Bud Yorkin Movies

"The program you are about to see is All in the Family. It seeks to throw a humorous spotlight on our frailties, prejudices, and concerns. By making them a source of laughter, we hope to show -- in a mature fashion -- just how absurd they are." With this carefully worded disclaimer, the CBS television network ushered in a new era of television comedy on January 12, 1971, with the premiere of All in the Family. Inspired by the British sitcom Till Death Do Us Part, the series was proposed by producers Norman Lear and Bud Yorkin in early 1968, and a pilot episode titled "Those Were the Days" was commissioned by ABC. From the beginning, Carroll O'Connor and Jean Stapleton were "set" as leading characters Archie and Edith Bunker (original last name: Justice), though two unknowns were cast as the couple's daughter, Gloria, and son-in-law, Mike Stivic. Also from the beginning, it had been decided to retain the controversial nature of the original British series, with bigoted hard-hat Archie forever at odds with his flaming liberal son-in-law. Alas, ABC had just been burned by the hostile reception afforded another hot-potato project, Turn-On, and had lost its taste for controversy, even when Lear and Yorkin toned down the venom in a second pilot. But in 1970, CBS, in desperate need of a hit for its sagging Tuesday-night lineup, decided to take a chance on "Those Were the Days," which by now had been christened All in the Family, and had added Sally Struthers and Rob Reiner to the cast as Gloria and Mike. Worried that audiences might be unkindly disposed to Archie Bunker's incessant harangues against "hebes," "spics," and "coloreds," CBS prefaced the first episode with the aforementioned disclaimer. Though the opener ended up an anemic 54th in the ratings (due primarily to the decision by several affiliates not to air the program, or to reschedule it to a "fringe" time slot), the first All in the Family was the topic of conversation in virtually every household and place of business in America before the week was out.

By the time the series began in its second season in the fall of 1971, All in the Family was CBS' top-rated program, a status it enjoyed for the next five years. Archie Burnker, a loading-dock supervisor who resided at 704 Houser Street in Queens, NY, was a firm and immovable believer in America, right or wrong (but mostly far, far right). Offsetting Archie's racial slurs, antediluvian political beliefs, and incessant malapropisms was his somewhat foolish but fundamentally good-hearted wife, Edith (or "Dingbat," as Archie designated her); his budding-feminist daughter, Gloria; and Gloria's long-haired, radical husband, Michael Stivic (aka "Meathead" and "Polack"), who while attending graduate school lived with Archie and Edith, and all but ate them out of house and home. In virtually every episode, an Issue (with a capital "I") was brought to the forefront -- gun control, the sexual revolution, homosexuality, religion, integration, rape -- with Archie taking the diehard conservative viewpoint, Mike assuming the liberal stance, Gloria siding with Mike, and Edith sitting on the sidelines making inane (but sometimes surprisingly sensible) comments. Usually, Archie would be hoisted by his own bigoted petard, but sometimes Mike would be trapped in the morass of his good intentions. Whatever the case, All in the Family tackled subject matter that only a few years earlier would have been rejected out of hand on network television, using language that likewise had seldom if ever been heard on the small screen. In this respect, All in the Family can be regarded as the single most influential situation comedy in television history.

Over the years, Archie's character mellowed a bit, but fundamentally he remained the same opinionated jerk he'd been in the first episode. Through it all, however, one never doubted that the members of the Bunker family all loved one another dearly and intensely. In addition to the "core" regulars, several other recurring characters paraded past Archie's beloved easy chair: Lionel Jefferson (Mike Evans), a black friend of Mike and Gloria's who, much to Archie's dismay, became their across-the-street neighbor (Lionel's upscale black family would later be spun-off into their own series, The Jeffersons); Irene and Frank Lorenzo (Betty Garrett and Vincent Gardenia), who were every bit as broad-minded as Archie was not; Bert Munson (Billy Halop), an employee at the cab company where Archie moonlighted; Archie's co-worker and lodge buddy Barney Hefner (Allan Melvin); and Tommy Kelsey (Brendan Dillon, and later Bob Hastings), owner of Kelsey's Bar, Archie's favorite hangout. At the beginning of the 1975-1976 season, Gloria and Mike moved next door to Archie and Edith, and in December of 1975, Gloria gave birth to her first child, a boy named Joey. During the 1976-1977 season, Archie met yet another sociological opponent in the form of Puerto Rican boarder Teresa Betancourt (Liz Torres). And as the 1977-1978 season began, Archie made the momentous decision to quit his job and purchase Kelsey's bar, which he renamed Archie Bunker's Place. This season ended with Mike, Gloria, and Joey bidding farewell to Archie and Edith when Mike landed a teaching job in California. The Stivics' former sleeping quarters were taken over in 1978 by Stephanie Mills (Danielle Brisebois), Edith's niece, who had been abandoned by her ne'er-do-well father.

