Robert Cleaves Movies

The 1975 TV movie Death Scream is based on the shameful Kitty Genovese affair of 1964, in which a N.Y.C. woman was stabbed to death while 38 witnesses locked their windows and doors and pretended not to hear. Raul Julia stars as the detective who investigates the murder and stirs up the guilt feelings of those who refused to help. The film casts celebrity actors in the roles of the witnesses (Diahann Carroll, Cloris Leachman, Lucie Arnaz, Nancy Walker, Art Carney, et al.). ~ Hal Erickson, Rovi

Ranking with Dan Curtis' Trilogy of Terror as one of the spookiest made-for-TV horror films of the 1970's, this atmospheric monster chiller stars Kim Darby and Jim Hutton as a comfortable, reasonably happy young couple who inherit the archetypal "Old Dark House" from the wife Sally's deceased aunt. While renovating the creepy mansion, they enter a previously-sealed room, which features a securely bricked-up fireplace. Despite the insistence of a local contractor (My Three Sons' William Demarest) that they leave the room undisturbed, Sally's husband manages to open the flue, releasing a horde of shriveled mini-monsters imprisoned there for decades. The little demons immediately fixate their malevolent attention on Sally in an effort to claim her soul, a mission which can only be averted by the love of her husband -- which, in light of his self-centered careerism, means poor Sally's pretty much on her own. Director John Newland manages to pull off this one-note premise with some effective, frightening scenes -- especially when he chooses to show as little of the goofy-looking monsters as possible -- but it's hard to sustain this level of suspense for a full 90 minutes. ~ Cavett Binion, Rovi

In her final acting appearance, Susan Hayward is ironically cast as a research doctor who can no longer face up to the notion of dealing with death on a daily basis. Recently widowed, Dr. Maggie Cole is on the verge of giving up her job and going into seclusion. She is shaken back to reality by crusty but lovable "street doctor" Lou Grazzo (Darren McGavin), who coerces Maggie into accepting a job at a Chicago slum clinic. At first adjusting admirably to her new surroundings, Maggie undergoes a devastating assault to her emotions when she befriends a teenaged leukemia patient. Written by real-life M.D. Sandor Stern and originally telecast by ABC on September 27, 1972, Say Goodbye, Maggie Cole was supposed to have been the pilot for a weekly series, but plans for this project were abandoned after the death of star Susan Hayward. ~ Hal Erickson, Rovi

Flap is marginally significant as the only Western ever directed by Britain's Sir Carol Reed. Anthony Quinn is top-billed as Flapping Eagle, a modern-day Native American stuck on a squalid reservation. Though liquored up most of the time, Flapping Eagle undergoes an eleventh-hour social awakening. Making certain that the media is notified, he hijacks a train and heads for Phoenix, demanding full restoration of rights for his people. Played uneasily for laughs, Flap tries to make up for its shortcomings with a 1970s-style tragic ending, but by that time most of the audience has given up. The working title for Flap was Nobody Loves Flapping Eagle, which was closer to the name of source material, Clair Huffaker's novel Nobody Loves a Drunken Indian. ~ Hal Erickson, Rovi

Together with Orson Welles' Citizen Kane and John Singleton's Boyz 'n the Hood, director Peter Bogdanovich's Targets is among the most impressive first features ever made. When Bogdanovich's cinematic mentor Roger Corman suggested that Bogdanovich might want to make his directorial debut, he offered to "donate" 20 minutes worth of footage of the Corman-directed The Terror and the services of Boris Karloff, who owed Corman two days' worth of work (at a cost of $22,000). Karloff became so caught up in the 29-year-old Bogdanovich's enthusiasm that he agreed to work an additional two days at a bare-minimum salary.

