Constance Forslund Movies

Management consultant Diane Keaton has no time in her life for anything except her high-profile job. All this changes when she inherits a 14-month-old infant from a pair of recently deceased-and very distant-relatives. Intending to put the child up for adoption, she discovers that she has grown fond of the kid and has begun to thrive on the responsibilities of motherhood. All of this, of course, jeopardizes Keaton's love life and professional standing, but all turns out well when the baby inadvertently leads to a whole new moneymaking agenda for our heroine. Capraesque in concept, Baby Boom avoids phony sentiment and obvious humor, emerging as one of the singular comic delights of the late 1980s. On great bit has Keaton "celebrating" a major business coup by surreptiously performing an under-the-table jig (a bit of business that dates back to the 1924 Reginald Denny comedy Skinner's Dress Suit). Baby Boom was spun off into a TV sitcom in 1989, with Kate Jackson filling Diane Keaton's designer shoes. ~ Hal Erickson, Rovi

Any resemblance between the U.S. president in Hail and Richard M. Nixon was purely intentional. Faced with rebellious teenagers and college students, paranoid chief executive Dan Resin comes up with a brilliant idea: lock all the malcontents in concentration camps. Unfortunately, this leads to ramifications that turn the Good Ol' USA into an armed stockade. Amusing at first, the film's satirical content is compromised by repetition and predictability. Also known as Hail to the Chief and Washington BC, Hail was released in 1973 -- though, incredibly, it was completed before the Watergate incident. ~ Hal Erickson, Rovi

This film profiles the early career of Marilyn Monroe when she develops a relationship with her Hollywood agent, Johnny Hyde. (AKA This Year's Blonde) ~ Rovi

Pleasure Cove taps the Grand Hotel format already being worked to death in 1979 by Love Boat and Fantasy Island. Top-billed Tom Jones plays a crook in disguise who becomes involved in love and larceny at the hideaway resort of Pleasure Cove. There's an all-TV star cast, but the largest roles go to James Murtaugh and Constance Forslund as the resort managers, and Ernest Harada as the funny "gopher" desk clerk. This trio would have been the continuing characters has this TV pilot film been picked up as a weekly series. But Pleasure Cove received precisely two network showings in 1979 before going to busted-pilot purgatory. ~ Hal Erickson, Rovi

A mutual attraction for an attractive girl named Janet (Constance Forslund) puts a severe strain on the friendship between Tony (Tony Danza) and Bobby (Jeff Conaway). Alex (Judd Hirsch) rushes in to mediate when the animosity between the two former pals threatens to erupt into violence. The outcome of this crisis boils down to a crucial decision made by Janet -- or rather, the equally crucial decision made before Janet's decision by the other two "points" of the triangle. ~ Rovi

Shortly before the bank examiner is due to arrive, higher-ups at a small-town bank discover that a beloved long-term employee has embezzled $100,000. The embezzler (Paul Sand), says he did it just to point out a flaw in the bank's bookkeeping practices. Bank officers Jack and Emanuel (Burgess Meredith and Richard Basehart) cook up a scheme to cover up the theft, which, incidentally, will net them an additional hundred grand. The supposedly secret embezzlement and bank examiner visit becomes known throughout the tight-knit community. Some pillars of the community see it as an opportunity for gain and others want to help save reputations, but everyone gets involved. ~ Clarke Fountain, Rovi

Legend of Valentino is a TV-shorthand retelling of the life and loves of legendary silent screen star Rudolph Valentino, here portrayed by Franco Nero. This TV movie was advertised as "romantic fiction," which was just as well since its only nods to the truth are the basic facts of Valentino's enormous screen fame and the national hysteria attending his early death in 1926 of peritonitis. Typical of Legend of Valentino's fabrications is the depiction of Valentino's first meeting with his future mentor, screenwriter June Mathis (played by Suzanne Pleshette). In real life, Mathis discovered Valentino by watching him play a string of supporting roles; in Legend, she confronts him in her living room while he's burglarizing her house! Despite its historical shortcomings, Legend of Valentino is a lot better than the 1951 and 1977 biopics of the "Latin Lover." ~ Hal Erickson, Rovi

"Gorgeous goyish guy" meets Jewish radical girl in Sydney Pollack's glossy romance. In 1937, frizzy-haired Red co-ed Katie Morosky (Barbra Streisand) briefly captures the attention of preppy jock Hubbell Gardiner (Robert Redford) with her passionate pacifism, while the writing talent beneath his privileged exterior entrances her. Almost eight years later, the two are reunited in New York, when well-coiffed leftist radio worker Katie spies military officer Hubbell snoozing in a nightclub. Through her force of will, and in spite of his smug rich friends, the two opposites fall in love, sparring over Katie's activist zeal and Hubbell's writerly ambivalence after a failed first novel. They head to Hollywood so that Hubbell can write a screenplay for his buddy-turned-producer J.J. (Bradford Dillman). But the House Committee on Un-American Activities' Communist witch hunt in 1947 tears the pair apart, as a pregnant Katie refuses to keep silent about the jailing of the Hollywood Ten, while a faithless Hubbell decides to save his career. When the two meet again at the dawn of the '60s, TV hack Hubbell and A-bomb protestor Katie feel the old pull, but they have to decide if it's worth the grief. Although blacklisted writers had returned to Hollywood -- and won Oscars -- by the early 1970s, the HUAC sections of Arthur Laurents's screenplay were still considered dicey, resulting in substantial cuts; Laurents reportedly blamed star Redford for not fighting them hard enough. Regardless of the edits, and critics' complaints about the film's schlockiness, 1973 audiences went for the well-executed and still politically tinged weepie, turning The Way We Were into one of the most popular films of 1973 and Redford into a major heartthrob. Streisand won an Oscar nomination for Best Actress and the Streisand-sung title tune won for Best Song. Despite the eviscerated politics, The Way We Were poignantly captures the insoluble dilemma of reconciling private desires with public awareness. ~ Lucia Bozzola, Rovi

This film is a remake of the classic 1960 science-fiction thriller, Village of the Damned, which was based on the novel The Midwich Cuckoos by John Wyndham. Veteran horror director John Carpenter is at the helm this time, with Christopher Reeve replacing George Sanders in the starring role. Aliens put the entire village of Midwich to sleep for 24 hours and impregnate many women. Reeve plays Alan Chaffee, the town doctor, whose wife Barbara (Karen Kahn) is one of the women carrying an alien baby. Visiting scientist Dr. Susan Verner (Kristie Alley) is monitoring the situation for the government. She supervises a mass birthing in a barn. The children turn out to be white-haired, glassy-eyed, and telepathic. Their plan is to use their supernatural powers to kill the villagers and help the aliens take over, and only Chaffee and Verner can stop them. ~ Michael Betzold, Rovi