All in the Family per se came to an end with the final episode of the 1979-1980 season; thereafter the multi-award-winning series was known as Archie Bunker's Place. In addition to its prime-time run, All in the Family was seen in rerun form as part of the CBS daytime lineup from December 1975 to December 1979; and in 1991, selected episodes of All in the Family were run in tandem with a newer but much (much) less successful Norman Lear production, Sunday Dinner, which debuted and wrapped within a month. ~ Hal Erickson, All Movie Guide

A blend of science fiction and noir detective fiction, Blade Runner (1982) was a box office and critical bust upon its initial exhibition, but its unique postmodern production design became hugely influential within the sci-fi genre, and the film gained a significant cult following that increased its stature. Harrison Ford stars as Rick Deckard, a retired cop in Los Angeles circa 2019. L.A. has become a pan-cultural dystopia of corporate advertising, pollution and flying automobiles, as well as replicants, human-like androids with short life spans built by the Tyrell Corporation for use in dangerous off-world colonization. Deckard's former job in the police department was as a talented blade runner, a euphemism for detectives that hunt down and assassinate rogue replicants. Called before his one-time superior (M. Emmett Walsh), Deckard is forced back into active duty. A quartet of replicants led by Roy Batty (Rutger Hauer) has escaped and headed to Earth, killing several humans in the process. After meeting with the eccentric Eldon Tyrell (Joe Turkel), creator of the replicants, Deckard finds and eliminates Zhora (Joanna Cassidy), one of his targets. Attacked by another replicant, Leon (Brion James), Deckard is about to be killed when he's saved by Rachael (Sean Young), Tyrell's assistant and a replicant who's unaware of her true nature. In the meantime, Batty and his replicant pleasure model lover, Pris (Darryl Hannah) use a dying inventor, J.F. Sebastian (William Sanderson) to get close to Tyrell and murder him. Deckard tracks the pair to Sebastian's, where a bloody and violent final confrontation between Deckard and Batty takes place on a skyscraper rooftop high above the city. In 1992, Ridley Scott released a popular director's cut that removed Deckard's narration, added a dream sequence, and excised a happy ending imposed by the results of test screenings; these legendary behind-the-scenes battles were chronicled in a 1996 tome, Future Noir: The Making of Blade Runner by Paul M. Sammon. ~ Karl Williams, All Movie Guide

This filmization of Neil Simon's first Broadway hit was adapted for the screen by Norman Lear. Once we get past the illogical casting of middle-aged Frank Sinatra and twentysomething Tony Bill as brothers, we're home free. Sinatra, a swinger supreme, uses his New York apartment as a harem of sorts for his legion of lady friends. Bill, wishing to break loose from his protective parents (Lee J. Cobb and Molly Picon), moves in with older brother Sinatra, hoping to emulate his sibling in the sex department. Sinatra teaches Bill the tricks of the trade--to his everlasting regret, since Bill soon wins such prizes as Jill St. John and Barbara Rush away from Sinatra. The third act finds Sinatra behaving more like a parent than his parents, steering Bill on the straight and narrow and finally settling down with Rush. Also appearing in Come Blow Your Horn is singer Phyllis McGuire (an offscreen Sinatra vis-a-vis), Dan Blocker, and, in the uncredited role of a wino, Dean Martin. ~ Hal Erickson, All Movie Guide

