Scatman Crothers Movies

About ten minutes into The Shootist, Doctor Hostetler (James Stewart) tells aging Western gunfighter John Bernard Books (John Wayne), "You have a cancer." Knowing that his death will be painful and lingering, Books is determined to be shot in the line of "duty." In his remaining two months, Books settles scores with old enemies, including gambler Pulford (Hugh O'Brian) and Marshall Thibido (Harry Morgan) and reaches out to new friends, including a feisty widow (Lauren Bacall) and her hero-worshipping son (Ron Howard). Throughout the film, Books' imminent demise is compared with the decline of the West, as represented by the automobiles and streetcars that have begun to blight the main street of Books' hometown. ~ Hal Erickson, All Movie Guide

In this offbeat comedy, Jeff Bridges plays Craig Blake, a rich kid who works with a group of hard-living Southern real-estate men led by Jabo (Joe Spinell), who are buying up a business district in Birmingham, Alabama in order to clear the space and put in a new project. Craig is supposed to work out a deal to buy the Olympic Spa, a gym popular with local weight-lifters, but after spending some time at the club, Craig finds himself fascinated with the people there, especially Joe Santo (Arnold Schwarzenegger), a world-class body builder from Austria who sometimes works out in a superhero costume and likes to play bluegrass fiddle to relax. Craig also makes the acquaintance of Mary Tate Farnsworth (Sally Field), a feisty gal who hangs out with Joe. Mary Tate finds Craig attractive, but she isn't sure he's being all that sincere, and she wonders why a wealthy real estate man is hanging out with a bunch of low-rent gym rats. Stay Hungry was a critical comeback for director Bob Rafelson and kick-started the careers of both Sally Field and Arnold Schwarzenegger in their first major film roles (unless you count Arnold's misbegotten appearance as "Arnold Strong" in Hercules In New York). ~ Mark Deming, All Movie Guide

Sequel to the 1970 Chesty Anderson sex comedy by the same director, this lame story with jokes to match focuses on the aptly-named Chesty (Shari Eubank), still a WAVE in the U.S. Navy, but now she is after the Mafioso who killed her younger sister. Chesty's allies are three of her similarly-proportioned friends in the Navy, and her enemies are the Baron (Frank Campanella) and his pal Vincent (Timothy Agoglia Carey) -- Vincent carries the show with his invented, eccentric way of walking and the pseudo-Italian he spouts at a moment's notice. Meant to be a conveyance for stunts and gags, and a showcase for the women, this film does introduce a government agent (Fred Willard) who ultimately pays more attention to the resolution of the plot than anyone else around. ~ Eleanor Mannikka, All Movie Guide

Freddie Prinze (Chico Rodriguez) and Jack Albertson (Ed Brown) are still on hand as the title characters in the warm-hearted ethnic sitcom Chico and the Man as the series enters its second season. Likewise, Scatman Crothers is back in the supporting role of ebullient neighborhood garbage collector Louie Wilson. Missing from the scene this season are such first-series semiregulars as Bonnie Boland, Rodolfo Hoyos and Isaac Ruiz). The one newcomer to the cast is Ronnie Graham (an accomplished farceur and director, then best known as "Mr. Dirt" in a series of popular commercials), as Reverend Bemis, the new curate in the Mexican-American neighborhood where curmudgeonly Ed Brown owns a garage, with Chico as his best (and only) employee. Appearing in guest roles during the season's 24 episodes are impressionist Rich Little in the opener "Paint Job", comedian and future informercial personality Avery Schreiber in "Play Gypsy" and "Misfortune Teller", a post-Star Trek George Takei in "Mister Butterfly" and a pre-Laverne and Shirley Penny Marshall in "Chico and the Van", singer Tony Orlando in "The Big Brush-Off" and the ubiquitous Joey Bishop in "Too Many Crooks". The most unexpected of the guest performers is former silent screen star Carmel Myers in "Bird in a Gilded Cage"; the most prescient is Della Reese, soon to be a series regular in the role of landlady Della Rogers, but for the time being cast as an acerbic judge in "The Juror". Although Chico and the Man still had millions of faithful fans, the series suffered a considerable ratings drop-off during its second season, descending from 3rd to 25th place. ~ Hal Erickson, All Movie Guide

