Jill Eikenberry Movies

When first released as Grace Quigley, this odd little black comedy proved too fey and quirky even for the most devoted fans of Katharine Hepburn. The star plays the title character, an old, worn-out woman with nothing to live for. Accordingly, she hires professional assassin Seymour Flint (Nick Nolte) to kill her, albeit gently. As she ponders the prospect of a peaceful death as opposed to a miserable life, Grace convinces Seymour to murder not only herself, but all other poor souls who have grown tired of life. As it turns out, there are several people who'd be willing to pay for this "courtesy," and soon Grace and Seymour, together with his ditsy girlfriend Muriel (Kit Le Fever), are conducting a land-office business! Entered into competition at the 1984 Cannes Film Festival, Grace Quigley made no impression whatsoever. Screenwriter A. Martin Zweibeck withdrew the film, recut it to his satisfaction, and reissued it as The Ultimate Solution of Grace Quigley. Though this version was a marked improvement over the original, the film was still not quite the Harold and Maude-like "cult favorite" that everyone hoped it would be. ~ Hal Erickson, All Movie Guide

The ads for Arthur suggested that this was an obnoxious film about an obnoxious man, an eternally drunken millionaire indulging his every whim. Instead, Arthur (Dudley Moore) is a sweet, somewhat pathetic character whose millions have left him lonely and with no motivation in life. When the film opens, Arthur is on the threshold of an arranged marriage with simpering socialite Susan (Jill Eikenberry), whom he does not love. Everyone expects Arthur to behave himself, but nobody truly cares for his well-being, with the exception of father-figure butler Mr. Hobson (John Gielgud, who won an Oscar for his performance) and blue-collar shoplifter Linda (Liza Minnelli). Arthur would prefer to marry the lowly Linda, but his iron-willed grandmother (Geraldine Fitzgerald) threatens to pull the plug on his huge inheritance if he doesn't honor his position in life and go through with his marriage to Susan. A sequel, Arthur 2: On the Rocks, followed in 1988. ~ Hal Erickson, All Movie Guide

David Soul stars in the made-for-TV Swan Song as a former Olympic skiing champ. There is a consensus of opinion that Soul lost the Olympics when he withdrew due to a mysterious, possibly psychosomatic illness. Feeling that he was exploited and misused as an amateur, Soul stages a comeback at age 29, hoping to win the $40,000 Hawaiian Tropic Cup Race. Filmed on location at Sun Valley Idaho, Swan Song features a good performance by Jill Eikenberry as a "ski groupie" and some marvelously photographed downhill sequences. And that's about all there is to recommend Swan Song, which is merely one more of what Judith Crist used to call the "strive and succeed" school of TV movies. One of the three scenarists for Swan Song was future Miami Vice maven Michael Mann. ~ Hal Erickson, All Movie Guide

The rich kids of the title are 12-year-old Trini Alvarado and her intellectual pal Jeremy Levy. Alvarado is down in the dumps because her parents are going through a divorce. She finds a kindred spirit in Levy, whose folks split up long ago. He points out the advantages and privileges of being a child of divorce-and is so persuasive that he almost convinces himself as well as Alvarado. An early project of director Robert M. Young, Rich Kids was produced through the auspices of Robert Altman. ~ Hal Erickson, All Movie Guide

A group of classmates from Mount Holyoke College meet for an informal reunion circa 1978, some seven years after graduation. Designated "uncommon" because they were predicted by friends to be "amazing" before they were 30, we seein flashbacks how these women conducted themselves in their senior year, what their goals were, and how they were set -- or not -- on the path to achieving them. Seventies feminism found its most acclaimed dramatic voice in this first play by Wendy Wasserstein, which seems to be trading in stereotypes, but only because the kinds of characters it deals with -- collegiate feminists -- became such a commonplace and predictable stereotype of popular culture in the years that followed. The 1978 production from the Phoenix Theater in New York was originally broadcast on public television. ~ Bruce Eder, All Movie Guide

A New York wife learns about the satisfactions of single life in this landmark 1970s "woman's film." Unlike her dysfunctional friends, vibrant Erica (Jill Clayburgh) seems to have it all: a nice Upper East Side home, a well-adjusted teenage daughter (Lisa Lucas), a job at a Soho art gallery, and a loving husband, Martin (Michael Murphy). Erica falls apart, however, when Martin leaves her for a younger woman. Finally, at her female therapist's urging, Erica ventures out into the world of singlehood, finding solace in female bonding and even casual sex. As she adjusts to her new life, Erica realizes that she likes her freedom and independence. But when she falls in love with sensitive bearded artist Saul (Alan Bates), Erica must decide whether to turn down a lucrative job to spend the summer with her man in Vermont or forge ahead with her new existence. One of a group of new "women's pictures" made in the wake of post-1960s feminism, including Alice Doesn't Live Here Anymore (1974) and The Turning Point (1977), An Unmarried Woman updated the genre's concern with relationships and love by turning the heroine's unwedded status into a positive growth experience. The great female stars of the past like Joan Crawford and Bette Davis may be gone, as Erica and her friends mourn, but so is the all-consuming suffering of classical weepies, as writer/director Paul Mazursky ends the film on a note of reserved affirmation. While some critics (including feminists) complained that Saul was too much of a romantic fantasy, An Unmarried Woman was praised for Clayburgh's performance, and earned Oscar nominations for Best Picture, Best Actress, and Best Screenplay. A hit with 1978 audiences, An Unmarried Woman provoked viewer debate over Erica's final choice and its meaning for women. Either way, An Unmarried Woman astutely pointed to how far the new 1970s woman had come -- and how far she still needed to go. ~ Lucia Bozzola, All Movie Guide

Director Joan Micklin Silver's follow-up to her acclaimed debut, Hester Street, is a more ambitious film that manages to be both an entertaining comedy and a pointed look at the corrupting power of money on an idealistic enterprise. Writer Fred Barron's characters are all associated with a weekly alternative newspaper in Boston, modeled after the Phoenix. (Silver did once work on the Village Voice, but this enterprise is several rungs below that esteemed paper.) Harry (John Heard) is an ambitious reporter romantically involved with Abbie (Lindsay Crouse), the paper's star photographer. Michael (Stephen Collins) is a writer trying to work on a novel and stay faithful to his loving wife, Laura (Gwen Welles), while Max (Jeff Goldblum), the paper's rock critic, shamelessly uses his job to try to pick up women. Lynn (Jill Eikenberry), a typist who is the paper's mother-hen figure, is also its most principled employee. When a publishing mogul (Lane Smith) buys the paper and promises changes that will compromise its aggressive political stance in favor of more "lifestyle" articles, Lynn resigns, and it's clear to the group that their carefree days are behind them. ~ Tom Wiener, All Movie Guide