Louise Fletcher Movies

Wayde Preston took a break from his starring duties on the Warner Bros. western series Colt. 45 for a guest stint in this episode of Maverick. Preston is cast as Waco Williams, a trigger-happy gent who manages to get into trouble even when he goes out of the way to avoid it. Riding into Bent City with Waco at his side, Bret (James Garner) soon finds himself in the middle of a range war between cattlemen and homesteaders. Though Bret tries to broker a peace between the two warring factions, his efforts are scuttled by the troublesome Waco, who in addition to his other shortcomings happens to be an outlaw with a price on his head. Future Academy Award winner Louise Fletcher does an ingenue turn in this episode, which earned Maverick its highest-ever ratings. ~ Hal Erickson, All Movie Guide

As Elliot Ness (Robert Stack) and the Untouchables close in on notorious gang leader Ma Barker (Claire Trevor) and her brood in their Florida hideaway, a series of flashbacks traces Ma's rise to prominence in the criminal world. Forsaking her hometown of Tulsa and her religious scruples, Ma quickly makes a name for herself with a progression of robberies and kidnappings, assisted by her equally venomous sons. Hardly an shining example of "mother love", Mrs. Barker has no qualms about discarding any gang member who has outlived his usefulness--including her own son Doc (Peter Baldwin), who has defected in the company of his girlfriend Eloise (played by a young Louise Fletcher). This episode originally ran with a closing disclaimer, allegedly added at the insistence of J. Edgar Hoover) stating that, despite the events dramatized herein, it was actually the FBI rather than Elliot Ness who ultimately rid the world of the Barker Gang. ~ Hal Erickson, All Movie Guide

Mayor Henderson (Arthur Franz) is up for an appointment to the state crime commission, but he is danger of being sabotaged by his overambitious wife Mona (Patricia Huston), who has been purloining city plans and passing them along to crooked real estate agent Tom Stratton (Edward Platt). Now Stratton is blackmailing Mona, hoping to enrich himself at Henderson's expense. When Mona is murdered, however, Lt. Tragg (Ray Collins) bypasses both Henderson and Stratton and arrests Susan Connolly (played by future Oscar winner Louise Fletcher) for the crime. Thank heaven that Perry Mason (Raymond Burr) is on hand to expose the real killer. ~ Hal Erickson, All Movie Guide

Released in the same 12-month span as Terrence Malick's Badlands (1973) and Steven Spielberg's The Sugarland Express (1974), Robert Altman's Thieves Like Us (1974) also tells a story of doomed outlaws in love. Depression-era criminals T-Dub (Bert Remsen), Chicamaw (John Schuck), and Bowie (Keith Carradine) band together to rob banks after escaping from a prison farm. Hiding out with Dee Mobley (Tom Skerritt) and Keechie (Shelley Duvall), and then with T-Dub's in-law Mattie (Louise Fletcher) between bank jobs, the three crooks are a loyal group, but increasingly sensational news accounts of their bloodless robberies force them to split up before their next crime. After a car accident, Chicamaw leaves the injured Bowie in Keechie's care. Love blossoms between the two naïfs, compelling Bowie to find a way to balance his bond to Keechie with his loyalty to his friends and the need for money to head for Mexico. With the law closing in, Bowie and Keechie learn the hard way about the finite honor among thieves, and the need to survive. Adapted from the same Edward Anderson novel as Nicholas Ray's They Live By Night (1949), Altman, writers Calder Willingham and Joan Tewkesbury, and Altman's acting "regulars" reworked not just the classical crime movie but also the 1967 hit Bonnie and Clyde, presenting a resolutely unglamorous portrait of this Coke-swilling outlaw couple and the survivors' stoic drive to carry on. With the radio providing soundtrack and commentary, and the newspapers sending a veiled warning, Bowie and Keechie cannot escape the outside world, but they also cannot transcend it into the realm of myth. Rather than turning the crimes into stylish exploits, Altman's camera remains outside most of the robberies, observing the banal action on the street; he saves the slow-motion in the climactic shoot-out for the witnesses rather than the dead. His zoom shots hover between fragments of emotion and place, while they maintain their observational distance. Unfortunately for Altman (and Malick and Spielberg), audiences preferred outlaw glamour to genre-bending introspection. Still, with its deceptively laid-back tone, eye for expressive detail, and ear for ironic juxtaposition, Thieves Like Us takes its place in Altman's exceptional body of early 1970s work. ~ Lucia Bozzola, All Movie Guide

The picturesque streets of Vancouver, British Columbia provide the setting for this thriller that is based on Ardies' novel Kosygin Is Coming. The story centers on a Mountie who finds himself entangled in a KGB conspiracy to kill the renegade Russian Premier Alexei Kosygin during his Canadian visit in 1970. ~ Sandra Brennan, All Movie Guide

