Bert Conway Movies

Lou Diamond Phillips stars in this contrived but entertaining thriller (which he also wrote) as Mitchell Osgood, an aspiring writer who runs a Los Angeles bookstore. When a heartfelt book about his father Haing S. Ngor fails to win him a publishing deal, Osgood decides to write something more eye-catching -- a book about recently-released serial killer Albert Merrick Clancy Brown. The media beats him to it, so the ruthlessly ambitious Osgood decides to spur Merrick to commit more crimes, hiring him to work at the bookstore and playing cruel mind games in hopes of setting Merrick off. He does, but the results are quite different from what Osgood had anticipated. Phillips' performance is weak, and the screenplay is predictably bland, but the film remains worthwhile thanks to a terrific job by Brown as the killer. Brown has turned in a number of fine psycho performances, but he has rarely been better than he is here, building from understated diffidence to full-blown psychosis in expert fashion. Grace Zabriskie and Willard E. Pugh co-star with Cecilia Peck. ~ Robert Firsching, All Movie Guide

This slightly bowdlerized version of Irving Shulman's The Amboy Dukes was used by Universal-International to showcase several of its new male contractees. Set in the slums of Brooklyn, the film follows the exploits of the Amboy Dukes, a teenaged street gang. Foremost among the Dukes is Frank Cusack (Peter Fernandez), who loses all opportunity to escape his grim existence when he accidentally kills his high-school teacher. The film tries to demonstrate that the so-called "code of the streets"--never rat on a pal--is possibly more destructive than any brass knuckle or switchblade. Maxwell Shane and Dennis Cooper's screenplay resists any temptation to sentimentalize the kids or trivialize their plight; the closest the film comes to comedy relief are the shattered romantic illusions of the near-moronic Crazy Perrin. Prominent among the supporting players are Thelma Ritter as Frank Cusack's anguished mother, Stephen McNally as a community center counselor, and Anthony (Tony) Curtis as the leather-jacketed gang leader. ~ Hal Erickson, All Movie Guide

In this entry in the long running comedy-drama series, the boys get into the world of prizefighting. When one of Slip's pals is killed in the ring, he and the boys plot their revenge against the gangster responsible. They enlist the aid of the late fighter's boozy brother, who was also a fighter. They convince him into entering the ring one last time. He does so despite the gangster's efforts to stop the boys. The fighter wins and his brother's death is avenged. ~ Sandra Brennan, All Movie Guide

Based on the best-selling Vincent Bugliosi book of the same name, Helter Skelter is a made-for-TV account of the investigation and prosecution of Charles Manson (Steve Railsback), who was convicted of leading a group of followers (known as "The Family") to murder seven people in California, including actress Sharon Tate. The film takes a Law & Order-like approach, starting with the discovery of the murders, which leads to the police gathering snippets of evidence that they eventually connect to the bigger picture. The second half of the movie concentrates on how District Attorney Bugliosi (George DiCenzo) attains a conviction despite the enormous amount of press coverage the case received. Nancy Wolfe, Christina Hart, and Cathey Paine portray the three loyal Manson Family members who were the co-defendants at his trial. ~ Perry Seibert, All Movie Guide

Monogram's low-budget, high-grossing "Joe Palooka" series carries on in this 66-minute entry. Joe Kirkwood plays Joe Palooka, the soft-hearted pugilist created for the funny papers by Ham Fisher. This time, Joe is framed on a bum rap by a group of gamblers who hope to fix the outcome of an upcoming bout. When Joe manages to clear himself, the gamblers go a step farther by having the scrupulously honest boxer accused of murder. On the lam from the law, Joe is forced to solve the murder himself--and he'd better hurry if he's going to get to the Big Fight on time. Virginia Welles is cast as Joe's love interest Ann Howe, while comedian Leon Errol is afforded top billing as Joe's manager Knobby Walsh. ~ Hal Erickson, All Movie Guide

The exigencies of the first Hollywood "Red Scare", fomented by the Martin Dies committee, prompted the US Senate Civil Liberties Committee to produce Native Land, a 1942 paean to the Four Freedoms. Narrated by Paul Robeson, the film employs a cast of familiar if not stellar character actors in a story of how certain enemies within the US have done their best to suppress their fellow citizens' rights to freedom of speech, freedom of religion, freedom of assembly and freedom from want. The villains are the usual run of fat-cat capitalists, bigoted "patriots" and strikebreakers, while the heroes and heroines are farmers, sharecroppers, union leaders, minorities and the like. The screenplay leans towards the dogmatic at times, but the actors are sincere and the rousing musical score by Marc Blitztein (and old hand at this sort of agit-prop entertainment) is first-rate. Not suprisingly, many of the contributors to Native Land--Art Smith, Howard Da Silva et. al.-ended up being blacklisted during the Communist "Witch Hunt" of the 1950s. ~ Hal Erickson, All Movie Guide

