Bob Golden Movies

Planet Earth was the second of three look-alike attempts by Star Trek maven Gene Roddenberry to launch a futuristic TV series for the 1970s (the first was 1973's Genesis II, and the third was 1975's Strange New World). John Saxon stars as Dylan Hunt, who awakens from suspended animation in the year 2133. The "big war" has come and gone; one of the few surviving pockets of 20th-century civilization is the city of PAX. This 2-hour pilot film details Hunt's adventures in this Brave New World when he is captured and enslaved by a society run by women. He is rescued by the scientists of PAX, presumably as a means of getting Roddenberry's series off the ground. But except for this film, first aired April 23, 1974, Planet Earth never got into orbit. ~ Hal Erickson, Rovi

Chief Ironside (Raymond Burr) again matches wits with erudite master thief Arthur Justin, whom he sent to prison in the second-season episode "Shell Game". On that occasion, Justin had been played by Sorrell Booke; this time, the role is handled by Dan O'Herlihy. Determined to have his revenge on Ironside, Justin draws up elaborate plans for a spectacular art heist, dropping tantalyzing clues all along the way--and never revealing that he ultimately plans to "hijack" Elizabeth Van Deering (Skye Aubrey), the current sweetheart of Sgt. Ed Brown (Don Galloway). ~ Hal Erickson, Rovi

This episode would seem to have been inspired by director Michael Powell's classic psychological thriller Peeping Tom. Someone has been shooting 8-millimeter films featuring pretty young women, then mailing those films to Chief Ironside (Raymond Burr) shortly after each woman is found murdered. Assisting the Chief in his investigation of this disturbing sequence of events is policewoman Fran Belding (Elizabeth Baur), who in turn has enlisted the aid of her current boyfriend, aspiring filmmaker Eric Blair (Joe Don Baker). The case takes a frightening turn when Ironside receives yet another reel of film--focusing on Fran herself! ~ Hal Erickson, Rovi

The killer of police officer Randy Keating (Roger Perry) is himself killed by Keating's partner Frank Carlson (David Carradine)--whereupon Carlson finds himself facing a murder charge. Inasmuch as he attended police academy with both Keating and Carlson, Sgt. Ed Brown (Don Galloway) takes a personal interest in the case. With the help of his boss Ironside (Raymond Burr), Ed slowly but surely figures out that Carlson has been framed--but by whom? ~ Hal Erickson, Rovi

A pre-Dallas Donna Mills is cast as Mary Ann Collins, a rather empty-headed rich girl in search of excitement. Poor Mary Ann gets far more excitement than she bargained for when she hitches a ride with Jerry Williams, an AWOL soldier with delusions of grandeur who has just robbed a bank and seriously wounded a guard. Williams is played by a young Michael Douglas, who was helpfully identified in the original TV Guide synopsis as "Kirk Douglas' son". Within a year the up-and-coming Douglas would be more gainfully employed by F.B.I. producer Quinn Martin as Karl Malden's costar on Streets of San Francisco. ~ Hal Erickson, Rovi

While messing around in Ward's car, Beaver (Jerry Mathers) accidentally releases the emergency brake. The car rolls into the street, immediately tying up traffic. Happening upon the scene, Wally (Tony Dow) dutifully gets behind the wheel and moves the car back into the driveway. Unfortunately, it is at this point that a policeman happens along and demands that Wally show him his driver's license -- a license that Wally does not yet have! ~ Hal Erickson, Rovi

"You may think you know what you're dealing with, but believe me, you don't," warns water baron Noah Cross (John Huston), when smooth cop-turned-private eye J.J. "Jake" Gittes (Jack Nicholson) starts nosing around Cross's water diversion scheme. That proves to be the ominous lesson of Chinatown, Roman Polanski's critically lauded 1974 revision of 1940s film noir detective movies. In 1930s Los Angeles, "matrimonial work" specialist Gittes is hired by Evelyn Mulwray (Faye Dunaway) to tail her husband, Water Department engineer Hollis Mulwray (Darrell Zwerling). Gittes photographs him in the company of a young blonde and figures the case is closed, only to discover that the real Mrs. Mulwray had nothing to do with hiring Gittes in the first place. When Hollis turns up dead, Gittes decides to investigate further, encountering a shady old-age home, corrupt bureaucrats, angry orange farmers, and a nostril-slicing thug (Polanski) along the way. By the time he confronts Cross, Evelyn's father and Mulwray's former business partner, Jake thinks he knows everything, but an even more sordid truth awaits him. When circumstances force Jake to return to his old beat in Chinatown, he realizes just how impotent he is against the wealthy, depraved Cross. "Forget it, Jake," his old partner tells him. "It's Chinatown." Reworking the somber underpinnings of detective noir along more pessimistic lines, Polanski and screenwriter Robert Towne convey a '70s-inflected critique of capitalist and bureaucratic malevolence in a carefully detailed period piece harkening back to the genre's roots in the 1930s and '40s. Gittes always has a smart comeback like Humphrey Bogart's Sam Spade and Philip Marlowe, but the corruption Gittes finds is too deep for one man to stop. Other noir revisions, such as Robert Altman's The Long Goodbye (1973) and Arthur Penn's Night Moves (1975), also centered on the detective's inefficacy in an uncertain '70s world, but Chinatown's period sheen renders this dilemma at once contemporary and timeless, pointing to larger implications about the effects of corporate rapaciousness on individuals. Polanski and Towne clashed over Chinatown's ending; Polanski won the fight, but Towne won the Oscar for Best Screenplay. Chinatown was nominated for ten other Oscars, including Picture, Director, Actor, Actress, Cinematography, Art Direction, Costumes, and Score. ~ Lucia Bozzola, Rovi