The script, by Bogdanovich and his then-wife, Polly Platt, was inspired by the 1966 shooting spree of Texas Tower sniper Charles Whitman. Karloff, as Byron Orlock, more or less plays himself: an aging horror star, consigned to low-budget drive-in fare. Unlike the workaholic Karloff, Orlock wants to retire from films, noting that his movies seem inconsequential in light of the real-life horrors occurring every day. As Bogdanovich, playing young-and-hungry director Sammy Michaels, desperately tries to convince Orlock to star in just one more picture, the film's attentions shift to Vietnam veteran Bobby Thompson (Tim O'Kelly). An otherwise amiable, normal-looking lad, Bobby seems to harbor an inordinate fascination with guns, particularly high-powered rifles. One bright and sunny morning, Bobby suddenly and unexpectedly shoots and kills his wife, his mother, and an unlucky delivery boy. He leaves behind a note confessing to these crimes, noting that, while he fully expects to be captured, many more will die before the day is over. From this point onward, the film switches from Bobby's day-long bloodbath (from the vantage point of an oil storage tank, calmly picking off passing freeway motorists) to Orlock's grumbling preparations to make a personal appearance at a local drive-in movie.

Inevitably, Bobby also shows up at the drive-in, hiding himself behind the huge screen and shooting down the patrons as they sit complacently in their cars, watching the latest Byron Orlock film (actually The Terror, in which Karloff also starred). Once the reality of the situation sets in, panic ensues, leading to the ultimate confrontation between the escaping Bobby and the bewildered Orlock. ("Is this what I was afraid of?" Orlock ruefully exclaims as Bobby cowers at his feet.) The tension never lets up throughout Targets' jam-packed 90 minutes. The film was virtually thrown away by its distributor, Paramount Pictures, which was uncertain about packaging a film about a sniper in the wake of the King and Kennedy assassinations. Only when it was reissued to college campuses and film societies did Targets begin building up its much-deserved reputation. Though Targets was not, technically, Boris Karloff's last film, it serves as a worthy valedictory for this cinematic giant. ~ Hal Erickson, Rovi

Singer Wayne Newton makes his dramatic debut as Andy Walker, the son of domineering dirt farmer Willard Walker (Malcolm Atterbury). Desirous of pursuing a musical career, Andy is stopped in his tracks by his hidebound father. Ben Cartwright intervenes in this domestic dilemma-and along the way, guest-star Newton warbles such traditional tunes as "Old Joe Clark", "Scarlet Ribbons", "Danny Boy", and "The Old Rugged Cross". Also in the cast are Anne Jeffreys as Lily and Wayne Newton's real-life brother Jerry as Andy's brother Mike. First shown on April 10, 1966, "The Unwritten Commandment" was written by Jo Pagano, William Blinn and Dan Ullman. ~ Hal Erickson, Rovi

Endora just won't give up her efforts to cause a rift in the matrimonial bonds between her daughter, Samantha, and that goofy mortal Darrin. This time around, Endora insists that Janine (Lisa Seagram), a beauty contest winner hired for Darrin's latest ad campaign, will ultimately break up Sam's marriage. Sam pooh-poohs this notion, unaware that Endora has already used witchcraft to prove that Darrin is capable of infidelity. Written by Jack Sher, "It Takes One to No One" was first telecast on November 26, 1964. ~ Hal Erickson, Rovi

The Young Savages is what used to be called a "thinking man's picture" about a potentially lurid subject: urban juvenile delinquency. A blind Puerto Rican boy is knifed to death in Spanish Harlem, and three teenage gang members are accused of the crime. Politically ambitious assistant DA Burt Lancaster initially presses for the conviction of all three boys. But as he gets deeper into the case, he realizes that what appears cut-and-dried on the surface is tortuously complex: for starters, the murder victim was hardly the paragon of virtue that the prosecution claims. Despite pressure from his superiors and from members of the accused boys' gang (who at one point threaten Lancaster's wife Dina Merrill with a switchblade,) Lancaster nonetheless sees to it that justice is properly administered. The defendants are portrayed with varying degrees of Brando/Dean "method" by John Davis Chandler, Neil Nephew and Stanley Kristien; more believable, less affected performances are rendered by Shelley Winters, Pilar Seurat and Telly Savalas. Filmed on location in New York, The Young Savages was based on the Evan Hunter novel A Matter of Conviction. ~ Hal Erickson, Rovi