Paul Dubov Movies

Based on the best-selling memoirs of Lillian Rogers Parks, the NBC miniseries Backstairs at the White House traces over five decades of American political history as witnessed from the vantage point of the servants' quarters. Played by Tania Johnson as a teenager and by Leslie Uggams as an adult, Lillian Rogers Parks served for 52 years as a maidservant at the White House. Though crippled early on with polio, Lillian diligently and loyally stuck to her duties -- and her own rock-solid set of principles and ideals -- through eight highly different Presidential administrations, often (and occasionally reluctantly) acting as friend and confidante to the First Lady of the moment. The large and stellar cast included a number of top-rank film and TV actors, obviously having the time of their lives impersonating such presidents as William Howard Taft, Woodrow Wilson, Warren G. Harding, Calvin Coolidge, Herbert Hoover, Franklin Roosevelt, Harry S. Truman, and Dwight D. Eisenhower, and their respective wives. Also in the cast were several African-American veterans from the landmark TV miniseries Roots. Earning 11 Emmy Award nominations, the nine-hour Backstairs at the White House was seen in five installments from January 29 to February 19, 1979. ~ Hal Erickson, Rovi

A young widow with three children and a sheepdog marries a widowed man with a young daughter and a French poodle in this amusing comedy. Abby (Doris Day) is the owner of a lumberyard who falls for Jake (Brian Keith) when her sister Maxine (Pat Carroll) introduce the two at a party. The couple is initially reluctant and somewhat embarrassed over the blatant matchmaking attempt but meet later at an all-night store. The two marry and deal with constant canine and sassy sibling rivalries. Jake falls out of the family trailer on vacation, leading Abby to recruit a group of hippies to find her lost husband. Jamie Farr is the far out hippie, Barbara Hershey is Jake's daughter Stacey, comedian George Carlin plays Herbie Fleck, owner of a local hamburger stand, and Alice Ghostley is the harried housekeeper in this engaging romp. The Grass Roots provide some of the music in this feature. ~ Dan Pavlides, Rovi

This romantic comedy opens with a resounding warning: its chief concerns are passion, bloodshed, desire, and death. "Everything," exclaims the narrator, "that makes life worth living." Irma La Douce (Shirley MacClaine) is Paris' most prosperous prostitute. Wise, endearing, and compulsively clad in green, Irma rules the rue Casanova. She triumphantly works the most coveted corner on a street where the cops gladly look the other way and the naughty johns leave tips. Her street is a content community of live and let live and good-natured desire, an Augean stable of human understanding. However, to upright Nester Patou (Jack Lemmon), the area's new policeman, genial wrongdoing is still wrongdoing. Freshly promoted from day patrol at a children's playground, the scrupulous Nestor arrests Irma and her colleagues in a bumbling, unauthorized raid. He takes pity on Irma, but harasses the guilty johns -- including the police captain. Promptly unemployed, Nester returns to the scene of his crime, the rue, and to Irma. After physically besting her pimp, Nester unwittingly takes his position. The two fall madly in love, but Nestor quickly grows jealous of Irma's patrons. Thus, he masquerades as a wealthy English aristocrat and becomes Irma's sole customer -- only to eventually grow violently jealous of himself. Soon enough, this formally righteous cop is comically jailed for his own brutal murder! As the film's prologue promises, Irma La Douce is a celebration of life from beginning to end -- unabashedly adoring lust, emotion, fervor and, above all, foolish love. ~ Aubry Anne D'Arminio, Rovi

In his second Untouchables appearance, Lee Marvin is disturbingly convincing as Victor Rate, a brilliant psychopath in cahoots with narcotics kingpin Arnold Stegler (Victor Jory). A cool customer who gets his kicks by deliberately placing himself in dangerous situations, Rate has no qualms about gunning down a government agent in broad daylight, then loading 50,000 pounds of opium onto a truck while the terrified witnesses look on in amazement. To bring this human monster to justice, Elliot Ness (Robert Stack) employs the services of a movie cameraman, a professional lipreader...and Arnold Stegler, who in a futile effort to get himself off the hook ends up signing his own death warrant. ~ Hal Erickson, Rovi

This sci-fi melodrama about housing construction in the murky deep sea is as clear as the muddied water itself. Enterprising individuals have decided that if humans are going to blow themselves sky-high at some point in the future then it might be a good idea to have an escape hatch down at the bottom of the ocean. And so a series of underwater living units are carefully created and tested until it seems like they are ready for residents to move in. What no one considers is that the sea floor and the sea itself may not be as stable as they first seem. ~ Eleanor Mannikka, Rovi

Cliff Robertson plays Tolly Devlin, an embittered ex-convict who has spent a lifetime tracking down the men who murdered his father. Desirous of handling matters on his own, Devlin pretends to be loyal to both the Mob and the Government, playing one against the other in hopes of flushing out the killers. He learns that the three surviving assassins are employed by a supposedly charitable "cover" operation known as National Projects. To get what he wants, Devlin ingratiates himself with mob boss (and outwardly solid citizen) Conners (Robert Emhardt). What Robertson didn't count on was falling in love with "Cuddles" (Dolores Dorn), which leads to his own downfall -- but not before justice is served. Producer/director/writer Fuller based Underworld USA on a series of "exposé" articles in The Saturday Evening Post; the film's release fortuitously occurred shortly after that infamous mob convention in Appalachin, New York. ~ Hal Erickson, Rovi

