Cesare Danova Movies

Rod Taylor stars in this feature-length pilot film for the unsold TV series Shamus. The star is cast as Shamus McCoy, who befitting his name, makes his living as a private detective. While investigating the bomb killing over another gumshoe, McCoy picks up a trail of evidence leading to a major gambling operation. Anita Gillette played the "wife" in question, one Helen Baker. A Matter of Wife...and Death first aired April 10, 1976 on NBC -- an event unheralded by TV Guide, which mistakenly listed a telecast of the theatrical feature The Ballad of Cable Hogue on that same evening. ~ Hal Erickson, All Movie Guide

In this frontier spin on Shakespeare's The Taming of the Shrew, Joan Hackett guest-stars as Margarita, the fiery, sharp-tongued daughter of a Mexican nobleman (Jay Novello). Having frightened off most of her potential suitors, Margarita may never be married-a sorry state of affairs for younger sister Eleana (Susan Silo), who cannot be wed until Margarita takes a hustand. It is up to Adam Cartwright to play "Petruchio" to Margarita's "Kate". Also in the cast are Cesare Danova as Luis, Eugene Iglesias as Carlos and Valentin DeVargas as Manuel. Written by Suzanne Clauser (with no credit afforded the Bard of Avon!), "Woman of Fire" first aired on January 17, 1965. ~ Hal Erickson, All Movie Guide

The crash of a private jet exposes a heroin-smuggling operation based in Mexico. The Angels head south of the border -- Kelly (Jaclyn Smith) posing as a vacationing schoolteacher, Jill (Farrah Fawcett-Majors) as a swimming instructor, Sabrina (Kate Jackson) as a stewardess -- to get the goods on the smugglers. Their main target is a drug kingpin known as Escobar, whom no one has ever seen, and thus could be any one of the episode's main characters (except, of course, the Angels). ~ Hal Erickson, All Movie Guide

In 1963, this colossal and opulent $60 million spectacular was epic in every sense of the word -- an epic investment, an epic in the annals of Hollywood gossip, and, ultimately, an epic flop that nearly dragged 20th Century Fox down the Nile along with Cleopatra's barge. Handsomely mounted by Joseph L. Mankiewicz, who replaced Rouben Mamoulian as director after six days of shooting), the drama follows the eighteen tumultuous years that led to the founding of the Roman Empire. Cleopatra (Elizabeth Taylor) meets up with Julius Caesar (Rex Harrison) and plans to lure Caesar to her boudoir in order to forge an alliance with Rome so that she may hold on to her Egyptian empire. When Caesar is stabbed to death in the Roman Senate, Cleopatra is left without an ally, and Egypt is up for grabs. When Roman general Mark Antony (Richard Burton) comes along, she seduces him in order to make him over into her new protector. But, under the charms of Cleopatra, Mark Antony is reduced from a an awesome and dominating general to a sniveling, drunken wimp. At the Battle of Actium, Mark Antony is defeated and Cleopatra withdraws her troops, dooming Mark Antony and his army. With Egypt in peril, Antony and Cleopatra, the doomed lovers, meet each other for the last time, as the enemy forces close in. ~ Paul Brenner, All Movie Guide

In this made-for-TV movie, six persons have won a cruise-ship vacation, but they find that the awards were just a trick to begin a killing game. ~ John Bush, All Movie Guide

Filmed in Spain, this TV movie stars Janet Leigh as an American woman honeymooning with her new husband. She awakens after the wedding night, only to be confronted with a stranger who insists that he's her husband. Leigh goes to the authorities, who unfortunately believe the ersatz husband's story. Or perhaps it's not as unfortunate as it seems...because Leigh herself is not all she seems. The central plot twist in Honeymoon With a Stranger was reworked into several subsequent TV-movies, until overuse robbed the twist of any surprise. ~ Hal Erickson, All Movie Guide

Italian filmmaker Ovidio Assonitis, who had ripped off The Exorcist with his successful Chi Sei? (1974) here turns his attentions to the post-Jaws ecokill film with silly results. The titular beast kills swimmers and divers before attacking a sailing regatta (an idea which, paradoxically, was re-appropriated for the American Jaws 2). The film's most outstanding feature is its cast, which includes John Huston, Shelley Winters, and a phoned cameo by Henry Fonda. Bo Hopkins and Claude Akins are also along for the minimal excitement. ~ Robert Firsching, All Movie Guide

Beautiful Hedy Lamarr finds herself faced with a difficult decision when she must choose an appropriate costume for an important masquerade ball in this metaphorical fantasy that unfolds in three parts. To help her decide, she asks a trio of male friends. Their disparate suggestions that she go as either Helen of Troy, the Empress Josephine or Genieve de Brabant, and the reasons behind their choices provide the bulk of the film. Originally, the film was three hours long and purported to present the essence of being a woman. ~ Sandra Brennan, All Movie Guide

