Jerome Cowan Movies

In The Comic, Dick Van Dyke plays Billy Bright, silent-era film comedian. The opening scene is at his funeral in which his sidekick Cockeye (Mickey Rooney) honors his partner's last request by hitting the preacher in the face with a pie. Van Dyke's voice then narrates the life story of the comic in flashbacks. Steve Allen plays himself and is the man who revives Billy's career towards the end of his life. Bright's life deteriorates as the bitter man becomes a drunk and abusive, alienating his wife Mary (Michele Lee). Van Dyke combines the characters of Buster Keaton, Charlie Chaplin and Stan Laurel for his interpretation of the fictional character Billy Bright. ~ Dan Pavlides, All Movie Guide

As a contestant on Art Linkletter's TV show (which looks a lot like People Are Funny), Lucy is offered a 200-dollar prize if she can refrain from talking for 24 hours. To make certain Lucy keeps her end of the bargain, Linkletter chooses a lady from the audience, one Helen Cosgrove (Doris Singleton), to accompany her home. What Lucy doesn't know is that Helen is a "plant," one of several actors hired by the capricious Linkletter to give our heroine as miserable a time as possible while she tortuously attempts to keep her mouth shut. Former child actor Jack Searl appears briefly as an escaped convict who rushes into the speechless Lucy's living room, desperately searching for a "one-armed man" (guess which TV show was popular when this episode was filmed back in 1965!). ~ Hal Erickson, All Movie Guide

Accidentally striking the Munster Koach, female motorist Mrs. Kingsley (Dorothy Green) takes one look at Herman (Fred Gwynne) and assumes that he's been horribly disfigured in the "accident". The guilt-ridden woman sends an insurance man to the Munster Mansion, hoping to settle out of court for $10,000. But Herman misunderstands the situation and thinks that he is being sued by Mrs. Kingsley--and rather than see his family disgraced, he runs away from home! ~ Hal Erickson, All Movie Guide

Bruce Yarnell makes his first appearance as the Cartwrights' cousin Muley from Missouri. "Blessed" with a singing voice that can literally shatter glass, Muley manages to make life difficult for his rich relations-and also inadvetently louses up negotiations with a neighboring Indian tribe. The supporting cast includes such dependable character actors as Jesse White, Jerome Cowan, Strother Martin and Ralph Moody, the latter in his standard role as an elderly Indian chief. Written by Robert Barron and Alex Sharp, "The Saga of Muley Jones" was originally telecast on March 29, 1964. ~ Hal Erickson, All Movie Guide

This violent, gore-filled, effective horror tale by director Robert Gordon is about a totally wacko private zoo keeper, Michael Conrad (Michael Gough) whose literal worship of the animals he tends -- especially the cat species -- starkly contrasts with his cold-blooded disregard for human life. Conrad has a mute son Carl (Rod Lauren) with a simmering Oedipal hatred, and a wife who should have left him eons ago. Whenever Conrad gets miffed with anyone coming a little too close to his private affairs he simply feeds the hapless victim to the animals. It seems inevitable that if the animals do not get him, then the human species will. ~ Eleanor Mannikka, All Movie Guide

Ira Levin wrote the stage comedy Critic's Choice as a good-natured retort to a comment made by critic Walter Kerr. In his essay How Not to Write a Play, Kerr noted that the worst possible scenario would involve a drama critic forced to review a play written by his wife (we should mention that Kerr's own wife was noted playwright Jean Kerr). Levin utilized this very scenario, and the result was a Broadway hit. Less successful artistically was the 1962 film version, though with Bob Hope and Lucille Ball as stars, the film couldn't help but clean up at the box office. Hope portrays theatrical critic Parker Ballantine, while Lucille Ball plays his wife Angela. Feeling "useless," Angela writes a play as a lark, then is amazed when it is optioned by a major producer. Parker does his best to get out of the responsibility of reviewing the play (which very well may be as bad as he thinks it is), but cannot escape the responsibility. Much of the verbal wit of the Levin original is sacrificed in favor of one-line quips; there is also an overabundance of gratuitous slapstick during a little-league game and the climactic "opening night" sequence. Still, Hope and Ball work together well as always. ~ Hal Erickson, All Movie Guide

