Henry T. Weinstein Movies

Texasville is Peter Bogdanovich's much-delayed sequel to The Last Picture Show. Adapted from Larry McMurtry's novel and told as a series of episodes, Texasville follows the characters from The Last Picture Show as they reunite in a small Texas town nearly 30 years after the end of the last movie, and face a number of adult problems, as well as confronting lingering emotions and memories from adolescence. ~ Stephen Thomas Erlewine, Rovi

Russian director Andrei Konchalovsky's second American film may well be the only existential adventure flick in Hollywood history. Two prisoners, Manny (Jon Voight) and Buck (Eric Roberts), escape from a desolate Alaskan maximum-security facility. They hop aboard a speeding train, making a clean escape. But the engineer has suffered a heart attack, and the train goes out of control. To prevent a disastrous head-on collision, the railroad heads decide to derail the runaway train, killing its occupants to save the lives of hundreds of others. Once Manny catches on to what's happening, he tries to jump off the train, only to be talked out of such a foolhardy act by railroad employee Sara (Rebecca DeMornay). As doom approaches, Manny apparently goes mad, viciously preventing any attempts to stop the train or rescue its passengers: if he's to die, and if the others are to be saved, it will be on his terms, or no terms. Runaway Train was slated as a project for Akira Kurosawa in 1970, but for various creative and scheduling reasons, it remained on the back burner for 15 years. ~ Hal Erickson, Rovi

Actor/writer Robert Shaw's powerhouse stage play The Man in the Glass Booth was transferred to the screen as part of the American Film Theatre series. Maximilian Schell plays Arthur Goldman, a Jewish businessmen living in Manhattan in 1965. A group of Israeli underground agents barge into Goldman's office and kidnap him. He is brought to Israel, placed in a bulletproof glass booth, and put on trial. His accusers charge that Goldman is not a Jew, but in fact a notorious Nazi war criminal, guilty of unspeakable crimes against humanity. Robert Shaw's name does not appear in the credits of The Man in the Glass Booth; he was so displeased with Edward Anhalt's screen adaptation that he had his name removed from the project. ~ Hal Erickson, Rovi

Adapted for the screen by Edward Anhalt from the play by John Osborne, Luther stars Stacy Keach as religious leader and "heretic" Martin Luther. In minimalist fashion, the film traces Luther's disillusionment with the Catholic Church, and his eventual spearheading of the Reformation movement. Over the course of the film, Keach ages from an ingenuous seminarian to a disgruntled, middle-aged firebrand. Director Guy Green does little to cinematize the material, instead favoring a theatrical approach and thus allowing the rich dialogue to be better appreciated. Luther was a production of the American Film Theatre. ~ Hal Erickson, Rovi

The American Film Theatre has made movies of a number of significant theatrical performances, including Laurence Olivier's Othello. Another of these filmed theatricals is Simon Gray's Butley, which was brought to the screen by playwright Harold Pinter, and which features an astonishing performance by Alan Bates. The story focuses on one very bad day in the life of Butley (Bates), a feisty, sharp-tongued, lazy and pathetic professor of English. His professional ascendancy is challenged by a slick, accomplished woman many years his junior; his ex-wife gives him conniptions when she announces her remarriage to someone he cannot bear; and his male lover of several years chooses this time to announce that he is leaving him for a sweeter-tempered but very ordinary man of the sort Butley despises. Bleak though this sounds, Butley's unconquerable wit and biting repartee transform this otherwise tragic tale into something of a celebration of survival. ~ Clarke Fountain, Rovi

In The Homecoming, adapted from the play by Harold Pinter, Michael Jayston brings his wife Vivien Merchant home to visit his long-estranged family. Jayston's father Paul Rogers is a washout, his uncle Cyril Cusack is on the edge of senility, and his brothers Ian Holm and Terence Rigby are, respectively, a slimy pimp and a brutish boxer. The sparser the dialogue, the thicker the tension in the air. Though British in origin, The Homecoming was presented as part of the American Film Theatre series. ~ Hal Erickson, Rovi

A Delicate Balance is the 1973 film adaptation of Edward Albee's Pulitzer Prize-winning play. Katharine Hepburn and Paul Scofield play an old married couple, Agnes and Tobias, who much prefer to be alone. Each time someone visits them, their "delicate balance" is threatened. The first intruder is Agnes' inebriated sister, Claire (Kate Reid). The next is their much-divorced daughter, Julia (Lee Remick). The limit is reached when well-meaning friends Harry (Joseph Cotten) and Edna (Betsy Blair) show up unexpectedly and threaten to stay forever. In keeping with the austerity of the other American Film Theatre presentations, director Tony Richardson eschews his usual cinematographic pyrotechnics here. ~ Hal Erickson, Rovi

