Antonio Fargas Movies

The pilot film for the ABC series of the same name, Paper Dolls concentrates upon two pretty teenagers: Taryn Blake (Daryl Hannah) and Laurie Caswell (Alexandra Paul). Prodded on by their ambitious mothers (played by Joan Hackett and Jennifer Warren) and further exploited by a ruthless agent (Joan Collins), the two otherwise normal girls are transformed into 2,000-dollar-per-day fashion models. Although the glamour and excitement of the modeling world is thrilling at first, both Taryn and Laurie suffer mightily at the hands of those older than themselves. To make matters worse, both girls are thoroughly ostracized by their fellow teens. First telecast May 24, 1982, Paper Dolls became a weekly series over two years later, by which time the original stars had been replaced by Nicollette Sheridan (as Taryn), Terry Farrell (as Laurie), Brenda Vaccaro (as Taryn's mother), and Morgan Fairchild (as Racine, the agent); only Jennifer Warren was carried over from the original film. ~ Hal Erickson, All Movie Guide

The made-for-TV Escape was inspired by the true story of Dwight Worker, an American imprisoned in Mexico for smuggling hashish. Given the country's stringent anti-drug laws, Worker's chances of release are slim to none (a situation similar to the protagonist's plight in Midnight Express). Against all odds, Worker plans a daring getaway from the notoriously impenetrable Lecumberri Prison (for obvious reasons, the film was not shot on location). Timothy Bottoms stars as Worker, with Kay Lenz as Barbara Chilcoate, the woman who became his wife; Colleen Dewhurst co-stars as the sympathetic "Mother Jones" type who helped engineer the escape. Adapted from Dwight and Barbara Worker's autobiography, Escape debuted February 20, 1980. ~ Hal Erickson, All Movie Guide

An aspiring actor leaves his home in Brooklyn for adulthood in Manhattan in Paul Mazursky's loosely autobiographical comedy-drama. In 1953, would-be thesp Larry Lapinsky (Lenny Baker) flees his hysterically clinging mother (Shelley Winters) for a $25-a-month (!!) apartment in bohemian Greenwich Village. Between Method-like acting classes, a movie audition (where he meets a posturing actor played by Jeff Goldblum), and work at a juice bar, Larry hangs out with a circle of archetypal Village eccentrics, including suicidal Anita (Lois Smith), womanizing poet Robert (Christopher Walken), and flamboyantly un-closeted homosexual Bernstein (Antonio Fargas), as he negotiates the pitfalls of love and sex with liberated girlfriend Sarah (Ellen Greene). The fallout over the group's ill-fated love affairs, and the Lapinskys' inopportune surprise visits, finally lead Larry to make peace with his past as he contemplates his future in Hollywood. Mazursky looks back to the 1950s as in such other 1970s films as American Graffiti, Grease, and TV's Happy Days, but his Greenwich Village life is less a time of lost pre-'60s innocence than a precursor of things to come. Sex, Larry jokes, may be serious, but it is also an omnipresent fact of life rather than something to be feared or repressed; love is the real problem. Even as Larry's friends strike various poses, they are all out to do their own thing as best they can. Critical response to Mazursky's nostalgia trip was mixed when the film was released, but the performances, particularly Winters, were admired. ~ Lucia Bozzola, All Movie Guide

It's still the same old story...but what a story. This umpteenth filmization of the classic Mark Twain novel stars Ron Howard as Huck and Donny Most as Tom Sawyer. After faking his own murder to escape his brutish Pap (played by Howard's real-life father Rance), Huck and fugitive slave Jim (Antonio Fargas) fashion a raft and head off down the Mississippi. The darker elements and sociological commentary of the Twain original are carefully excised from this version, the better to allow more time for the antics of those "royal" rapscallions, the King (Jack Elam) and the Duke (Merle Haggard). Mark Twain himself makes a guest appearance, in the person of Royal Dano. Filmed along the Sacramento River in California (a frequent movie "stand-in" for the Mississippi), Huckleberry Finn was first broadcast March 25, 1975. ~ Hal Erickson, All Movie Guide

Sonny Cochran (Antonio Fargas), a tailor moonlighting as a lawyer, gives Lamont (Demond Wilson) advice on fighting a traffic ticket in court. Lamont takes a pass on Sonny's counsel, preferring to acts as his own defense. But that's not good enough for Lamont's dad Fred (Redd Foxx), who storms into court with his cronies in tow, claiming to be Lamont's lawyer. ~ Hal Erickson, All Movie Guide

Jon Voight stars in this story, based on fact, about a teacher determined to make a difference in the lives of his students. In the late 1960s, Pat Conroy (Jon Voight) is given a teaching position on a small island off the coast of South Carolina. Conroy discovers that the school is little more than a shack and his students are functionally illiterate, can't count, and don't even know what country they're in. (They also mispronounce his name as "Conrack," a name that sticks.) The school's principal, Mrs. Scott (Madge Sinclair), has taught the students to believe that they're lazy and stupid, and the result is a group of kids who've been ignored and have no useful skills. Conroy responds by throwing out the rule book and teaching lessons that will be useful in their daily lives. The students respond eagerly as Conroy plays classical music, shows them movies, teaches them to swim, and explains the importance of brushing their teeth. However, many local leaders are unhappy with Conroy and his methods, while Conroy is not afraid to say that institutional racism is largely to blame for the neglect heaped on the students. The real Pat Conroy, whose book The Water is Wide was the basis for this picture, later became a respected novelist; his fiction includes The Prince of Tides and The Great Santini, both later made into films. ~ Mark Deming, All Movie Guide

