Sarah Cunningham Movies

As played by Jessica Lange, Frances Farmer is a rebel from the word go, winning a high school essay award by writing a piece in defense of Communism. Determining to become an actress, Frances is equally determined not to play the Hollywood game: she refuses to acquiesce to idiotic publicity stunts, and insists upon appearing on screen sans makeup. Her defiance attracts the attention of Broadway playwright Clifford Odets, who convinces Frances that her future rests with the Group Theatre. But once she leaves Hollywood for New York, Frances learns to her chagrin that the Group intends to exploit her movie fame in order to draw in customers. Her desperate attempts to restart her movie career, combined with her increasing dependence on alcohol and the pressures brought to bear by her monster mother (Kim Stanley), result in a complete mental breakdown. Even while institutionalized, Frances is abused by the powers-that-be; she is forced to undergo an injurious brain operation, is treated like a mad animal, and periodically raped by the inmates. Frances is released in the custody of her mother, who persists in browbeating her tortured daughter until Frances discovers the legal means to break away. The real-life Frances spent her last years as host of a local Indianapolis TV program, dying in 1970 at age 57; the film comes to a climax when Frances is feted on the smarmy network program This is Your Life. Other actual personages depicted herein include Clifford Odets (played by Jeffrey DeMunn), Harold Clurman (Jordan Charney) and Ralph Edwards (Donald Craig). Frances' first husband Leif Erickson is fictionalized as "Jeffrey York", and played by Lange's real-life inamorata Sam Shepard. And if you listen closely, you'll hear the voice of Kevin Costner, whose minor role was whittled down to one line when he, like Frances Farmer, had the temerity to argue with the director. The unhappy life of actress Frances Farmer was also covered in Farmer's autobiography, Will There Ever Be a Morning? While the film rights for that book were sold to a TV-movie concern, the producers of the theatrical feature Frances were able to ship their production out to the public first. ~ Hal Erickson, All Movie Guide

The real Belle Starr was a homely, ill-tempered woman whose career as a western bandit was blown out of proportion by the "dime novels" of the era. Previous media Belle Starrs have included such attractive performers as Gene Tierney, Isabel Jewell and Abby Dalton, all of whom appeared to have included a cosmetician amongst their bandit cohorts. To her credit, Elizabeth Montgomery tries hard to deglamorize Belle in this 1980 TV movie, but she's still Elizabeth Montgomery. The script, by James Lee Barrett, attempts to stick closer to the facts than the earlier versions of Belle's exploits. ~ Hal Erickson, All Movie Guide

Without ever revealing the diagnosis, this film chronicles the inner life and outer circumstances of Deborah Blake (Kathleen Quinlan), a young mental patient. As the film opens, she is being accompanied by her subdued parents to yet another mental hospital. This one looks clean and cheerful, at least. Her treatment is handled by Dr. Fried (Bibi Andersson), a very skillful therapist who gets past her deranged defenses and reveals that Deborah harbors some very violent fantasies about some of her relatives. The movie is based on the best-selling autobiographical novel by Joanne Greenberg. ~ Clarke Fountain, All Movie Guide

Tony Baretta (Robert Blake) is determined to bring a suspected cop killer out of hiding. To do this, Baretta uses the fugitive's pregnant girlfriend (Ayn Ruymen) as bait. While waiting for the alleged killer to appear, Baretta agonizes over the fact that the girl is a junkie -- and that her unborn baby may be born with the "craving." ~ Hal Erickson, All Movie Guide

Assembled for television by Playboy Productions, Family Kovack stars James Sloyan, Sarah Cunningham, Andrew Robinson, Tammi Bula and Richard Gilliland. Cunningham plays the central character, the widowed matriarch of a close Chicago family. When her oldest son (Robinson), a city functionary, is accused of bribery, the woman spearheads a concerted family effort to clear the boy of all charges. Sort of an urban Waltons, Family Kovack was the pilot film for a series that didn't take. Its first network telecast, on April 5, 1974, was also its last. ~ Hal Erickson, All Movie Guide

Young model Jean Dexter is knocked unconscious and drowned in her own bathtub in her Manhattan apartment, and a lot of jewelry that she supposedly owned is missing. The Naked City is actually about six days in the life of New York City that coincide with the murder and the subsequent investigation by Lt. Dan Muldoon (Barry Fitzgerald) and Detective James Halloran (Don Taylor). The account of their work, and the workings of the New York City police department, is interspersed with brief vignettes about the life of the city around them, and, especially, the reaction of residents to the murder and the newspaper reports of the progress of the case. Muldoon and Halloran first must determine why she was killed, which may (or may not) have to do with how a woman with a minimal income came by the jewelry -- was it a love affair gone bad (and if so, with whom?), or something more complex and sinister? Retracing the final 18 months of the victim's life, their investigation reaches out to a mysterious "Philip Henderson" with whom she was supposedly linked romantically, and to Frank Niles (Howard Duff), who's a little too fast-and-loose with the truth when he doesn't have to be to make Muldoon comfortable; to make things more complicated, Muldoon determines that there were at least two men involved with the actual commission of the murder. The victim turns out to have led a wild life, filled with men and parties, and was tied up with several sordid figures. Their investigation carries them into the highest and lowest ends of New York's social strata to find the killer, and it turns out there are a lot of interlocking reasons why at least three men might've wanted her dead. In the process, we get glimpses of the private lives of the detectives, which was something new in movies at this time; in the midst of all of this activity, the writers set up a fascinating contrast, in adjacent scenes, between Halloran, his wife, and their young son looking toward the future, with the parents of the dead woman, looking back with bitter regret and recriminations -- no movie ever presented in more subtle fashion the contrast between the zeitgeist of the 1930s and that of the postwar era. The final chase on the Williamsburg Bridge is one of the classic pieces of suspense cinema, as the armed and desperate killer races up the walkway past children playing and adults strolling, while detectives close in on foot from behind and patrol cars come up from ahead, with crowded subways rolling past, and then into the superstructure of the bridge for a stand-off and shootout. Sharp-eyed viewers will spot future character leads Paul Ford, James Gregory, John Marley, Kathleen Freeman, and Arthur O'Connell as well as familiar faces Tom Pedi, John Randolph, Molly Picon, and Walter Burke in the supporting cast. Cinematographer William Daniels and editor Paul Weatherwax won Oscars for their work, but awards might just as easily have been presented to director Jules Dassin, writers Albert Maltz and Malvin Wald, composers Miklos Rozsa and Frank Skinner, and, most notably, to producer/narrator Mark Hellinger, who intoned the closing monologue, which opens with one of the most famous tag lines in movie history: "There are eight million stories in the Naked City." ~ Bruce Eder, All Movie Guide