Director Frank Capra's last feature film, Pocketful of Miracles is a Technicolor remake of his 1933 film Lady for a Day. A barely recognizable Bette Davis plays Apple Annie, the besotted, unkempt, rag-clad street vendor who controls the activities of all the beggars on Broadway. Apple Annie is the pet of Dave the Dude (Glenn Ford), a tough but basically kind-hearted gangster who believes that Annie's apples bring him luck. One morning, Annie fails to show up at her usual corner. That's because she is sitting disconsolate in her squalid shack, contemplating suicide. The reason: Annie has received a letter from her daughter Louise (Ann-Margret, in her screen debut). Annie has been supporting Louise's high-priced European education, leading the girl to believe that she, Annie, is a high-society dowager. Now Louise is returning home with her wealthy fiance Carlos Romero (Peter Mann) in tow, and it looks as though Annie's cover will be blown to bits. Partly out of sympathy, but mostly because of his superstitious belief in the power of Annie's apples, Dave the Dude arranges with his Broadway cohorts to "doll up" Annie so that she can pass as a woman of means, then stage-manages a huge, expensive reception for Louise and her beau. The complications that ensued in the original 1933 version of Lady for a Day exercise their prerogative once more, with a few added plot twists to pad out Glenn Ford's screen time. Cutting through the sentimental goo like a machete is Peter Falk, who is hilarious as Dave the Dude's sarcastic bodyguard. Evidently, Falk was one of the few actors on the set of Pocketful of Miracles with which Capra remained sympatico throughout shooting. In his autobiography (a not altogether reliable tome), Capra insisted that Pocketful of Miracles was ruined by Glenn Ford's autocratic and self-serving on-set behavior, and by Ford's demand that his current lady friend Hope Lange be (mis)cast as brash nightclub chirp Queenie Martin. As usual, Capra was not telling the whole story: at 63, he was beginning to lose his grip on his movie-making skills, allowing every scene to run well past its value and concentrating on cute isolated "bits" rather than the story at hand. Way too long at 136 minutes (Lady for a Day ran but 90), Pocketful of Miracles still has a lot going for it, especially the glowing performance of Bette Davis and the basic, foolproof Damon Runyon story on which it is based. While it disappointed at the box office, Miracles has since its release become a Christmastime TV perennial, seldom failing to draw big ratings numbers. ~ Hal Erickson, All Movie Guide

When a space alien's fascination with Earthlings gets the better of him, he breaks one of his planet's laws and speeds off to visit the blue planet. Once there the alien (Jerry Lewis) encounters a nice family who kindly take him in. The father is a news commentator. Ironically, just prior to meeting the visitor, he had just aired a piece in which he derided all notions of extraterrestrial visits. In exchange for having them teach him about human ways, he uses his many fantastic powers to help them. ~ Sandra Brennan, All Movie Guide

Ida Lupino stars as Barbara Jean Trenton, a 1930s movie queen who refuses to admit that she's grown too old to play romantic roles. As her loyal agent Danny Weiss (Martin Balsam) looks on with a mixture of pity and disgust, Barbara insists upon sitting in her Hollywood mansion watching her old films. A surprise visit from her now-decrepit leading man Jerry Hearndon (Jerome Cowan) forces Barbara to face reality -- or does it? Bearing traces of Sunset Boulevard, but with a poignant Twilight Zone twist, "The Sixteen-Millimeter Shrine" was written by Rod Serling and directed by Mitchell Leisen (one of the last assignments for this veteran); the episode originally aired October 23, 1959. ~ Hal Erickson, All Movie Guide

Joe De Rita makes his debut as the third Stooge in this rollicking slapstick comedy that has the three bunglers accidentally locking themselves into a rocket ship and blasting off to Venus. Once on the second planet they find fantastic life forms, including a verbose unicorn. They also find themselves called heroes and this of course leads to all kinds of comical chaos. Though made with a minimal budget, it revived the flagging career of the trio, who had just been re-discovered via television. Thanks to this film's success, the Stooges made five more feature films. ~ Sandra Brennan, All Movie Guide

The System was one of several "exposé" films inspired by the Kefauver crime committee. The title refers to the manner in which a major gambling syndicate can so insinuate itself in "respectable" business circles that it becomes virtually impossible for justice to prevail. Big-city syndicate head John Merrick (Frank Lovejoy) is targeted for investigation by a crusading newspaper. The publisher (Fay Roope) uses this opportunity as a means to squelch his daughter's (Joan Weldon) romance with the unscrupulous Merrick. Called to testify before a crime commission, Merrick at first invokes the Fifth Amendment. But a series of crushing personal blows, coupled with the realization that his fellow hoods have left him to twist slowly in the wind, leads to an abrupt change of heart on the witness stand. The System boasts one of the most impressive supporting casts in any 1953 film, including virtually every actor who's ever played a thug or lowlife: Dan Seymour, Frank Richards, Vic Perrin, Henry Corden, Bruno VeSota, etc. etc. etc. ~ Hal Erickson, All Movie Guide