Rosemary Clooney Movies

In 1954, all of England was rocked by a shocking crime that took place in a quiet coastal town and involved a socially upstanding landlady, her smart, newly blossomed teenage daughter, and a handsome but troubled Australian in search of family he had never known. In retelling this true story, first-time filmmaker Philip Goodhew offers a blackly comic and ironic look behind the proper lace curtains of a seemingly normal British household and reveals a seething pit of repressed lust, jealousy and deadly obsession. The tale begins as Harold Guppy (Rupert Graves) leaves a ship and ambles toward the home of his long-lost brother Maurice Guppy (Les Dennis). The reunion is tepid, for Maurice's wife Iris (Elizabeth McKechnie) is suspicious of Harold and unwilling to welcome him into her home. It doesn't help that the callow Harold reveals a troubled, though somewhat cloaked past. Unable to stay with his brother, Harold finds lodging in the home of friendly, late-middle-aged Mrs. Beasley (Julie Walters). With her rhinestoned glasses, boxy dresses, short bouffant, and prim take-charge manner, Mrs. Beasley seems the epitome of 1950s motherhood and good housekeeping. Harold soon meets the rest of the family, the fresh-faced, bright, but rather macabre Joyce (Laura Sadler in her feature-film debut), and Mr. Beasley, a quiet, hen-pecked (the Mrs. hasn't had relations with him in years and forces him to sleep in his own room) WW I survivor who despite his missing leg, still supports his family. Things seem normal enough until a fateful game of spin-the-bottle during Joyce's 14th birthday party reveals an entirely different side to Mrs. Beasley. That night she creeps to Harold's bedroom and pleads with him until he weakens and accepts her advances and they begin to make wild love. The row awakens Joyce who pops into Harold's room and refuses to leave until the would-be lovers allow her into the bed. Thinking her asleep and unaware, Mrs. Beasley and Harold quietly resume their cavorting. Joyce is very much awake and spends the night scheming to get Harold to come to her. Thus begins an inescapable downward spiral for the weak-willed Harold that culminates in a desperate and horrific act of violence. Though it is not difficult to guess that none of the three protagonists will come to a good end, the graphic nature of the story's climax is jarring and out of place in the otherwise low-key and rather dry comedy. That the trio's characters are so broadly drawn, even bordering on cariactures, lessens the impact and the actual horror of the case. Still, Intimate Relations is a well-made film that aptly captures the flavor of post WW II England and contains many memorable lines.That the three try so hard to keep up the appearances of a normal household (Mrs. Beasley insists that Harold call her "Mum," a word he later has tattooed upon his arm) only adds to the bitter humor. ~ Sandra Brennan, Rovi

A blend of screwball farce and whodunit murder mystery, this madcap period piece was the brainchild of executive producer George Lucas. In 1939, Penny Henderson (Mary Stuart Masterson) is the harried general secretary and de facto manager of a new fourth radio network, WBN. On the night that the Chicago station goes live on the air, a mysterious voice interrupts, and a series of murders soon follows, each one described by the same sonorous phantom. While Penny and her staff desperately try to keep WBN's roster of shows afloat during the unfolding crisis, her estranged husband Roger (Brian Benben), a staff writer, becomes the chief suspect. Roger is forced to dodge a detective, Lieutenant Cross (Michael Lerner), find the real killer, win Penny back, and perform last-minute script rewrites for an unhappy sponsor. As the backstage hysteria reaches a fever pitch, the show goes on with real-life radio-era pros such as George Burns and Rosemary Clooney. Although never explicitly pointed out in the film, Radioland Murders (1994) was a pseudo-prequel to an earlier Lucas feature -- Roger and Penny are the future parents of Curt Henderson (Richard Dreyfuss) from American Graffiti (1973). ~ Karl Williams, Rovi

In Frasier's first holiday episode, Frasier Crane (Kelsey Grammer) makes plans to spend Christmas with his son Frederick (remember him from Cheers?). But when these plans fall through, a disappointed Frasier volunteers to fill in for sports-show host Bulldog at radio station KACL on Christmas Day. Unfortunately, all of his callers are just as depressed as he is, leading Frasier to seek comfort after his gig by going to a diner he has never previously visited. Our hero's uncharacteristically shabby appearance and dour demeanor have an unusual effect on the diner's regular customers. ~ Hal Erickson, Rovi

A devoted nun endeavors to create a halfway house for female convicts on parole in this drama. To achieve her goal, she must face a daunting series of obstacles. ~ Sandra Brennan, Rovi