Although this story of the making of a gangland hoodlum reflects only some of the real history of the Detroit Purple Gang in it, the violence portrayed is completely truthful. The sense of reality here is increased by the use of newsreel footage. Robert Blake is "Honeyboy" Willard, a juvenile delinquent always in trouble for petty thefts and similar deeds. (The actual Purple Gang started that way just before 1920, led by the youthful Bernstein brothers.) Cop Bill Harley (Barry Sullivan) is convinced that Willard's violent side can only be tamed by a stint behind bars. Opposing him is a social worker who wants to use modern methods of therapy to correct the teen's problems. When the social worker is found brutally murdered, the cop knows that Willard is responsible. He decides to stick with the case -- in spite of the fact that the gang eventually has a lot of city and union brass in its pocket. Just as a note, the gang got their name because one citizen commented that they were tainted, like the purple color of bad meat. ~ Eleanor Mannikka, Rovi

Crimson Kimono stars Glenn Corbett and James Shigeta as Korean War army buddies, working side by side with the LA homicide squad. When stripper Gloria Pall is murdered, Corbett and Shigeta are sent to investigate. Both are smitten by the lovely Victoria Shaw, who is implicated in the crime. Corbett becomes jealous of Shigeta, who is deeply hurt, feeling that Corbett's animosity is borne of racism. Their friendship, and the central romance, is resolved after the detectives bring the murderer to heel in Los Angeles' Little Tokyo. Samuel Fuller's love of oriental exotica is never more pronounced than in the climactic sequences, staged before the backdrop of the Japanese New Year celebration. ~ Hal Erickson, Rovi

Director Samuel Fuller skillfully intercuts footage of the German death camps with scenes from this thought-provoking drama about a forbidden, post-war love affair. David (James Best) is a G.I. stationed in Germany with the American Military Government. He falls in love with Helga (Susan Cummings), a young German woman, and she reciprocates his feelings. But their romance is not condoned by either culture and made all the more difficult because a troublesome gang of neo-Nazis is on the rampage, killing, stealing, and helping war criminals evade capture. Helga's younger brother is a member of the gang who suddenly breaks down when he attends the Nuremburg trials and sees footage on the death camps. That changes his mind and he is ready to help the American military, and maybe the relationship between his sister and David as well. ~ Eleanor Mannikka, Rovi

In one of the series' eeriest episodes, American photographer Rita Wallace (Cloris Leachman) sets up shop in Paris, hoping to capture the "soul of France" in her pictures. Advertising for a model, Rita ends up using a strange, reclusive little man (Marcel Dalio) with a haunted look in his eyes. Not long afterward, A few nights later, Rita is attacked and nearly strangled to death by a mysterious intruder--and only after she carefully scrutinizes her recent photographs does she even begin to grasp the significance of this inexplicable assault. If "The Dark Room" seems to have a Hitchcock flavor, it may be because the episode was written by "Hitch"'s frequent collaborator Francis Cockrell. ~ Hal Erickson, Rovi

Friday (Jack Webb) and Smith (Ben Alexander) are up against a well-organized gang of auto thieves, who seem to follow no pattern except for the make of the cars they've stolen. During a routine investigation of local auto-salvage shops, the detectives discover that one of the stolen vehicles has been camouflaged with the body of a wrecked car. The clue that breaks the case is an overlooked St. Christopher medal. This episode is based on the Dragnet radio broadcast of April 26, 1951. ~ Hal Erickson, Rovi

Advertised as an out-and-out horror picture, Voodoo Woman is more of a "greed and revenge" melodrama than anything else. Mad scientist Dr. Roland Gerard (Tom Conway) squirrels himself away in the jungle, hoping to create a race of super-beings. What he comes up with is a passel of hideous-looking female monstrosities, one of whom is played by ace monster creator Paul Blaisdell (who, last time we looked, was a guy). The film goes off on a slightly different tangent when mercenary murderess Marilyn Blanchard (Marla English) invades Dr. Gerard's private domain. It is inevitable that Gerard will transform Marilyn into a monster, leading to a lively if barely credible finale. ~ Hal Erickson, Rovi

Gentle, soft-spoken Cain Vestal (Harry Bartell) is told by Doc (Milburn Stone) and several other physicians that he is dying of consumption. En route to Arizona where he intends to end his days, Cain stops over at Dodge City--then confuses everyone by buying a six-gun and asking Chester (Dennis Weaver) to teach him how to shoot. It turns out that Cain plans to kill a local bigwig named Joel Adams (Mark Roberts), and he has no qualms about revealing those plans to Matt (Dennis Weaver). . .but refuses to explain why he wants to kill a man who claims never to have seen Cain before in his life. This episode is adapted from the Gunsmoke radio broadcast of October 3, 1952. ~ Hal Erickson, Rovi