Dana Elcar Movies

Tony Baretta (Robert Blake) is partnered with neurotic, pill-popping police officer Scotty (Michael Parks) during a frustratingly long drug stakeout. What Baretta doesn't know -- at least not at first -- is that Scotty is at the end of his financial rope, having been spent into the poorhouse by his selfish girlfriend. Can it be that Scotty is open for a bribe from the very perps he has been assigned to nab? ~ Hal Erickson, All Movie Guide

In this first episode of Baretta, gonzo undercover cop Tony Baretta sets up a phony numbers bank to trap prominent mobster Frank Cassell (Joseph Mascolo). In his off hours, Baretta romantically pursues the lovely Sharon Fowler (Madlyn Rhue), whom he wants to marry despite her protests that living together is the way to go. Tragically, their relationship is literally terminated when Sharon is killed by Cassell's hired thugs. Throwing "police procedure" in the wastebasket, the grieving Baretta vows to take his own personal revenge against Cassell. ~ Hal Erickson, All Movie Guide

According to police records, paroled female convict Virginia Marriott (Ann Coleman) has committed suicide. Thus, when Virginia's parole officer sees the girl, very much alive, wandering near the harbor, he is amazed. But not for long: The officer is promptly murdered, bringing maverick undercover cop Tony Baretta (Robert Blake) into the case. ~ Hal Erickson, All Movie Guide

Created by Stephen J. Cannell, the weekly, hour-long crime series Baretta rose from the ashes of 1973's Toma, a short-lived weekly based on the exploits of David Toma, a real-life undercover cop with a penchant for elaborate disguises. For the "new" series, only two vestiges of the original Toma remained: Lead character Tony Baretta was an undercover detective, and he revelled in adopting bizarre costumes and eccentric "alternate" personalities. Otherwise, the two characters could not have been further apart. Remaining faithful to its source, Toma featured a tough but compassionate New Jersey cop who, though he preferred to buck the system and argue with his superior officers when pursuing a case, generally played by the rules; he also had a loving wife and two darling children, and lived in a modest but comfortable and well-appointed home. Conversely, Tony Baretta was a logical extension of Robert Blake, the bantam-cock actor who played the role. Like Blake, the streewise Baretta was fiercely, almost violently independent, bending and breaking the rules whenever possible and making no secret of his disdain for the by-the-book instincts of his superiors. And if Toma was diligent in his pursuit of lawbreakers, Baretta was downright savage; one suspects that he would have blown them to bits had he possessed the appropriate hardware. Also, unlike family man Toma, Baretta was single and a loner, his one bid for domestic bliss having been destroyed when his erstwhile fiancée was killed in the very first episode. Almost as if he was doing penance for allowing himself to be happy, Baretta lived in a rundown flophouse, managed by disheveled former cop Billy Truman. Outside of Billy and his pet cockatoo Fred, Baretta had no close friends: Certainly there was no love lost between himself and his commanding officer Insp. Shiller (Dana Elcar), while Tony's favorite street informant Rooster (Michael D. Roberts) was not exactly the sort of fellow one could call a bosom companion. Baretta was unceremoniously tossed into ABC's Friday-night schedule beginning January 17, 1975, as a midseason replacement for the canceled Kolchak: The Night Stalker. Clearly, the network felt that the series was expendable, inasmuch as it was slated opposite NBC's ratings magnet Police Woman. Within a few weeks, however, Baretta developed a respectable following, most of which was engendered by press reports of star Robert Blake's tiltings with the "suits" (his word for network executives) over the series' violence quotient and overall authenticity. By the time the series had completed its inaugural 12-episode run, Baretta was a shoo-in for renewal -- and Robert Blake had earned enough clout to start calling the shots so far as program content and casting choices were concerned. ~ Hal Erickson, All Movie Guide

In this made-for-television disaster thriller, a carload rich commuters are held hostage by a trio of thugs. ~ Sandra Brennan, All Movie Guide

A young NYPD detective learns (the hard way) about the politics that govern a big-city police department. He kills a lady-detective/colleague whose undercover garb concealed her profession and he gets caught up in a department cover-up. ~ All Movie Guide