This for Remembrance, the autobiography of popular singer Rosemary Clooney (1928-2002), was the source for this made-for-TV biopic. Played herein by Sondra Locke, the Kentucky-born Clooney begins her career as one-half of a musical act with her sister Betty (Penelope Milford), performing at the election rallies of her politician uncle (John Karlen). Achieving radio popularity in Cincinnati, Ohio, Rosemary goes on to enjoy nationwide fame in the 1950s with such hit recordings as "Come On A' My House", "Tenderly" and "Hey There". Though her success in movies is negligible (White Christmas notwithstanding), she makes a huge impact on television, hosting several of her own weekly series. All the while, however, Rosemary's private life is in turmoil, due in great part to a tempestuous marriage to actor-director Jose Ferrer (played by, of all people, Tony Orlando). After the assassination of her great friend Robert Kennedy in 1968, Rosemary suffers a nervous breakdown, and it is many years before she is able to make a triumphant comeback on the concert trail. Rosemary Clooney herself serves as the singing voice of Sondra Locke, and also dubs in the tunes performed by the actress playing sister Betty. Had Rosie: The Rosemary Clooney Story aired on CBS a decade or so after its original telecast on December 18, 1982, mention might have been made of the subsequent success of Clooney's actor son Miguel Ferrer and her TV-star nephew George Clooney; there might even have been a re-enactment of Rosemary's third marriage, capriciously staged at a White Castle restaurant in Cincinnati. ~ Hal Erickson, Rovi

If anything, this star-studded sequel is even sillier than the original, adding to its problems by completely recasting all the roles, combining several of them into existing characters. Carol Lynley is the heroine this time, and she leaves Peyton Place for New York to write a book about the hypocrisy of her hometown. The book causes lots of trouble back home, getting Mike (Robert Sterling) fired as principal, angering Lynley's mother (Eleanor Parker), and stirring such horrible memories in Selena (Tuesday Weld) that she brains her new boyfriend with a fireplace poker, thinking he is her dead rapist stepfather. The film really belongs to Mary Astor, in a hilarious turn as a smotheringly possessive mother. She tries to come between her son and his new bride (Luciana Paluzzi) in some unintentionally hilarious scenes, causing Paluzzi to fling herself down a ski slope in an attempt at a self-induced miscarriage. Overwrought and overblown, the film is still a treat for fans of campy "suburban sin" melodramas. Look for Bob Crane as an unctuous talk show sidekick. ~ Robert Firsching, Rovi

A star-studded television special that introduced the Edsel to the American people. The Edsel was a new Ford model of the late '50s that later became an industry joke. Historically important as the first live entertainment TV broadcast to be recorded on video tape for later rebroadcast. ~ Rovi

Deep in My Heart is the MGM-ified biography of composer Sigmund Romberg, here played by José Ferrer. Evidently the scripters didn't feel that the life of Romberg (as set down by author Elliott Arnold, whose book was used as the film's basis) had enough drama to fill out two hours and ten minutes. As a result, the film is overstocked with guest stars, performing such Romberg standards as "One Alone," "Lover Come Back to Me," "When I Grow Too Old to Dream," "Will You Remember," and "Stout-Hearted Men." Among these celebrities are Ann Miller, Vic Damone, Jane Powell, Tony Martin, Cyd Charisse, Rosemary Clooney, and Gene Kelly, the latter performing a dance duet with his seldom-seen brother, Fred. For all the heady competition, it is José Ferrer who renders the most memorable production number: a one-man presentation of the Romberg musical comedy Jazzboat, in which Ferrer assumes all the roles, from star Al Jolson's to the entire female chorus! ~ Hal Erickson, Rovi

Not only are stars Anna Maria Alberghetti and Rosemary Clooney singing, but also a medium-sized roster of "special guest stars." Alberghetti plays an illegal Polish alien, while Clooney is a dewey-eyed showbiz aspirant who protects the refugee girl. The two ladies pin their hopes on a TV talent contest. Alberghetti becomes an opera star, while Clooney becomes a pop singer, solely (or so it seems) on the basis of the top-10 hit "Come On'a My House." The guest performers in The Stars are Singing include Metropolitan Opera luminary Lauritz Melchior, dancer Tom Morton, and the comedy dog act team of Bob Williams and Red Dust. ~ Hal Erickson, Rovi

A singing sensation whose smooth voice possessed the power to hold an entire nation in awe, Rosemary Clooney rose through the ranks in the 1950s thanks to such Columbia hits as "Beautiful Brown Eyes" and "Come on-A My House". Now modern audiences can gain a newfound appreciation for the silky-voiced chanteuse with this release that offers eighteen timeless hits including a medley with singling legend Bing Crosby and a performance of "Rosie's Theme" which finds Clooney backed by the Hollywood String Orchestra. Other songs featured in this release include "We're in the Money", "The World is Waiting for the Sunrise", "A Foggy Day", and "I'm Checking Out." ~ Jason Buchanan, Rovi