Tom Ewell Movies

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 espionage drama, a leading US agent fakes his death and then begins working as a double agent for an enemy country. ~ Sandra Brennan, All Movie Guide

Screen newcomers Darren O'Connor (the brother of Glynnis O'Connor) and Pamela Sue Martin (billed here as Pamela Martin) play a pair of 16-year-olds, former childhood sweethearts and playmates from Manhattan's Upper East Side, who find their lives thrust back together when she becomes pregnant by the boyfriend of a friend's mother. O'Connor's Andy Morrison has always loved Martin's Rosalind McCarthy from afar, but she has always been too self-centered to notice or care, until she needs him "to find a man" to do the abortion. He tries to go about solving her problem his way, methodically and carefully, all the while doing his best to cope with her outbursts and her need to get the abortion while she's home for the week from the Catholic boarding school that she attends. They battle insensitive bureaucrats, hopelessly overburdened hospitals, and her pushy and dissipated parents, as well as Andy's class prejudices, and in the course of solving Rosalind's problem, each realizes that they've never really known or understood the other. ~ Bruce Eder, All Movie Guide

The World of Abbott and Costello is a dismal attempt by Universal Pictures to cash in on the popularity of Robert Youngson's silent-movie compilation films. Random scenes from eighteen of the films of Bud Abbott and Lou Costello are yanked out of context, then assembled in a patchy continuity by editorial supervisor Sidney Meyers. The footage is overladen with obnoxious narration by comedian Jack E. Leonard, who sounds angry that someone would dare to ask him to show up at the studio. Many of the excerpts are taken from Abbott and Costello's worst films, among them Comin' Round the Mountain, Lost in Alaska, and the execrable Abbott and Costello Go to Mars (a scene from which opens this compilation). All expense was spared in assembling this half-baked "tribute;" even Joseph Gershenson's musical score is parsimoniously lifted from Abbott and Costello Meet the Keystone Kops. The sole saving grace of The World of Abbott and Costello are the few gems culled from such A & C classics as Buck Privates, In the Navy, Abbott and Costello Meet Frankenstein, as well as such second-echelon but enjoyable efforts as In Society (featuring the sidesplitting "Susquehanna Hat Company" bit) and The Naughty Nineties (which preserves the immortal "Who's On First"). One final carp: Why exclude the "moving candle" bit from Hold That Ghost? ~ Hal Erickson, All Movie Guide

David O. Selznick had intended to film an adaptation of F. Scott Fitzgerald's Tender is the Night as a vehicle for his wife Jennifer Jones. But financial difficulties compelled Selznick to sell the property (including Ms. Jones' services) to 20th Century-Fox. Jones stars as a wealthy but disturbed woman of the 1920s who marries her psychiatrist (Jason Robards Jr.). They live together at her Riviera estate, where the doctor's analytical skills atrophy. As Jones grows stronger, the doctor becomes totally dependent upon her emotionally and financially. The film's supporting characters are equally self-destructive, notably an alcoholic composer (Tom Ewell) and Jones' avaricious sister (Joan Fontaine). Perhaps if Selznick had produced Tender is the Night, the film wouldn't have wallowed in misery for its own sake; on the other hand, we still would have been stuck with Jennifer Jones, who is woefully miscast. ~ Hal Erickson, All Movie Guide

In this comedy, an auto mechanic and a horse trainer successfully steal $30,000 from a bank and squander it. They buy a race horse with the remainder, but need money to train it, so they rob another bank and are caught this time. The bank takes over ownership of the horse, which becomes a big winner. ~ Steve Huey, All Movie Guide

The inimitable writer-director Frank Tashlin once more aims his satiric barbs at modern culture (modern 1950s culture, that is) in The Girl Can't Help It. Much of the film is dominated by Edmond O'Brien as mob boss Murdock, who while serving a term in federal prison becomes a singing sensation with his hit tune "Rock Around the Rock Pile." Once he's sprung, Murdock hires impoverished agent Tom Miller (Tom Ewell), not to promote his own career, but to turn his curvaceous lady friend Jerri Jordan (Jayne Mansfield) into a star. Alas, Jerri has no singing or acting talent whatsoever, a fact that she's eager and willing to admit. A domestic type at heart, all Jerri really wants out of life is to marry Murdock, so that she can clean his house, cook his meals and raise his children. When Murdock refuses to grant her wishes, Jerri falls in love with Tom instead.

