John Francis

The current wave of kidnappings in Latin America inspired this tense suspense drama. Martin (Jean Paul Leroux) and Carla (Mía Maestro) are a wealthy young couple who, after a night of club hopping, head back to their car to go home. However, three kidnappers -- Bubu (Pedro Perez), Niga (Carlos Madera), and Trece (Carlos Julio Molina) -- are waiting for them; seeing how free they are with their money, the men figure that Martin and Carla should fetch a decent ransom for their release. The kidnappers demand 20,000 dollars to set Martin and Carla free, and Carla's father (Rubén Blades) struggles to raise the cash, with the criminals insisting upon payment in a mere two hours. ~ Mark Deming, All Movie Guide

Reporter Nicole Graf (Elizabeth Berkley), who helped the squad in the Mangrini murder case, makes no secret of her lust for Det. Baldwin Jones (Henry Simmons), but he chastely prefers the traditional courtship approach. Back on the job, retired English detective Jimmy Cheatham (John Standing) offers his assistance when the squad investigates a rape-murder. Cheatham is of the opinion that the killer is the same person who committed a string of crimes in London, and he insists upon being on hand when the squad converges on the suspect's hiding place -- a mortuary. ~ Hal Erickson, All Movie Guide

After the death of Peter Sellers in 1980, writer/director Blake Edwards assembled a new "Pink Panther" film from outtakes of Sellers as Inspector Clouseau from previous movies in the series (the result was called The Trail of the Pink Panther) and later made two attempts to revive the series with another actor. In this case, Edwards cast Roberto Benigni as Jacques Gambrelli, a hopelessly inept French policeman who turns out the be the illegitimate son of Inspector Clouseau. Gambrelli becomes involved with the investigation of a kidnapping involving the beautiful Princess Yasmin (Debrah Farentino) literally by accident, when he crashes into a car driven by Police Commissioner Dreyfus (Herbert Lom). Gambrelli soon becomes smitten with Yasmin, while the investigation suggests that the kidnapping was set up by her mother, the Queen (Shabana Azmi), and her lover, General Jaffar (Aharon Ipale). Claudia Cardinale who played a different character in the original Pink Panther returns, while Burt Kwouk returns as the violent Korean manservant Cato. Roberto Benigni's Gambrelli proved no more successful at the box office than Ted Wass's Clouseau-like Clifton Sleigh in The Curse of the Pink Panther (1983), though after his multiple-Oscar winning success with 1998's La Vita e Bella, Roberto's probably gotten over it. ~ Mark Deming, All Movie Guide

Mark Lenard, who played Mr. Spock's Vulcan-ambassador father Sarek on the original Star Trek, recreated the role in this Next Generation episode, which first aired May 19, 1990. Arriving on the Enterprise for an important diplomatic mission, Sarek surprises his hosts with his uncharacteristic mood swings. Even more perplexing is the fact that the Vulcan's appearance coincides with an outbreak of random violence amongst the crew. "Sarek" was scripted by Peter Beagle from a story by Mark Cushman and Jake Jacobs. ~ Hal Erickson, All Movie Guide

Wealthy metallurgist Harry Mitchell (Roy Scheider) lives to regret his extramarital affair with pretty young Cini (Kelly Preston). A trio of vicious blackmailers (John Glover, Robert Trebor, Clarence Williams III) show Mitchell a videotape of his most recent roll in the sack with Cini. They demand a huge amount of hush money, but Mitchell calls their bluff, going so far as to tell his politicially ambitious wife Barbara (Ann-Margret) about the affair. But the extortionists haven't even gotten started yet. Tying Mitchell to a chair, they force him to watch a tape of Cini being horribly murdered-with the evidence arranged so that Mitchell will be accused of the crime. But Mitchell remains firm in his refusal to pay up, whereupon he mounts a "fight fire with fire" plan all his own. 52 Pick Up was based on a novel by Elmore Leonard, which was previously filmed in 1984 as The Ambassador. ~ Hal Erickson, All Movie Guide

A sprawling adaptation of the same-named novel by David Nevin, the three-part CBS miniseries Dream West starred Richard Chamberlain as colorful, controversial American explorer John Charles Fremont (1813-1890). The story detailed the visionary (and occasionally mercenary) Fremont's lifelong war against shortsided authority figures, beginning with his early skirmishes with the "brass" as an Army officer. In 1842, Fremont embarked upon his greatest adventure, heading an expedition to map the Oregon Trail -- the first step towards opening the entire North American continent to free and unimpeded exploration. His mission pitted Fremont against hostile Indians, the Mexican army, and the U.S. government itself. Along the way, he crossed paths with scores of historical figures, including Kit Carson, Jim Bridge, John Sutter, and President Abraham Lincoln. Alice Krige, Richard Chamberlain's vis-à-vis in the earlier Wallenberg: A Heroes' Story, co-starred as Jessie Benton, the headstrong senator's daughter who became Fremont's wife. Running seven hours in all (plus commercials), Dream West was originally telecast from April 13 to 15, 1986. ~ Hal Erickson, All Movie Guide

