James Cranna Movies

Playwright David Henry Hwang (M. Butterfly) wrote this ambitious epic that attempts to examine the communist witch hunts of the 1950s, racial prejudice, abuse of governmental powers, guilt, and suicide. The film begins in 1952 as an eager young FBI recruit, Kevin Walker (Matt Dillon), finds himself assigned to root out communist subversives in San Francisco's Chinese community. Unable to find evidence of communist influence anywhere, Kevin is pressured by the FBI office to get indictments anyway. As a result, Kevin drags innocent Chinese laundry man and labor organizer Chen Jung Song (Tzi Ma) into court on trumped up charges and Song is sent to prison. The film then shifts to 1962, and in the intervening years, Kevin's guilt at what he has done has grown into an obsession. But when Song is newly released from prison, he finds himself once again tracked by Kevin. Song, emotionally unable to deal with his new freedom, kills himself by jumping from the Golden Gate Bridge. Kevin, shattered, now decides to look after and protect Song's daughter, Marilyn (Joan Chen). Gradually, from his role as Marilyn's protector, Kevin's feelings of concern turn into love. ~ Paul Brenner, All Movie Guide

Curiously listed as a 1991 theatrical production in some sources, Eye on the Sparrow was actually a made-for-TV movie, which first aired December 7, 1987. Mare Winningham plays a blind Missouri woman who marries sightless teacher David Carradine. He is resigned to a world of darkness, but she is bitter over her lot in life, especially after an operation all-too-temporarily restores her sight. Unable to conceive children, the couple tries to adopt: but this is the mid-1960s, and agencies are unwilling to entrust "normal" children to the visually impaired. The only children permitted into their household are the handicapped rejects from foster homes. During their 12-year struggle to prove themselves acceptable as adoptive parents, the woman grows spiritually, learning to shelve her own self-pity by caring for those less fortunate than herself. Based on fact, Eye on the Sparrow was written for television by Barbara Turner (the mother, incidentally, of actress Jennifer Jason Leigh). ~ Hal Erickson, All Movie Guide

Kyoko came to America in the first place to get over a failed romance and to show that she has an independent spirit. She speaks almost no English and is living at the "Y" while working at a restaurant. If she doesn't get a green card soon, she will have to return to Japan, and she's not willing to do that just yet. Before too long, a friend of hers sets her up with a marriage to a seemingly dull-witted Japanese-American boy who speaks no Japanese, and she cheerfully agrees to the convenient union. However, in this at times humorous independently produced drama, she is not pleased when her close proximity to him wakes her phony husband out of his mental slumber, and he starts trying to woo her in earnest. ~ Clarke Fountain, All Movie Guide

Director Alan Parker and writer Bo Goldman chronicle the emotional disintegration of an unhappy marriage. Albert Finney and Diane Keaton play George and Faith Dunlap, a seemingly happily married couple living with their four daughters in a converted farmhouse in Marin County, California. George is inwardly empty and decides to have an affair with Sandy (Karen Allen), who has doubts about how long their affair will last. Faith is also suffering from ennui and takes up with Frank Henderson (Peter Weller), the contractor for the Dunlap's tennis court. Frank, after discovering about Faith's affair, is in a confused state: he wants to leave and live with Sandy but doesn't want his wife to date other men and demands the love of his daughters -- all of whom now detest him. ~ Paul Brenner, All Movie Guide

It's H.G. Wells (Malcolm McDowell) versus Jack the Ripper (David Warner) in the fanciful Time After Time -- and, per the film's title, the chase extends from the 19th century to the 20th. Wells has built a time machine in his cellar, which the Ripper uses as a means of escape. Both men find themselves in 20th century San Francisco, and, after a period of adjustment, they make themselves at home. The plot takes a dark turn when the Ripper, disappointed that Wells' dreams of a Utopian future have not come to fruition, resumes his murderous activities. ~ Hal Erickson, All Movie Guide

It's the last night of summer 1962, and the teenagers of Modesto, California, want to have some fun before adult responsibilities close in. Among them are Steve (Ron Howard) and Curt (Richard Dreyfuss), college-bound with mixed feelings about leaving home; nerdy Terry "The Toad" (Charles Martin Smith), who scores a dream date with blonde Debbie (Candy Clark); and John (Paul Le Mat ), a 22-year-old drag racer who wonders how much longer he can stay champion and how he got stuck with 13-year-old Carol (Mackenzie Phillips) in his deuce coupe. As D. J. Wolfman Jack spins 41 vintage tunes on the radio throughout the night, Steve ponders a future with girlfriend Laurie (Cindy Williams), Curt chases a mystery blonde, Terry tries to act cool, and Paul prepares for a race against Bob Falfa (Harrison Ford), but nothing can stop the next day from coming, and with it the vastly different future ushered in by the 1960s. Fresh off The Godfather (1972), producer Francis Ford Coppola had the clout to get his friend George Lucas's project made, but only for $750,000 on a 28-day shooting schedule. Despite technical obstacles, and having to shoot at night, cinematographer Haskell Wexler gave the film the neon-lit aura that Lucas wanted, evoking the authentic look of a suburban strip to go with the authentic sound of rock-n-roll. Universal, which wanted to call the film Another Slow Night in Modesto, thought it was unreleasable. But Lucas' period detail, co-writers Willard Huyck's and Gloria Katz's realistic dialogue, and the film's nostalgia for the pre-Vietnam years apparently appealed to a 1973 audience embroiled in cultural chaos: American Graffiti became the third most popular movie of 1973 (after The Exorcist and The Sting), establishing the reputations of Lucas (whose next film would be Star Wars) and his young cast, and furthering the onset of soundtrack-driven, youth-oriented movies. Although the film helped spark 1970s nostalgia for the 1950s, nothing else would capture the flavor of the era with the same humorous candor and latent sense of foreboding. ~ Lucia Bozzola, All Movie Guide

Based on his award-winning student short, George Lucas's debut feature cerebrally celebrates the possibility for individual freedom against all odds. In a 1984-esque white-washed future underground dystopia where sexuality is banned, all humans sport shaved heads and the same shapeless outfits as they go about their work in a mandated state of sedation, listening to exhortations to "Buy and Be Happy." Black-clad robot cops chant a mantra to their victims that "everything will be all right" and automated confessional booths emit soothing therapeutic bromides. But unbeknownst to THX 1138 (Robert Duvall), his roommate LUH 3417 (Maggie McOmie) has been reducing their meds, resulting in their mutual discovery of love and THX's subsequent imprisonment for drug evasion and sexual misconduct. Determined to find the pregnant LUH, THX breaks out of prison with the help of his cellmate SEN 5241 (Donald Pleasence) and an escaped TV hologram (Don Pedro Colley). With fugitive pursuits strictly budgeted, THX only has to evade the robocops until the funds run out, but surveillance is omnipresent and THX's vehicle keeps overheating. Making the only film produced through the first incarnation of Francis Ford Coppola's independent studio American Zoetrope, Lucas and his small crew, including co-writer and sound editor Walter Murch, shot THX 1138 in northern California with no interference from distributor Warner Bros. When Warners saw the austere result, however, they recut the film before its release. Neither the studio's nor Lucas's cut was a popular success, but THX 1138's coolly minimalist style and story-telling gained fans on the college screening circuit, just as Stanley Kubrick's poetic 2001: A Space Odyssey had attracted a large youth audience in 1968. When Lucas returned to sci-fi after American Graffiti, he traded restraint for nostalgic fun in the film that guaranteed his creative freedom in Hollywood: Star Wars. ~ Lucia Bozzola, All Movie Guide