After the film-noir melodramatics of Lady in the Lake and Ride the Pink Horse, actor/director Robert Montgomery turned to comedy in Once More, My Darling. Montgomery plays a former movie idol hired by the government to woo a young heiress (Ann Blyth). Someone had previously given the girl some jewelry stolen by the Nazis during the war, and the government wants to find out who that someone was. In the grand tradition, Montgomery pursues Blyth until she finally catches him. Produced by longtime Alfred Hitchcock associate Joan Harrison, Once More, My Darling is more conservatively directed than Montgomery's earlier works, though the director earns at least one laugh by playing a clever editing joke. ~ Hal Erickson, All Movie Guide

Elia Kazan directed this, one of Hollywood's early attacks on racism, starring Jeanne Crain as Patricia "Pinky" Johnson. Patricia is a light-skinned black woman who is studying nursing at a New England medical institute. A white doctor, Thomas Adams (William Lundigan), has fallen in love with Patricia and wants to marry her, but Patricia refuses his proposal. Convinced their interracial union would never work out, Patricia believes Thomas would never be able to endure the acrimony that would be heaped upon their marriage. Patricia leaves New England to return to her childhood home in the South, where her grandmother (Ethel Waters) works for rich widow Miss Em (Ethel Barrymore). When Miss Em takes ill, Patricia cares for her. Upon Miss Em's death, it is discovered that she has bequeathed her entire estate to Patricia. Miss Em's family disputes the will because Patricia is black, and a courtroom battle ensues over the estate. ~ Paul Brenner, All Movie Guide

In Frank Perry's curious, off-center comedy Western, Jeff Bridges and Sam Waterston play Jack McKee and Cecil Carlson, a couple of cattle rustlers whose special target is taciturn rancher John Brown (Clifton James). Both men are outcasts by choice; McKee can't stand being around his stuck-up ex-wife (played by Doria Cook), while Carlson, an Indian, finds his fellow tribesmen too tradition-bound for his tastes. Together, they plan to lift themselves out of the penny-ante class with one big crime caper. Brown gets wind of their scheme, and sends private eye Henry Beige (Slim Pickens) after them. The cast is top-heavy with attractive women, ranging from Brown's bored wife, Cora (Elizabeth Ashley), to "camp followers" Betty Fargo (Patti D'Arbanville) and Mary Fargo (Maggie Wellman). Thomas McGuane authored the script; Jimmy Buffett provides the songs. ~ Hal Erickson, All Movie Guide

The postwar classic The Best Years of Our Lives, based on a novel in verse by MacKinlay Kantor about the difficult readjustments of returning World War II veterans, tells the intertwined homecoming stories of ex-sergeant Al Stephenson (Fredric March), former bombadier Fred Derry (Dana Andrews), and sailor Homer Parrish (Harold Russell). Having rubbed shoulders with blue-collar Joes for the first time in his life, Al finds it difficult to return to a banker's high-finance mindset, and he shocks his co-workers with a plan to provide no-collateral loans to veterans. Meanwhile, Al's children (Teresa Wright and Michael Hall) have virtually grown up in his absence. Fred discovers that his wartime heroics don't count for much in the postwar marketplace, and he finds himself unwillingly returning to his prewar job as a soda jerk. His wife (Virginia Mayo), expecting a thrilling marriage to a glamorous flyboy, is bored and embittered by her husband's inability to advance himself, and she begins living irresponsibly, like a showgirl. Homer has lost both of his hands in combat and has been fitted with hooks; although his family and his fiancée (Cathy O'Donnell) adjust to his wartime handicap, he finds it more difficult. Profoundly relevant in 1946, the film still offers a surprisingly intricate and ambivalent exploration of American daily life; and it features landmark deep-focus cinematography from Gregg Toland, who also shot Citizen Kane. The film won Oscars for, among others, Best Picture, Best Director for the legendary William Wyler, Best Actor for March, and Best Supporting Actor for Harold Russell, a real-life double amputee whose hands had been blown off in a training accident. ~ Hal Erickson, All Movie Guide

Eagle-Lion studios inaugurated its new "big budget" western policy with 1948's The Man From Texas. James Craig stars as the El Paso Kid, who can't make up his mind whether to be an upstanding, decent citizen or a masked bandit. He continues to vacillate all through the picture, much to the dismay of his wife Zoe (Lynn Bari, in a rare sympathetic performance). Among those benefitting from the Kid's "good" spells is the Widow Weeks (Una Merkel), who's in danger of losing her farm. Singing star Johnnie Johnston wanders in and out of the proceedings as a frontier balladeer, occasionally commenting upon the action -- a device later used to better effect in Lang's Rancho Notorious and Zinneman's High Noon. ~ Hal Erickson, All Movie Guide

In this western, an outlaw is wounded in battle and manages to escape to the home of two helpful runaways who help him recuperate. During this time, the outlaw regales them with thrilling tales of his adventurous exploits. His stories inspire the lads to form a gang of their own; the outlaw is more than happy to help and become their leader. They rob a few banks and have great fun until the outlaw becomes a turncoat and begins hunting them for a generous bounty. But one of the boys decides to get revenge and rootin' tootin' mayhem ensues. ~ Sandra Brennan, All Movie Guide