Four years after setting box offices ablaze in Butch Cassidy and the Sundance Kid, Paul Newman, Robert Redford, and director George Roy Hill re-teamed with similar success for The Sting. Redford plays Depression-era confidence trickster Johnny Hooker, whose friend and mentor Luther Coleman (Robert Earl Jones) is murdered by racketeer/gambler Doyle Lonnegan (Robert Shaw). Hoping to avenge Luther's death, Johnny begins planning a "sting" -- an elaborate scam -- to destroy Lonnegan. He enlists the aid of "the greatest con artist of them all," Henry Gondorff (Paul Newman), who pulls himself out of a drunken stupor and rises to the occasion. Hooker and Gondorff gather together an impressive array of con men, all of whom despise Lonnegan and wish to settle accounts on behalf of Luther. The twists and surprises that follow are too complex to relate in detail -- suffice to say that you can't cheat an honest man, and that you shouldn't accept everything at face value. The Sting became one of the biggest hits of the early '70s; grossing 68.5 million dollars during its first run, the film also picked up seven Academy Awards, including Best Picture, Best Director, Best Screenplay, and Best Adapted Score for Marvin Hamlisch's unforgettable setting of Scott Joplin's ragtime music. ~ Hal Erickson, All Movie Guide

The Waltons attend the annual County Fair, where each family member hopes to win a prize. At the same time, Olivia's former beau Oscar Cockrell (Peter Donat) shows up at the fair in hopes of advancing his political career. Comparing Oscar's affluence with his own family's lack of same, John-Boy (Richard Thomas) asks himself how different his life would have been if Olivia (Michael Learned) had accepted Oscar's proposal. Meanwhile, a "special ingredient" in Olivia's cake has a curious effect on the contest judges! ~ Hal Erickson, All Movie Guide

Also known as Death and the Maiden, Hawkins on Murder introduced Jimmy Stewart to the TV-detective genre as folksy sleuth Billy Jim Hawkins (this TV movie was produced by MGM, the studio which gave Stewart his start in the 1930s). Hawkins travels from his West Virginia hometown to investigate a triple murder in Los Angeles. Along for the ride is Strother Martin as Hawkins' somewhat slow cousin/assistant, who would continue in this role when the Hawkins series premiered on a regular basis in the fall of 1973. The Harold Lloyd estate in Beverly Hills provided some of the more lavish backgrounds for this rambling mystery yarn. On the whole, Hawkins on Murder is better than the series that followed, which fell prey to banality and repetition early on. ~ Hal Erickson, All Movie Guide

After a decade's absense, an affable gent named Hamilton (Ed Nelson) returns to his home town. The locals welcome him effusively, never suspecting that Hamilton is a professional thief--and that he is currently being sought after by the FBI. Inevitably, Hamilton's past catches up to him in a particularly violent fashion. Featured in the cast is Susan Oliver, best remembered as the "Green Girl" in the closing credits of Star Trek, and ubiqutious cartoon voiceover artist Michael Bell. ~ Hal Erickson, All Movie Guide

Ironside (Raymond Burr) searches for a resourceful burglar who has figured out a method of "taming" vicious guard dogs so that he can rob stores without interference. In order to flush out the villain, Ironside adopts his own dog and sets both himself and the pooch up as bait. With the preponderance of fierce-looking German shepherds and Doberman pinschers in this episode, one wonders how the actors got through their scenes without being ripped asunder after each take! ~ Hal Erickson, All Movie Guide

Outtakes and stock footage from the 1970 Oscar-winner Patton were utilized to flesh out the made-for-TV Fireball Forward, which was the brainchild of Patton producer Frank McCarthy. Ben Gazzara plays a fictional American general obviously patterned on "Old Blood And Guts". Gazzara suspects that there's a Nazi sympathizer in his ranks, and dedicates himself to ferreting out the traitor. One thing Fireball Forward has that Patton didn't is a romantic interest; Anne Francis plays the girl Worth Fighting For. Scripted by Edmund H. North (another Patton) alumnus, Fireball Forward, which first aired March 5, 1972, was the 2-hour pilot for an unsold television series. ~ Hal Erickson, All Movie Guide