Blood Feud was a two-part TV drama, originally presented as an "Operation Prime Time" special. Robert Blake is disturbingly convincing as labor leader Jimmy Hoffa, engaged in a decade-long war of words with attorney (and later attorney general) Robert F. Kennedy. Cotter Smith makes his TV debut as Kennedy, a role he'd repeat on future occasions. Thoroughly compelling when sticking to the facts, the drama falls apart whenever indulging in flight of fanciful speculation (Sample: two of Hoffa's lieutenants watch the live telecast of Lee Harvey Oswald's murder, then celebrate the fact that Oswald will never be able to reveal their complicity in the JFK assassination!) Blood Feud was syndicated to local TV stations beginning April 24, 1983. ~ Hal Erickson, All Movie Guide

Although the scripting, acting, and plot lines are less than ideal, this dramatized documentary merits attention since it is the first Australian initiative to chronicle the experiences of Aboriginals from their own perspective, allowing the audience to view the behavior of the white majority from the "wrong side of the road." As the real bands "Us Mob" and "No Fixed Address" make their way through the country on a road tour, they encounter mistreatment from an arrogant hotel manager, physical and verbal abuse from the police, and are ignored by uncaring government officials. One outlet for their plight is music, and their lyrics praise their skills at survival in a hostile world. This film won the Jury Prize at the 1981 Australian Film Festival. ~ Eleanor Mannikka, All Movie Guide

Originally telecast November 26, 1966, Fame is the Name of the Game was the first official entry in NBC-TV "Project 120" series of made-for-TV movies (after two false starts in 1964). Tony Franciosa plays a magazine writer investigating the suicide of a beautiful girl. He uses the girl's address book as a key to piecing together the mystery of her self-destruction--and in so doing discovers that she'd actually been murdered. Advertised as an "original" for television, Fame is the Name of the Game was actually a remake of the 1949 Alan Ladd melodrama Chicago Deadline, right down to the identity of the mystery killer. Jill St. John and Jack Klugman co-star, with Jack Weston, Robert Duvall, Nanette Fabray and Jay C. Flippen popping up in supporting roles. This film served as the pilot for the 1968-71 TV series Name of the Game, with cast members Tony Franciosa and Susan St. James retained for the series proper. ~ Hal Erickson, All Movie Guide

An unusually tense and intelligent political thriller, The Manchurian Candidate was a film far ahead of its time. Its themes of thought control, political assassination, and multinational conspiracy were hardly common currency in 1962, and while its outlook is sometimes informed by Cold War paranoia, the film seemed nearly as timely when it was reissued in 1987 as it did on its original release. It opens with a group of soldiers whooping it up in a bar in Korea as their commander, Sgt. Raymond Shaw (Laurence Harvey), arrives to inform them that they're back on duty. These men obviously have no fondness for Shaw, and he feels no empathy for them. While on patrol, Shaw and his platoon are ambushed by Korean troops. Months later, Shaw is receiving a hero's welcome as he returns to the United States to accept the Congressional Medal of Honor, and several of the soldiers who served under Shaw repeatedly refer to him as "the bravest, finest, most lovable man I ever met." It soon becomes evident that after their capture by the Koreans, Shaw and his men were subjected to an intense program of brainwashing prior to their release. While several are troubled by bad dreams and inexplicable behavior, it's Capt. Bennett Marco (Frank Sinatra) who seems the most haunted by the experience. In time, Marco is able to piece together what happened; it seems Raymond Shaw was programmed by a shadowy cadre of Russian and Chinese agents into a killing machine who will assassinate anyone, even a close friend, when given the proper commands. On the other side of the coin, Shaw is also used for political gain by his harridan mother (Angela Lansbury), who guides the career of her second husband, John Iselin (James Gregory), a bone-headed congressman hoping to win the vice-presidential nomination through a campaign of anti-Communist hysteria.

The Manchurian Candidate features a host of remarkable performances, several from actors cast cleverly against type. Frank Sinatra's edgy, aggressive turn as Marco may be the finest dramatic work of his career; Laurence Harvey's chilly onscreen demeanor was rarely used to s better advantage than as Raymond Shaw; James Gregory is great as the oft-befuddled Senator Iselin; and Angela Lansbury's ultimate bad mom will be a shock to those who know her as the lovable mystery writer from Murder, She Wrote. George Axelrod's screenplay (based on Richard Condon's novel) is by turns compelling, witty, and horrifying in its implications, and John Frankenheimer's direction milks it for all the tension it can muster. While Frankenheimer's career has had its ups and downs, The Manchurian Candidate and Seconds (1966) suggest that he deserves to be recognized as one of the most brilliantly paranoid American filmmakers of the '60s. Entertaining yet unsettling, both films indicate that things in the '60s were not what they seemed, with a resonance that still echoes uncomfortably in the present. ~ Mark Deming, All Movie Guide