Spoofing the entire 1940s detective genre, and his own performances as a bumbling private detective, Peter Falk plays Lou Pekinpaugh, a San Francisco private detective accused of murdering his partner at the instigation of his mistress, the partner's wife, Georgia Merkle (Marsha Mason). Police Lieutenant DiMaggio (Vic Tayback) has his eye on Lou and blunders around in a way which complicates Lou's efforts to clear his name. Lou gets a new client when Mrs. Montenegro (Madeline Kahn) and her cronies (John Housman, Paul Williams and Dom DeLuise) hire him to search out a dozen diamond eggs. Marlene DuChard (Louise Fletcher) also comes to him for help of a complicated nature. In this madcap comedy written by Neil Simon, obstacles and complications appear every few minutes, and a great many famous actors show up in hilarious cameos. ~ Clarke Fountain, All Movie Guide

This expensive production attempts to bring Nobel Prize-winning author Isaac Bashevis Singer's subtle philosophical novel The Magician of Lublin to the screen. In the story, Yasha Mazur (Alan Arkin) is a perfectionistic turn-of-the-century Jewish stage magician, con-man and mystic, who is touring through eastern Europe, at the same time managing to progressively sabotage his own career. In nearly every town Yasha has a girlfriend, from the youthful Zeftel (Valerie Perrine), to the feisty Elizabeta (Shelly Winters). His harassed manager/impressario Wolsky (Lou Jacobi) arranges for him to have one more chance at theatrical success, which requires that he pull off the trick of a lifetime in a Warsaw theater. Reviewers, fans of Singer's works, and ordinary filmgoers all expressed disappointment in this beautifully filmed and ambitious movie, which was a box-office failure. ~ Clarke Fountain, All Movie Guide

The bizarre premise for this often remote and uninvolving drama is that an otherwise apparently normal man can become so alienated from his own feelings and his own wife and children that he plans their murder. Paul Steward (Hal Holbrook) and his wife (Louise Fletcher) are about as interesting as a TV test pattern. Although Paul has realized the American Dream -- that it to say, he has money and is successful in business -- he finds the dream hollow and meaningless. Instead of waking up, he decides that his family is to blame for everything and begins to make elaborate plans for killing them off, talking it over with others and disguising it as a fictional story for his magazine. ~ Eleanor Mannikka, All Movie Guide

This well-wrought family comedy-drama by director Max Fischer is set in Holland during World War II. Young David (Brett Marx) has been separated from his parents because they were taken prisoner by the Nazis and sent away to a concentration camp. David ends up living on a Rotterdam farm as one of their workers and spends his time as best he can. He has always been entranced by American westerns and this infatuation gives him a certain confidence when it is most needed. David is inspired by his screen idols when he sees a chance to capture Colonel Gluck (Rod Steiger), an officer in the German army. ~ Eleanor Mannikka, All Movie Guide

While staying at the Hollins Communication Institute, a stuttering accountant fittingly falls for a squirrel huntress who has a similar speech impediment. ~ Kristie Hassen, All Movie Guide

Natalie Wood made her last screen appearance in Brainstorm; in fact, she died before the film was completed, necessitating extensive rewrites. Wood's character is secondary to the one played by Christopher Walken. A research scientist, Walken has been experimenting with a revolutionary brain-reading device. This wondrous machine is able to read a person's thought processes and translate these to videotape. When Walken wants to study the brainwaves of his late partner Louise Fletcher, he finds himself seriously at odds with his superiors-not to mention several ominous-looking government types, headed by Cliff Robertson. ~ Hal Erickson, All Movie Guide

Firestarter is based on a bone-chilling novel by Steven King. Drew Barrymore plays Charlie McGee the young daughter of Andrew (David Keith) and Vicky (Heather Locklear) McGee, who years earlier had been guinea pigs for a top secret experiment. As a result, Charlie has acquired the unenviable ability to start fires simply by thinking about fires. Charlie is pursued over hill and dale by The Shop, a secret government organization bent upon using her skills for nefarious purposes. The special effects are undeniably startling, even when the script and dialogue are straight out of the funny papers (it's hard to keep a straight face during the New York Times final shot!) The high-priced cast--including George C. Scott, Art Carney, Louise Fletcher--seems to be having a grand ole time. ~ Hal Erickson, All Movie Guide

Jay Underwood plays an autistic boy who provides a source of fascination to a new family in town. Never uttering a sound, Underwood spends hours in his backyard, attempting to fly like the birds. Lucy Deakins, the daughter of the new family, befriends Underwood; she is encouraged by teacher Colleen Dewhurst to try to draw the boy out of his shell, and to keep a journal on the subject. Rendered unconscious in a fall, Deakins dreams that Underwood can fly. The boy is suddenly whisked away to an institution, and Deakins despairs that she'll never see him again. ~ Hal Erickson, All Movie Guide