An unhappy couple discover breaking up really is hard to do in this satiric comedy. Richard Harmon (Dick Van Dyke) and his wife, Barbara (Debbie Reynolds), are a typical married couple in American Suburbia -- which is to say they're not very happy with each other. After 15 years together, Richard and Barbara decide they've reached the end of their collective rope, and after several rounds of marriage counseling proves fruitless, they file for divorce. Between negotiating child custody, alimony, and finding new places to live, Richard and Barbara discover divorce isn't appreciably easier than being married; meanwhile, Richard makes a new friend in Nelson Downes (Jason Robards), a fellow divorcé who would love nothing more than for Richard to marry his former wife, Nancy (Jean Simmons), and take away the burden of alimony. Also featuring Van Johnson, Lee Grant, Shelley Berman, and Eileen Brennan in her first film role, Divorce American Style earned an Oscar nomination for Norman Lear and Robert Kaufman's original screenplay. ~ Mark Deming, All Movie Guide

The famously inept but accidentally brilliant Inspector Clouseau returns to help foil a group of daring robbers in this comedy, the only film in the long-running series not to feature Peter Sellers as the bumbling inspector. Instead, the talented Alan Arkin assumes the role, blundering his way through the expected series of absurd, slapstick situations. The plot centers on a series of Swiss bank robberies under investigation by an uptight Scotland Yard inspector (Patrick Cargill), who naturally becomes infuriated by Clouseau's unwelcome intervention. Meanwhile, the robbers decide to confuse matters by wearing Clouseau masks, offering further opportunities for farcical mistaken identities. Due to the absence of both Sellers and director Blake Edwards, Inspector Clouseau has largely been forgotten in comparison to the other Pink Panther films, though it maintains some interest as a curious aberration in the popular comic series. ~ Judd Blaise, All Movie Guide

Bud Yorkin's comedy stars Jeff Daniels as a former big-leaguer who yearns for romance, but finds himself overwhelmed with the problems of the women in his life. ~ Jason Ankeny, All Movie Guide

Like his previous smash hit All in the Family, producer Norman Lear's NBC sitcom Sanford and Son was based on a British original, in this instance Steptoe and Son, the story of an elderly, irascible cockney junk dealer and his cloddish bachelor son and business partner. In the initial development stages, Sanford and Son was to have been about a pair of Jewish men, but it was finally decided to transform the characters into African-Americans -- and in so doing, veteran "Chitlin Circuit" standup comedian Redd Foxx was catapulted to superstardom. Debuting January 14, 1972, the NBC series cast Redd Foxx as Fred Sanford, a 65-year-old L.A. junk dealer who ran a ramshackle salvage business in the backyard of his home. The cranky, mercenary Fred was satisfied with his lot in life, which was more than could be said for his 34-year-old son, Lamont (Demond Wilson), who was forever seeking out strategies to escape the junk business and go off on his own -- and, hopefully, to find himself a wife. The wily elder Sanford would have none of this, and devised all manner of schemes and subterfuges to keep Lamont from leaving. His favorite ploy was to feign having a heart seizure, whereupon he would look heavenward and "call out" to his late wife, "I'm comin', Elizabeth! This is the big one! I'm comin'!" Inasmuch as this charade fooled no one -- least of all Lamont -- one wondered if the younger Sanford really was that hepped out about leaving after all, or whether he felt secure in his shabby environs.

Although none of the series' supporting characters appeared on every episode, most were seen frequently enough to qualify as regulars. During season one, Fred hung out with his old buddy Melvin (Slappy White), and throughout the series he palled around with Bubba Bexley (Don Bexley). Beginning in 1973, Whitman Mayo was seen as Fred's crony Grady Wilson, who virtually became the series' star later on during Redd Foxx's frequent defections from the show due to salary and other squabbles with the producers. (Mayo himself virtually disappeared from Sanford and Son during the 1975-1976 season when he was spun off into his own sitcom, Grady.) Other recurring characters included eccentric police officers Swanhauser (Noam Pitlik), Smith (Hal Williams), and Hopkins (Howard Platt); Lamont's friend Rollo Larson (Nathaniel Taylor); restauranteur Ah Chew (Pat Morita); rival junk man Julio Fuentes (Gregory Sierra); Fred's off-and-on lady friend, Nurse Donna Harris (Lynn Hamilton); and Lamont's girlfriend and later fiancée, Janet Lawson (Marlene Clark). The one "standout" supporting character was Aunt Esther Anderson (LaWanda Page), who constantly quoted Scripture and who expressed her disapproval of Fred's shenanigans by giving a good solid punch once in a while (in some early episodes, Beah Richards appeared in a similar role as Aunt Ethel). With the departure of both Redd Foxx and Demond Wilson at the end of the series' sixth season, Sanford and Son was canceled September 2, 1977, to be "reborn" twice, first in the form of the spin-off series The Sanford Arms in the fall of 1977, then as the short-lived 1980 offering Sanford, with Redd Foxx in his original role. ~ Hal Erickson, All Movie Guide