Every so often, director Tashlin takes time out from the plot to poke fun at such technical marvels as CinemaScope and Technicolor, and to lampoon the American male's fixation on female bosoms and bottoms (at one point, Jayne Mansfield leans towards the camera, her cleavage exposed as far as the censors will allow, and plaintively asks Tom Ewell if he believes that she's equipped for motherhood). While much of the humor in the film is dated, The Girl Can't Help It is an invaluable record of the pop-music scene of the 1950s, featuring such guest artists as Julie London (playing Tom Ewell's dream girl), Ray Anthony, Fats Domino, The Platters, Little Richard and his Band, Gene Vincent and his Blue Caps, the Treniers, Eddie Fontaine, Abbey Lincoln and Eddie Cochran. ~ Hal Erickson, All Movie Guide

Like thousands of other Manhattanites, Tom Ewell annually packs his wife (Evelyn Keyes) and children off to summer vacation, staying behind to work at the office. This particular summer, the lonely Ewell begins fantasizing about the many women he'd foresworn upon getting married (in one of the fantasies, Ewell and Marguerite Chapman parody the beach rendezvous in From Here to Eternity). He is jolted back to reality when he meets his new neighbor--luscious model Marilyn Monroe. Inviting Monroe to dinner, Ewell intends to sweep her off her feet and into the boudoir. Things don't quite work out that way, thanks to Ewell's clumsiness (and essential decency) and Monroe's naivete. Still, Ewell becomes convinced that his impure thoughts will somehow be transmitted to his vacationing wife and to the rest of the world, leaving him wide open for scandal and ruination. In the original play, the husband and the next-door neighbor did have an affair, but both play and film arrived at the same happy ending, with Ewell and his missus contentedly reunited at summer's end. Featured in the cast of The Seven Year Itch are Robert Strauss as a lascivious handyman, Sonny Tufts as Evelyn Keye's former beau, Donald MacBride as Ewell's glad-handing boss, and veteran Broadway funny man Victor Moore in a cameo as a nervous plumber. ~ Hal Erickson, All Movie Guide

Back at the Front is the second of two film comedies based on the wartime cartoons of Bill Mauldin. As in Up Front, the principal characters are woebegone GIs Willie and Joe: Tom Ewell is back as Willie, but Harvey Lembeck replaces David Wayne as Joe. The original purpose of Mauldin's newspaper cartoons--to give enlisted men a surreptitious means of blowing off steam concerning the iniquities of war and the occasional idiocies of their officers--is completely ignored in Back at the Front. Instead, we are offered a very standard spy plot set in postwar Tokyo, involving femme fatale Mari Blanchard and a shipment of booby-trapped food tins. Back at the Front could have been done just as well with Abbott and Costello--better, in fact. Watch in the closing scenes for David Janssen, playing a one-line bit as a rookie soldier. ~ Hal Erickson, All Movie Guide

A curious toddler creates trouble when he finds bank robbers' loot in this comedy. His recently paroled father, and his grandmother about have heart attacks when the tot brings home the cash in his wagon. Unfortunately, the babe is unable to tell then where he got the money. Now the family must decide what to do with the hot loot. The mother wants to burn it. The grandma wants to keep it. The parolee decides to take it to the police without his family's knowledge. Trouble ensues when the crooks show up looking for the dough. The two-year old finds granny's gun and shoots the robbers. ~ Sandra Brennan, All Movie Guide