Peter Duchin Movies

Between 1939 and 1959, Toots Shor ran what was debatably the most famous saloon in America. The son of a poor family in South Philadelphia, Shor was a blustery, larger-than-life character who came to New York City in 1930 and soon landed a job as a bouncer in a mob-run speakeasy. Shor had smarts, charm, and nerve, and he soon made plenty of contacts in the liquor trade as well as befriending habitués of Manhattan nightlife. In 1939, Shor opened a bar and restaurant, simply named "Toots Shor's," and it didn't take it long for it to become the Big Apple's most celebrated watering hole, where Broadway stars, sports legends, political bigwigs, and social climbers were frequent customers but anyone with the price of a drink was welcome to belly up to the bar (among the regulars: Frank Sinatra, Joe DiMaggio, Jackie Gleason, Frank Gifford, Earl Warren, and Frank Costello). While "Toots Shor's" was one of New York's most legendary nightspots, Shor sold the business in 1959, and while he opened a new bar two years later (after running through the million dollars he made from the deal), his style of saloon was falling out of fashion with the arrival of the 1960s, and the free-spending Toots died broke in 1977, six years after his last bar went under. Shor's granddaughter, documentary filmmaker Kristi Jacobson, pays tribute to the man and the era personified by his saloon in Toots, which features interviews with family and friends (including Lauren Bacall, Walter Cronkite, Yogi Berra, Pete Hamill, Mike Wallace, and Whitey Ford) as well as rare recordings of Toots telling his own remarkable story. Also known as Toots Shor: Bigger Than Life, Toots received its world premiere at the 2006 Tribeca Film Festival -- appropriately enough, in downtown New York. ~ Mark Deming, Rovi

Unhappy with her job and her loser boyfriend, Melanie Griffith takes a secretarial post at a major Wall Street firm. Her boss is Sigourney Weaver, an outwardly affable yuppie whose grinning visage hides a wicked and larcenous propensity for exploiting the ideas of her employees. While Weaver is incapacitated, Griffith is compelled by circumstances to pose as her boss. Her inborn business acumen and common sense enable Griffith to rise to the top of New York's financial circles, and along the way she wins the love of executive (Harrison Ford). Things threaten to take a sorry turn when Weaver returns, but it is she who suffers from the consequences of her own past duplicity. Working Girl was Melanie Griffith's breakthrough film, proving than she was more than just the off-and-on "significant other" of Don Johnson. The film was later adapted into a brief TV series, starring a pre-Speed Sandra Bullock. ~ Hal Erickson, Rovi

Shot in 1959, Scotch Tape is Jack Smith's first film -- a joyous, three-minute romp, in color, using Peter Duchin's rhumba "Carinhoso" for its soundtrack. Three young men merrily bop through the wreckage of razed buildings at the site of what would become Lincoln Center. Apparently, Scotch Tape was never edited and, instead, was cut in the camera by Smith, combining long shots and close-ups while filming mostly from overhead. The title comes from a small strip of scotch tape that was accidentally stuck on the camera and so is visible in the lower-right corner of the frame throughout the film. Note that one of the shimmying trio is Ken Jacobs, who'd begun directing Smith in 1957 with Saturday Afternoon Blood Sacrifice and Little Cobra Dance. On his own, Jacobs made such major works as Tom, Tom, the Piper's Son (1969) and his multi-projector "Nervous System" series. ~ Nicole Gagne, Rovi