With an insane asylum standing in for everyday society, Milos Forman's 1975 film adaptation of Ken Kesey's novel is a comically sharp indictment of the Establishment urge to conform. Playing crazy to avoid prison work detail, manic free spirit Randle P. McMurphy (Jack Nicholson) is sent to the state mental hospital for evaluation. There he encounters a motley crew of mostly voluntary inmates, including cowed mama's boy Billy (Brad Dourif) and silent Native American Chief Bromden (Will Sampson), presided over by the icy Nurse Ratched (Louise Fletcher). Ratched and McMurphy recognize that each is the other's worst enemy: an authority figure who equates sanity with correct behavior, and a misfit who is charismatic enough to dismantle the system simply by living as he pleases. McMurphy proceeds to instigate group insurrections large and small, ranging from a restorative basketball game to an unfettered afternoon boat trip and a tragic after-hours party with hookers and booze. Nurse Ratched, however, has the machinery of power on her side to ensure that McMurphy will not defeat her. Still, McMurphy's message to live free or die is ultimately not lost on one inmate, revealing that escape is still possible even from the most oppressive conditions. ~ Lucia Bozzola, All Movie Guide

Scatman Crothers guest stars as Bow Legs, an old pal of Fred Sanford (Redd Foxx) (it was Bow Legs who introduced Fred to his late wife Elizabeth). At Bow Legs' behest, Fred's pals develop a nightclub act called "The Zanies." A last-minute crisis results in an impromptu song-and-snappy-patter routine performed by Fred and his son Lamont (Demond Wilson). This episode also features a cameo appearance by singer Billy Eckstine. ~ Hal Erickson, All Movie Guide

A woman looking for adventure finds romance, excitement and danger in her viewfinder in this action-packed comedy-drama. Friday Foster (Pam Grier) is a beautiful and ambitious young photographer who is working as an assistant at Glance Magazine, edited by the hard-boiled Monk Riley (Julius Harris). When Riley can't get in touch with his first-call photographer, he calls Foster with a very important New Year's Eve assignment -- reclusive billionaire Blake Tarr (Thalmus Rasulala), often called "the black Howard Hughes," is expected to be coming to Los Angeles, and Riley wants pictures of Tarr's arrival. But Foster gets more than she bargained for when Tarr is ambushed by a gang of assassins disguised as security guards. The next day, Foster is helping to shoot a fashion show introducing new creations from flamboyant designer Madame Rena (Eartha Kitt) when Clorils Boston (Rosalind Miles), a model who has known Friday since childhood, is stabled to death. Colt Hawkins (Yaphet Kotto), a private detective who is on the scene, offers to help Friday track down Clorils' killer after she notices that the same mysterious man (Carl Weathers) was present at both crimes. Foster and Hawkins discover the two killings are connected by a plot hatched by an underground group called "Black Widow" to kill off powerful and influential African-Americans. But who is behind the conspiracy, and can they be stopped in time? Also starring Godfrey Cambridge, Paul Benjamin, Scatman Crothers and Ted Lange, Friday Foster was based on the comic strip by Jim Lawrence and Jorge Longeron; running from 1970 to 1974, it was the first syndicated strip with an African-American woman as the leading character. ~ Mark Deming, All Movie Guide

An uprooted African-American family is forced to confront their traditional values and ponder the effect that the emerging civil rights movement will have on their lives after relocating from the deep-south to Chicago in the filmed version of Phillip Hayes Dean's insightful and acclaimed stage play. Mary Alice and Maidie Norman star, and Ivan Dixon directs for television. ~ Jason Buchanan, All Movie Guide