Except for the omission of several passages in the original play, this 1970 adaptation of Julius Caesar faithfully retells Shakespeare's account of events surrounding the assassination of Caesar in 44 B.C. The film begins when Caesar John Gielgud is at the height of his power after conquering Pompey "the Great" in a civil war. Important senators worry that Caesar means to become king, diminish their power, and abolish their beloved Roman republic. Two senators, Cassius Richard Johnson and Brutus Jason Robards, hatch an assassination plot involving other disenchanted Roman citizens. Although a soothsayer warns Caesar of trouble ("Beware the ides of March") and his own wife reports ominous signs ("A lioness hath whelped in the streets; and graves have yawn'd, and yielded up their dead"), Caesar decides to go to the senate on the ides (March 15). Upon arrival, the conspirators greet him with daggers. In his funeral oration, Mark Antony Charlton Heston extols Caesar and incites the citizens against Brutus and the other conspirators. Brutus and Cassius flee Rome with their armies, but Antony and two other sympathizers track them down with their armies. When the tide turns against the conspirators, Brutus and Cassius commit suicide. As does Shakespeare's play, the film leaves the discerning viewer wondering who was the real villain -- Caesar, because of his ambition for power, or Brutus, because of his underhanded plot to maintain the status quo. ~ Mike Cummings, Rovi

This epic Spanish biopic chronicles the life of Cervantes, Spain's great novelist, playwright and poet, during the 16th-century, when as a young man he goes to Italy to become a soldier for the Pope. Later he helps the Pope's emissary wage war against the Spanish Moors. His exploits win him great favor. He falls in love with a famous Italian courtesan and she with him. Unfortunately, the Pope splits them apart with his newest decree which demands that all prostitutes leave the city. Upset, Cervantes goes to fight in the famed sea battle of Lepanto and comes back a hero. Later he is captured by Barbary pirates and ransomed by Trinitarian friars. ~ Sandra Brennan, Rovi

The Promise is a sentimental romantic triangle with a World War II. Russian soldiers John Castle and Ian McKellen fend off the Nazis during the siege of Leningrad. Somehow, they find time to give aid and shelter to homeless peasant Susan Macready. Loving both men equally, Macready must ultimately choose between them. Director Michael Hayes adapted the screenplay of The Promise from a play by Aleksei Arbuzov. ~ Hal Erickson, Rovi

In this drama, two Polish brothers escape from a Russian labor camp and try to join the exiled Polish Army in Afghanistan. While awaiting the man who will sneak them over the border, they rent a room. There, one of them falls in love with the landlord's wife, and the other for a local waitress. The Russian secret police are everywhere around them, so every action is taken with great anxiety. The pressure of waiting mounts as the days stretch on. One of the brothers was injured in labor camp and is rapidly losing his vision. The other is struck down by typhoid on the day they are to leave. He must immediately have adrenaline or he will die and so begs the landlord to get it for him. While the landlord is gone, the almost-blind brother makes love to the landlord's wife, and afterwards the guilt-filled wife attempts suicide but is saved by the ailing brother. The landlord returns, and the brothers attempt their escape. The landlord, his wife, the smuggler, and his family go too, but, unfortunately, they are spotted at the border. The brother with typhoid makes one final sacrifice to assure the safety of the others. ~ Sandra Brennan, Rovi

David O. Selznick had intended to film an adaptation of F. Scott Fitzgerald's Tender is the Night as a vehicle for his wife Jennifer Jones. But financial difficulties compelled Selznick to sell the property (including Ms. Jones' services) to 20th Century-Fox. Jones stars as a wealthy but disturbed woman of the 1920s who marries her psychiatrist (Jason Robards Jr.). They live together at her Riviera estate, where the doctor's analytical skills atrophy. As Jones grows stronger, the doctor becomes totally dependent upon her emotionally and financially. The film's supporting characters are equally self-destructive, notably an alcoholic composer (Tom Ewell) and Jones' avaricious sister (Joan Fontaine). Perhaps if Selznick had produced Tender is the Night, the film wouldn't have wallowed in misery for its own sake; on the other hand, we still would have been stuck with Jennifer Jones, who is woefully miscast. ~ Hal Erickson, Rovi

This omnibus release consists of three playlets filmed and aired during television's Golden Age, and starring some of the legends of film and television. The collection originally ran as a two-hour segment on December 14, 1959, on the anthology series The Play of the Week, broadcast locally in New York City via the independent station WNTA.. Each "tale" in the anthology was adapted from a single tale by the inimitable Sholom Aleichem, regarded by many as the "Yiddish Mark Twain." Included are: "A Tale of Chelm," starring Zero Mostel and Nancy Walker in the story of a bookseller attempting to buy a goat; "Bontche Schweig," about a poor man (Jack Gilford) whose recent arrival in Heaven makes the angels cry; and "The High School," about a Jewish merchant (Morris Carnovsky) persuaded by his wife (Gertrude Berg) to let their son attend a particular high school despite the enforcement of quotas for Jewish students. ~ Nathan Southern, Rovi