idol. Beginning and ending with the funeral of Valentino (Rudolf Nureyev), the story chronicles his rise to Hollywood stardom from life as an Italian emigrant dishwasher and show-dancer. Often embroiled in controversies about his manliness (or perceived lack of ), in the film he dies as a result of internal injuries suffered in a boxing match he fought in to defend his honor. ~ Clarke Fountain, All Movie Guide

Old man Ewing (Jason Robards) owns a ranch right next to the ranch of Ella (Jane Fonda). This is a source of two problems: Ewing wants to gobble up most of the land around the two ranches and also wants Ella's ranch; secondly, when Ella was too young to know better, she went to bed with the man, which, many years later, she considers to have been a grievous error on her part. A third problem arises when oil companies begin pressuring both of them to allow drilling on their land, and Ewing won't allow it -- on his or anyone else's land. Before long, war-veteran Frank (James Caan) enters Ella's life and helps her fight to save her land and her sanity, with added assistance from Dodger (Richard Farnsworth), an old local who knows the score. ~ Clarke Fountain, All Movie Guide

Martin Scorsese's brutal character study incisively portrays the true rise and fall and redemption of middleweight boxer Jake La Motta, a violent man in and out of the ring who thrives on his ability (and desire) to take a beating. Opening with the spectacle of the over-the-hill La Motta (Robert De Niro) practicing his 1960s night-club act, the film flashes back to 1940s New York, when Jake's career is on the rise. Despite pressure from the local mobsters, Jake trusts his brother Joey (Joe Pesci) to help him make it to a title bout against Sugar Ray Robinson the honest way; the Mob, however, will not cave in. Jake gets the title bout, and blonde teenage second wife Vickie (Cathy Moriarty), but success does nothing to exorcise his demons, even as he channels his rage into boxing. Alienating Vickie and Joey, and disastrously gaining weight, Jake has destroyed his personal and professional lives by the 1950s. After he hits bottom, however, Jake emerges with a gleam of self-awareness, as he sits rehearsing Marlon Brando's On the Waterfront speech in his dressing room mirror: "I coulda been a contender, I coulda been somebody." Working with a script adapted by Mardik Martin and Paul Schrader from La Motta's memoirs, Scorsese and De Niro sought to make an uncompromising portrait of an unlikable man and his ruthless profession. Eschewing uplifting Rocky-like boxing movie conventions, their Jake is relentlessly cruel and self-destructive; the only peace he can make is with himself. Michael Chapman's stark black-and-white photography creates a documentary/tabloid realism; the production famously shut down so that De Niro could gain 50-plus pounds. Raging Bull opened in late 1980 to raves for its artistry and revulsion for its protagonist; despite eight Oscar nominations, it underperformed at the box office, as audiences increasingly turned away from "difficult" films in the late '70s and early '80s. The Academy concurred, passing over Scorsese's work for Best Director and Picture in favor of Robert Redford and Ordinary People, although De Niro won a much-deserved Oscar, as did the film's editor, Thelma Schoonmaker. Oscar or no Oscar, Raging Bull has often been cited as the best American film of the 1980s. ~ Lucia Bozzola, All Movie Guide