The Herculean efforts by Lamont Sanford (Demond Wilson) to make something special out of his dad's 65th birthday seem doomed from the start. Not only does dad Fred (Redd Foxx) want to bury the fact that he's growing old, but the hot spots chosen by Lamont for their evening on the town -- a bar, a movie house, and a Chinese restaurant -- meet with the irascible junk dealer's hearty disapproval. At last fed up by Fred's constant complaining, Lamont grants the old man his wish: to be left alone. Based on "Sixty Five Today," a 1963 episode of the British sitcom Steptoe and Son, "Happy Birthday, Pop" first aired on January 21, 1972. ~ Hal Erickson, All Movie Guide

With All in the Family reaping huge ratings and even huger controversy on CBS, producer Norman Lear was able to sell another "chancy" sitcom project to rival network NBC. Like Family, which was inspired by the British comedy series Till Death Us Do Part, Lear's Sanford and Son was based on a long-running Britcom, Steptoe and Son, the saga of two cockney junk dealers. Also like Family, Sanford debuted as a mid-season replacement, in this case supplanted the failed Jack Webb drama The D.A. Originally, Lear had planned to build his version of Sanford and Son around two Jewish characters, but the upsurge in (and demand for) more African-American faces on television emboldened the producer to change the leading roles from Jewish to black. Veteran nightclub comedian Redd Foxx was cast as the irascible Fred Sanford (Foxx's real name was in fact John Elroy Sanford), a 65-year-old junk dealer living and working in a racially mixed Los Angeles neighborhood. Fred's son and business partner, 25-year-old bachelor Lamont Sanford, was played by Demond Wilson, whom Lear had hired on the strength of a guest appearance on All in the Family. The basic Sanford and Son premise was established from the beginning, with the crotchety Fred comfortably settled in his just-getting-by junk business, commiserating with his buddies in his off hours, occasionally squiring his erstwhile fiancée, nurse Donna Harris (Lynn Hamilton), and spewing forth hilarious insults about everyone in general and other minority groups in particular. Although he loved and was devoted to his father, Lamont was forever seeking to better his life by looking beyond the junkyard, but whenever Lamont announced his intention of leaving the family business -- or, for that matter, whenever Lamont disagreed with his father on anything -- Fred would conveniently suffer a "heart attack," invoking the name of his late wife by clutching his chest, looking heavenward and shouting "I'm comin', Elizabeth!" As with any successful sitcom, Sanford and Son boasted a steady stream of supporting characters. In addition to the aforementioned Donna Harris, the series' first season yielded such peripheral personalities as police officers Smith (Hal Williams) and Swanhauser (Noam Pitlik), also known as Smitty and Swanny, and Fred's longtime buddy Melvin, played by Redd Foxx's onetime vaudeville partner Slappy White. Many of the first 14 Sanford and Son episodes were adapted from scripts originally written for its British prototype, Steptoe and Son. These scripts were not exactly word-for-word, given the fact that American television in A.D. 1972 was not quite ready for the frankness of its British counterpart, but the racy and sometimes ribald "flavor" was happily intact. Debuting Friday, January 14, 1972, Sanford and Son immediately "won" its Friday-night time slot, closing out its first season as America's sixth highest-rated program. The series would remain securely in the Top Ten list throughout its six-season run. ~ Hal Erickson, All Movie Guide