James Toback made his screenwriting debut with this taut drama, loosely adapted from the story by Dostoevsky. Axel Freed (James Caan) is an intelligent and well-respected professor of literature at a noted New York university, who uses great writing as a springboard for examining moral and philosophical issues in his class. But when he's not in front of the chalkboard, Axel has a serious problem -- he's hopelessly addicted to gambling. Axel will bet on almost anything, and while he lives for the heady rush of winning, it doesn't happen all that often, and Axel's latest losing streak has put him in debt to his bookies to the tune of $44,000, more than a college professor could hope to pay in 1974. Even after tapping his mother (Jacqueline Brookes), his grandfather (Morris Carnovsky), and his girlfriend (Lauren Hutton) for cash, Axel still owes thousands to his bookie Hips (Paul Sorvino), who is quickly losing his patience with Axel, especially when he learns after he finally scored a major winning streak, rather than paying off his bills he used the money to keep gambling ... and lost it all, leading to visits from an increasingly threatening series of underworld "collectors." The Gambler also features supporting performances from Burt Young, James Woods, and M. Emmett Walsh. ~ Mark Deming, All Movie Guide

Tamara Dobson stars as Cleopatra Jones in Jack Starrett's blaxploitation programmer that, in its own way, deals effectively with the ravages of drugs in inner-city black communities. Cleopatra Jones is a jive female James Bond, a special drug agent for the United States government who wears sleek and hip clothes, drives a fancy car with a submachine-gun compartment in the front door, and travels all over the world to stomp out drugs at their source. Cleopatra has a loving relationship with Ruben (Bernie Casey), the well-meaning head of a drug rehabilitation clinic in Los Angeles. When Cleopatra travels to Turkey to oversee the destruction of poppy fields owned by Mommy (Shelley Winters) -- a lesbian drug dealer -- Mommy becomes upset. She exacts her revenge on Cleopatra by having the police close down Ruben's drug clinic. Nevertheless, Cleopatra continues to wreak havoc upon Mommy's drug business, and Mommy continues to try to do Cleopatra in, until finally there is a major confrontation between Cleopatra and Mommy and her minions. ~ Paul Brenner, All Movie Guide

Across 110th Street is a violent urban thriller about a corrupt, older white cop (Anthony Quinn) and an honest, young African-American cop (Yaphet Kotto) chasing three robbers-cum-murderers who ran away with $300,000 that belonged to the Italian mob. The police must find them before the sadistic Mafia henchman Nick D'Salvio (Anthony Franciosa) reaches them first. The film has reached a cult status; the title song, performed by Bobby Womack, was later used in Jackie Brown, Quentin Tarantino's extended homage to the crime flicks of the 1970s. ~ Yuri German, All Movie Guide

Richard Roundtree cuts a startlingly new and powerful heroic figure as John Shaft, "the cat who won't cop out, when there's danger all about" in Gordon Parks' seminal action film, Shaft. John Shaft is a black private eye with a small office near Times Square. On his way there one day, he gets pumped for information by Lt. Victor Androzzi (Charles Cioffi), a friend of his on the police force, about something big going down in Harlem involving black crime kingpin Bumpy Jonas (Moses Gunn). Shaft can't help him and leaves, only to just miss being waylaid by two of Bumpy's strong-arm men at his office, one of whom ends up dead on the pavement eight floors or so below. Squeezed by the cops, who are holding a potential manslaughter arrest over his head, Shaft contacts Bumpy, who reveals that his teenage daughter, whom he's always kept away from his business, has been kidnapped. There's been no ransom demand and no clue as to who did it, and he wants Shaft to find the culprits, insisting that he start with a group of Harlem-based black militants led by Shaft's onetime friend Ben Buford (Christopher St. John). No sooner does he find Buford, holed up in a decaying part of Harlem, however, than his friend's comrades are mowed down by submachine gun fire, and Shaft and Buford barely escape. With Shaft angry and out for blood, everyone is forced to come clean -- Bumpy knows that it's the Mafia that kidnapped his daughter, as they want in on the Harlem drug trade that he controls; they're holding her somewhere else outside of Harlem, where his men are no good to him, which is why he wanted Shaft to hook up with Buford. Androzzi tells Shaft that a dozen Mob trigger men from out of town have been spotted in Greenwich Village. He doesn't know why they're there, but he does know that if fighting breaks out between Bumpy's men and the Mafia, it's going to look like a race war, and the whole city could erupt. Shaft doesn't like the way he's been manipulated, but he sees Androzzi's point -- he links the trigger men to the kidnapping and finds the girl, but loses her again, getting shot in the process. Even though he's wounded, Shaft heads for a final confrontation with the kidnappers, supported by Ben's friends in an armed assault on the building where they're holed up. ~ Bruce Eder, All Movie Guide