David Arkin Movies

Based on the long-running comic strip created by E.C. Segar (and less on the animated cartoons created by Max Fleischer, which were decidedly different in tone and approach), Popeye follows the sailor man with the mighty arms (played by Robin Williams in his first major film role) as he arrives in the seaside community of Sweethaven in search of his long-lost father. Popeye meets and quickly falls for the slender Olive Oyl (Shelley Duvall, in the role she was born to play), but Olive's hand has already been promised to the hulking Bluto (Paul Smith), of whom Olive can say little except, well, he's large. Eventually, Popeye and Olive are brought together by Swee' Pea (Wesley Ivan Hurt), an adorable foundling, and Popeye finally meets his dad, Poopdeck Pappy (Ray Walston). Director Robert Altman in no way tempered his trademark style for this big-budget family opus, crowding the screen with a variety of characters and allowing his cast to overlap as much dialogue as they want. ~ Mark Deming, All Movie Guide

Conspiracy film specialist Alan J. Pakula turned journalists Bob Woodward and Carl Bernstein's best-selling account of their Watergate investigation into one of the hit films of Bicentennial year 1976. While researching a story about a botched 1972 burglary of Democratic Party headquarters at the Watergate apartment complex, green Washington Post reporters/rivals Woodward (Robert Redford, who also exec produced) and Bernstein (Dustin Hoffman) stumble on a possible connection between the burglars and a White House staffer. With the circumspect approval of executive editor Ben Bradlee (Jason Robards), the pair digs deeper. Aided by a guilt-ridden turncoat bookkeeper (Jane Alexander) and the vital if cryptic guidance of Woodward's mystery source, Deep Throat (Hal Holbrook), Woodward and Bernstein "follow the money" all the way to the top of the Nixon administration. Despite Deep Throat's warnings that their lives are in danger, and the reluctance of older Post editors, Woodward and Bernstein are determined to get out the story of the crime and its presidential cover-up. Once Bradlee is convinced, the final teletype impassively taps out the historically explosive results. ~ Lucia Bozzola, All Movie Guide

"It's OK with me...." Applying his deconstructive eye to the "film noir" tradition, Robert Altman updated Raymond Chandler in his 1973 version of Chandler's novel, The Long Goodbye. Smart-aleck, cat-loving private eye Philip Marlowe (Elliott Gould) is certain that his friend Terry Lennox (Jim Bouton) isn't a wife-killer, even after the cops throw Marlowe in jail for not cooperating with their investigation into Lennox's subsequent disappearance. Once he gets out of jail, Marlowe starts to conduct his own search when he discovers that mysterious blonde Eileen Wade (Nina Van Pallandt), who hired him to find her alcoholic novelist husband Roger (Sterling Hayden), lives on the same Malibu street as the absent Lennox and his deceased spouse. As numerous variations on the title song play in unexpected places, Marlowe encounters a shady doctor (Henry Gibson), a bottle-wielding gangster (director Mark Rydell), and a guard aping Barbara Stanwyck (among other stars), before heading to Mexico to stumble onto the truth once and for all. ~ Lucia Bozzola, All Movie Guide

Although he was not the first choice to direct it, the hit black comedy MASH established Robert Altman as one of the leading figures of Hollywood's 1970s generation of innovative and irreverent young filmmakers. Scripted by Hollywood veteran Ring Lardner, Jr., this war comedy details the exploits of military doctors and nurses at a Mobile Army Surgical Hospital in the Korean War. Between exceptionally gory hospital shifts and countless rounds of martinis, wisecracking surgeons Hawkeye Pierce (Donald Sutherland) and Trapper John McIntyre (Elliott Gould) make it their business to undercut the smug, moralistic pretensions of Bible-thumper Maj. Frank Burns (Robert Duvall) and Army true-believer Maj. "Hot Lips" Houlihan (Sally Kellerman). Abetted by such other hedonists as Duke Forrest (Tom Skerritt) and Painless Pole (John Schuck), as well as such (relative) innocents as Radar O'Reilly (Gary Burghoff), Hawkeye and Trapper John drive Burns and Houlihan crazy while engaging in such additional blasphemies as taking a medical trip to Japan to play golf, staging a mock Last Supper to cure Painless's momentary erectile dysfunction, and using any means necessary to win an inter-MASH football game. MASH creates a casual, chaotic atmosphere emphasizing the constant noise and activity of a surgical unit near battle lines; it marked the beginning of Altman's sustained formal experiments with widescreen photography, zoom lenses, and overlapping sound and dialogue, further enhancing the atmosphere with the improvisational ensemble acting for which Altman's films quickly became known. Although the on-screen war was not Vietnam, MASH's satiric target was obvious in 1970, and Vietnam War-weary and counter-culturally hip audiences responded to Altman's nose-thumbing attitude towards all kinds of authority and embraced the film's frankly tasteless yet evocative humor and its anti-war, anti-Establishment, anti-religion stance. MASH became the third most popular film of 1970 after Love Story and Airport, and it was nominated for five Academy Awards, including Best Picture and Best Director. As further evidence of the changes in Hollywood's politics, blacklist survivor Lardner won the Oscar for his screenplay. MASH began Altman's systematic 1970s effort to revise classic Hollywood genres in light of contemporary American values, and it gave him the financial clout to make even more experimental and critical films like McCabe and Mrs. Miller (1971), California Split (1974), and Nashville (1975). It also inspired the long-running TV series starring Alan Alda as Hawkeye and Burghoff as Radar. With its formal and attitudinal impudence, and its great popularity, MASH was one more confirmation in 1970 that a Hollywood "New Wave" had arrived. ~ Lucia Bozzola, All Movie Guide