Still riding high in the ratings, Sanford and Son returned to its by then traditional Friday-night NBC time slot for a third successful season on September 14, 1973. The basic premise -- crotchety old Fred Sanford running a rundown Los Angeles junk business with his restless son Lamont -- was still firmly in place, as were many of the familiar regulars: Redd Foxx as Fred; Demond Wilson as Lamont; LaWanda Page as Fred's pious, abrasive sister-in-law Aunt Esther; Lynn Hamilton as Fred's off-and-on fiancée, nurse Donna Harris; Don Bexley as Fred's wheeler-dealer buddy Bubba Hoover; Nathaniel Taylor as Lamont's foolhardy crony Rollo Taylor; Hal Williams and Howard Platt as local beat cops Smitty and Hoppy; and Gregory Sierra as the Sanfords' Puerto Rican neighbor and business rival, Julio Fuentes. The most prominent of the new recurring characters was Whitman Mayo as Grady Wilson, Fred Sanford's best friend and severest critic. Grady came in very handy when, in the middle of season three, Redd Foxx walked off Sanford and Son due to a well-publicized contractual dispute with the series' producer (of Foxx' many demands, the press chose to focus on the most trivial: the actor insisted that a window be installed in his dressing room). It was then hastily explained that Fred Sanford had gone on an extended trip to St. Louis, leaving Grady in charge of Sanford and Son Salvage -- and as temporary head of the Sanford household. Despite the temporary defection of its star, Sanford and Son continued to reap excellent ratings. By the end of the 1973-1974 season, the series ranked as the third most popular American TV program. ~ Hal Erickson, All Movie Guide

Beginning its fifth successful season on Friday, September 12, 1975, Sanford and Son was essentially the mixture as before with most of the familiar regulars firmly in place. His well-publicized contract disputes more or less receding into memory, Redd Foxx was back as cantankerous Watts junk dealer Fred Sanford, with Demond Wilson as his long-suffering son and reluctant business partner Lamont. Also returning were LaWanda Page as Fred's explosively prudish sister-in-law Aunt Esther, Lynn Hamilton as Fred's sometimes fiancée Donna Harris, Don Bexley and Nathaniel Taylor as family friends Bubba and Rollo, and Hal Williams and Howard Platt as police officers Smitty and Hoppy. Conspicuously absent from the fifth-season roster were three actors who had departed for other sitcoms: Gregory Sierra (Julio Fuentes), who had moved to Barney Miller; Pat Morita (Ah Chew), who had transferred to Happy Days; and, most notably, Whitman Mayo (Grady Wilson), now starring in his own spin-off series, Grady. However, despite his new leading-man workload, Mayo would continue to make token Sanford appearances as Grady, returning to the series on a more or less regular basis after Grady (the series) folded in the spring of 1976. Additions and emendations to the Sanford format included the arrival of Marlene Clark as Janet Lawson, a widowed mother with whom Lamont would fall in love, and Edward Crawford as Janet's young son Roger. Also, Fred and Lamont Sanford would try to amplify their income by managing a boarding house, the Sanford Arms, which introduced as steady stream of recurring characters -- and also set the stage for the ultimate conclusion of Sanford and Son at the end of 1977. That denouement was still part of the distant future by the conclusion of the series' sixth season, during which Sanford ranked as America's seventh most popular weekly series. Fans were particularly gratified that NBC chose to rerun selected episodes on Wednesday evenings from April to August 1976, under the title The Best of Sanford and Son. ~ Hal Erickson, All Movie Guide

Lamont Sanford (Demond Wilson) is certain that his recent purchase of some copper pipe at an incredibly low price is the ticket to untold wealth. His dad, Fred (Redd Foxx), is equally certain that there's something fishy about the deal. It turns out that Fred's insticts are right on target. The pipes were stolen property -- and just guess who they were stolen from? "The Copper Caper" was first broadcast on February 4, 1972. ~ Hal Erickson, All Movie Guide

Two French peasants are mistaken for a pair of aristocratic nobles in this historical situation comedy. Gene Wilder and Donald Sutherland play the dual roles. Happy to be taken for nobles, the pair soon runs to escape the guillotine in the wake of the French Revolution's blood purge of the upper class and royalty. Hugh Griffith play Louis XVI, with Billie Whitelaw as the amorous Marie Antoinette. The pair are chased by the evil Duke d'Escargot (Victor Spinetti). Orson Welles appears at the beginning and the end of the film as the narrator. Wilder and Sutherland encounter a variety of comical situations in their dual roles of peasants and blue-blooded eccentrics. ~ Dan Pavlides, All Movie Guide