"You don't make up for your sins in church; you do it in the streets; you do it at home. The rest is bulls--t, and you know it." Returning to the autobiographical milieu of his 1968 debut Who's That Knocking at My Door? for his third feature, Martin Scorsese examined the daily struggles of a wannabe hood to keep his morals straight on the streets of Little Italy. Driven equally by his wish to become a respectable gangster like his uncle (Cesare Danova) and his desire to live his life like St. Francis, Charlie (Harvey Keitel) takes on his energetically unhinged friend Johnny Boy (Robert De Niro) as his own personal penance, intervening to get Johnny Boy to pay off a debt to the local loan shark Michael (Richard Romanus). Despite his promises to his epileptic girlfriend Teresa (Amy Robinson) that they will move out of Little Italy once he strengthens his position in his uncle's world, Charlie's involvement with Johnny Boy further ensnares him in the neighborhood. When Johnny Boy decides to mouth off to Michael rather than pay him, Charlie, Johnny Boy, and Teresa try to flee Michael's murderous anger (and an assassin played by Scorsese), forcing Charlie to realize that the rules of the streets do not mesh with absolution. Whereas fellow "film school generation" director Francis Ford Coppola transformed the Hollywood gangster movie into metaphorical epics about the Mafia and capitalism in The Godfather (1972) and The Godfather Part II (1974), Scorsese revised the genre in the opposite direction, focusing on the gritty minutiae of daily life and drawing from personal memory. Combining documentary-style realism (even though most of the film was shot in L.A.); kinetic editing and camera movement; and expressionistic lighting, angles, and film speed, Scorsese presents an intimate picture of the trivial incidents and latent violence of Charlie's and Johnny Boy's world, naturalistically unfolding their experiences rather than simply explaining what motivates them. They lead a claustrophobic, petty existence that Scorsese and screenwriter Mardik Martin witnessed growing up in Little Italy, complete with a soundtrack of hit songs like "Be My Baby" and "Jumping Jack Flash" that had poured out of neighborhood radios. Mean Streets opened at the New York Film Festival to excellent notices and played strongly in New York but failed to duplicate that level of business elsewhere. Even so, Mean Streets established Scorsese and De Niro as formidable young talents and marked the beginning of a long-running and fertile collaboration that continued in such films as Taxi Driver (1976), Raging Bull (1980), The King of Comedy (1983), and Goodfellas (1990). Scorsese's exceptional grasp of the texture of day-to-day life, the rhythm and cadences of street talk, and cinema's visual and aural possibilities makes Mean Streets one of the pivotal films of the 1970s, as well as of Scorsese's career, and an influence on such future filmmakers as Spike Lee and Quentin Tarantino, among many others. ~ Lucia Bozzola, All Movie Guide

This Italian musical drama was released to selected English-speaking theatres as The Holy Nun. The title character is played -- or, rather, sung -- by Eva Nova. Set in Naples, the film concerns a nun who can't quite get over the romantic entanglements of her previous life. Prominent in the cast is Cesare Danova, who went on to a substantial Hollywood career. Inexpensively filmed, Monaca Santa delivers full entertainment value within its modest limits. The music, which when all is said and done is this film's reason for being, was written by Ezio Carabella and Antonio Valli. ~ Hal Erickson, All Movie Guide

Director John Landis put himself on the map with this low-budget, fabulously successful comedy, which made a then-astounding 62 million dollars and started a slew of careers for its cast in the process. National Lampoon's Animal House is set in 1962 on the campus of Faber College in Faber, PA. The first glimpse we get of the campus is the statue of its founder Emil Faber, on the base of which is inscribed the motto, "Knowledge Is Good." Incoming freshmen Larry "Pinto" Kroger (Tom Hulce) and Kent "Flounder" Dorfman (Stephen Furst) find themselves rejected by the pretentious Omega fraternity, and instead pledge to Delta House. The Deltas are a motley fraternity of rejects and maladjusted undergraduates (some approaching their late twenties) whose main goal -- seemingly accomplished in part by their mere presence on campus -- is disrupting the staid, peaceful, rigidly orthodox, and totally hypocritical social order of the school, as represented by the Omegas and the college's dean, Vernon Wormer (John Vernon). Dean Wormer decides that this is the year he's going to get the Deltas expelled and their chapter decertified; he places the fraternity on "double secret probation" and, with help from Omega president Greg Marmalard (James Daughton) and hard-nosed member Doug Neidermeyer (Mark Metcalf), starts looking for any pretext on which to bring the members of the Delta fraternity up on charges.

The Deltas, oblivious to the danger they're in, are having a great time, steeped in irreverence, mild debauchery, and occasional drunkenness, led by seniors Otter (Tim Matheson), Hoover (James Widdoes), D-Day (Bruce McGill), Boon (Peter Riegert), and pledge master John "Bluto" Blutarsky (John Belushi). They're given enough rope to hang themselves, but even then manage to get into comical misadventures on a road trip (where they arrange an assignation with a group of young ladies from Emily Dickinson University). Finally, they are thrown out of school, and, as a result, stripped of their student deferments (and, thus, eligible for the draft). They decide to commit one last, utterly senseless (and screamingly funny) slapstick act of rebellion, making a shambles of the university's annual homecoming parade, and, in the process, getting revenge on the dean, the Omegas, and everyone else who has ever gone against them. ~ Bruce Eder, All Movie Guide