Produced by James Komack (Welcome Back, Kotter), the weekly, half-hour NBC sitcom Chico and the Man was built around the talents of 20-year-old standup comedian Freddie Prinze, who had scored a sensation during his first appearance on The Tonight Show. Born in the LA barrio, the "Hugarican" (Hungarian-Puerto Rican) Prinze based his comedy act upon the eccentricities of various ethnic groups, peppering his routines with such catchphrases as "Looking Goooood" and "Is not MY job!" Cashing in on Prinze's gift for dialects and his inherent likability, producer Komack cast him as Chico Rodriguez, a flamboyant, good-hearted Latino youth who sweet-talked his way into a mechanic's job in the garage owned by crusty Ed Brown, the only Anglo-Saxon in a predominantly Mexican-American neighborhood. To help teach Prinze the pacing and rhythm of TV situation comedy, Komack cast Jack Albertson, veteran vaudevillian and Oscar-winning film actor, as Ed Brown. Despite old Ed's grouchiness and disdainful opinion of anyone who spoke with an accent and wasn't lily-white, Chico knew deep down that his boss had a heart of gold--and, of course, he was right. Even before the series debuted on September 13, 1974, Chico and the Man was under fire from several prominent Chicano organizations, who complained that, although Ed's garage was supposed to be in an Mexican-American area, there were no Mexicans in the cast or on the crew. This was quickly remedied when Komack hired two semi-regulars of Mexican descent: Rodolfo Hoyos as Ed's buddy Rudy and (Isaac Ruiz) as Chico's pal Mondo. Also, certain pressure groups complained that the name "Chico" was considered derogatory in many Chicano circles, resulting in a number of hastily added closeups in which Chico Rodriguez explained his true ethnic heritage and the "harmless" origin of his nickname. Finally, the writers were chastised for Ed Brown's occasional racial slurs, and as result such lines as "Get outta here--and take your flies with you" were carefully weeded out of late scripts. Eventually, a handful of African American organizations chimed in with their casting "suggestions", but Komack beat them to the punch by hiring veteran black showman Scatman Crothers to play affable neighborhood garbage collector Louie Wilson. During the second season, only Prinze, Albertson and Crothers remained of the original cast; added to the lineup was Ronny Graham as Reverend Bemis. Season three began with a two-parter introducing Della Reese as Della Rogers, an old "friendly enemy" of Ed Brown's who'd become his landlady. Things proceeded along smoothly thereafter until tragedy struck on January 27, 1977, when Freddie Prinze, who despite his "carefree" TV persona suffered from a variety of personal problems, committed suicide. Since Prinze had already taped most of the season's episodes, his death would not be addressed on the show until the beginning of Season Four (surprisingly those media pundits who assumed that, without Chico, there would be no Season Four for Chico and the Man!) At that time, Ed Brown adopted an 11-year-old Mexican orphan named Raul Garcia (played by 12-year-old Gabriel Melgar), who'd stowed away in Ed's car when he and his pal Louie had gone on a south-of-the-border fishing trip. Conveniently enough, Raul preferred to be called "Chico", enabling the series to retain its title. But audiences, already depressed by the devastating loss of Freddie Prinze, did not warm up to the Ed-Raul combination, nor did the addition to the cast of flamboyant entertainer Charo as Raul's eccentric Aunt Charo help matters any. The final episode of Chico and the Man was telecast on July 21, 1978. Throughout its run, the series had been introduced by a lively theme song, written and performed by Jose Feliciano. ~ Hal Erickson, All Movie Guide

Titled Detroit Heat for video release, this blaxploitation flick concerns two Motor City detectives (Hari Rhodes, Alex Rocco) on the trail of a gang of thieves who attacked a political rally. Noted blaxploitation fan Quentin Tarantino sponsored a theatrical re-release in 1998, with a video reissue following. ~ John Bush, All Movie Guide

Not long after a brand-new staff goes to work at the Duchess Jewelry Company, the owner is found murdered. At first, it looks like a simple mugging, but Kojak (Telly Savalas) suspects that something more sinister is afoot. Launching an investigation, Kojak ends up targeting a smuggling ring trafficking in stolen jewelry--but first he must find out the identity of the inevitable "inside" person, and figure out how the crooks are transporting their illicit cargo without arousing suspicion. ~ Hal Erickson, All Movie Guide

Dreams die hard in wintry Atlantic City in Bob Rafelson's downbeat character drama. Depressive deejay David Staebler (Jack Nicholson) tends to his grandfather as he philosophizes on late-night Philadelphia talk radio. When his huckster older brother Jason (Bruce Dern) calls out of the blue one day, David travels to Atlantic City to see what his latest easy money scheme is. Along with his former beauty queen companion Sally (Ellen Burstyn) and her pretty stepdaughter Jessica (Julia Anne Robinson), Jason plans to open a resort on a small Hawaiian island, insisting to an initially skeptical David that the deal is as good as done. David plays along but, as he learns the reality of the situation, tries to talk some sense into Jason. Jason and his women will have none of it, leading to a tragic lesson about the cost of superficial values like beauty and wealth, and the limits of brotherly love. Rafelson's follow-up to his 1970 hit Five Easy Pieces once again questions American myths of success, with one brother unwilling to come to earth to realize his dreams and the other unable to do much beyond talk about his inertia to an unseen radio audience. With Five Easy Pieces star Nicholson as the introverted lead, and impressive cinematography by Laszlo Kovacs, The King of Marvin Gardens had the makings of another Hollywood New Wave hit. The response, however, was not what stumbling BBS Productions hoped, as Columbia barely supported the film and 1972 audiences were not as responsive to Rafelson's second exploration of contemporary alienation. The King of Marvin Gardens' artful depiction of disillusionment roots it firmly in the 1970s Hollywood art cinema, and its failure became one more sign of that cycle's popular limits. ~ Lucia Bozzola, All Movie Guide