Lloyd Gough Movies

Quincy (Jack Klugman) prepares to provide expert testimony in the murder trial of mob boss Victor Ramsay (Tige Andrews), determined to prove that Ramsay pressured his victim into having a heart attack. Unfortunately, Ramsay's son Joseph (Peter Virgo Jr.) has carefully arranged for Quincy to be discredited by planting phony evidence near the dead body of the only witness to the crime. Now Quincy has a scant three weeks to restore his reputation and nail the bad guys. ~ Hal Erickson, Rovi

Recently widowed Dr. Nichols (Walter Matthau) finds himself ill at ease in re-entering the singles scene. Then he meets Ann Atkinson (Glenda Jackson), a patient recuperating from a jaw operation. Freshly divorced from a philandering spouse, Jackson is as reluctant to inaugurate a lasting commitment as Walter--but inaugurate they do, in a hilarious scene wherein Jackson and Walter try to emulate those romantic couples in 1930s movies who were forced by the censors to keep one foot on the floor while lying in bed. It is Jackson who encourages Matthau to stand up for his ideals during a lawsuit involving senile head physician Dr. Willoughby (Art Carney, who is unbearably funny at times). Richard Benjamin rounds off the cast of polished farceurs who add so much sparkle to House Calls. The film was later adapted into a TV sitcom starring Wayne Rogers in the Matthau role, Lynn Redgrave (and later Sharon Gless) in the Jackson counterpart, and David Wayne as a less aphasiatic version of the Carney character. ~ Hal Erickson, Rovi

The McCarthy-era "witch hunts" in the entertainment industry set the stage for this comedy drama set in the 1950s. Howard Prince (Woody Allen) is a cashier at a corner bar who works as a small-time bookie on the side, with little success. One day, Howard's old friend Alfred Miller (Michael Murphy), a successful television writer, makes a business proposal to him; Alfred's leftist political views have resulted in him being blacklisted from the major television networks, and he can no longer get work. Alfred asks Howard to act as a "front" -- Howard puts his name on Alfred's scripts, sells them, and takes a cut of the payment for his trouble. Howard's new career as a "writer" is an instant success, and soon Howard is fronting for a handful of blacklisted scribes while earning a healthy income and becoming the toast of the television industry; another fringe benefit is a romance with beautiful network employee Florence Barrett (Andrea Marcovicci). However, comic Hecky Brown (Zero Mostel), who had a brief fling with socialism years before, now finds his past catching up with him, and he's told in order to save his job as host of a weekly television show, he has to get the goods on some suspicious figures, among them Howard Prince, whose background looks a little too clean for comfort. The Front was written by Walter Bernstein, who was himself blacklisted during the 1950s, as were co-stars Zero Mostel, Herschel Bernardi, and Lloyd Gough. ~ Mark Deming, Rovi

A roman a clef depicting the Wylie-Hoffert murders, this is the first of the made for TV movies introducing the Kojak character and was essentially the pilot for the long-running crime series. When a black ghetto youth is accused of two bizarre murders, Kojak takes it upon himself to find the real murderer. ~ Tana Hobart, Rovi

If you think that Oliver Stone invented the "political paranoia" movie, take a glance at Executive Action sometime. Based on Mark Lane's Rush to Judgment, the conspiracy theorist's bible, Executive Action perpetuates the popular urban legend that John F. Kennedy was assassinated at the behest of a right-wing cartel with military and industrial interests. The film further hypothesizes that Lee Harvey Oswald not only didn't pull the trigger, but was also set up as a disposable dupe (this notion wasn't even new in 1973). Burt Lancaster, Robert Ryan and Will Geer play the sinister conspirators. In the film's coda, still photos of 18 witnesses to the assassination are shown, while the accompanying text informs us that all of these people had died between 1963 and 1973. We are further told that the odds against this coincidence are one in a trillion. When Oliver Stone's thematically similar JFK came out in 1991, viewers with long memories were quick to notice the eerie similarities between the Stone film and Executive Action -- right down to choice of camera angles. Hmmm....a conspiracy, perhaps? ~ Hal Erickson, Rovi

Adjustment to civilian life after participating in the Vietnam War does not prove easy for an old rancher's son. The boy (Michael Moriarty) returns to his father's ranch in the Pacific Northwest and brings along two of his war-time buddies to help out. One of them is a little slow on the uptake (William Devane), the other is a former sergeant who is a little too tightly sprung (Mitchell Ryan). After some initial conflicts, they seem to get along until the sergeant goes into flashback mode, believing he is back in Vietnam. ~ Clarke Fountain, Rovi

After being blacklisted from Hollywood for 21 years, writer/director Abraham Polonsky made a healthy comeback with Tell Them Willie Boy is Here. The title character, played by Robert Blake, is a Paiute Indian living in 1909 California. After several years in the White Man's world, Willie Boy returns to his reservation, hoping to renew his romance with tribeswoman Lola (Katherine Ross). Old Mike (Mike Angel), Lola's father, strongly disapproves of her relationship with Willie Boy and attacks the youth. Acting in self defense, Willie Boy kills Old Mike. Under tribal rules, Willie Boy is now permitted to claim Lola as his woman. But white lawman Christopher Cooper (Robert Redford) is forced to charge Willie Boy with murder. The Indian and his girl escape the reservation, pursued by the essentially decent Cooper and a less-than-decent crowd of white vigilantes. What begins as comparative minor incident, snowballs into a huge political crisis, with the bewildered but defiant Willie Boy as the catalyst. Tell Them Willie Boy is Here is distinguished by the fine performances of leading players Redford, Blake, Ross and Susan Clark, and by the haunting cinematography of Conrad Hall. ~ Hal Erickson, Rovi

It's a seemingly peaceful spring morning in New York City -- graduation day at the Police Academy -- and Police Commissioner Anthony X. Russell (Henry Fonda) is looking forward to giving a speech to the new officers. But all isn't well: Russell's been given apparently incontrovertible evidence that his oldest friend, Chief Inspector Charles Kane (James Whitmore), is shaking down a bar owner, and a black minister (Raymond St. Jacques) is claiming that his son was brutalized when he was picked up for questioning in a rape/assault case. Then Russell gets a call informing him that two first-grade detectives, Daniel Madigan (Richard Widmark) and Rocco Bonaro (Harry Guardino), allowed small-time hood Barney Benesch (Steve Ihnat) to get the drop on them, steal their guns, and escape while they were trying to pick him up for questioning at the request of Brooklyn detectives -- and Benesch is now a suspect in that earlier murder in Brooklyn. Madigan has other problems, including the fact that the commissioner -- his ex-captain -- doesn't trust him, always believing him to be a loose cannon who has taken advantage of the badge in accepting favors and cutting corners where peoples' rights were concerned. Madigan also has a beautiful, upwardly mobile wife (Inger Stevens) who loves him but can't abide all the time his job takes him away from her or crimps her socializing; and he has never fully gotten over Jonesy (Sheree North), a saloon singer he knew before he was married. Madigan and Bonaro are given 72 hours to bring in Benesch and begin beating the bushes for leads. They get help from "Midget" Castiglione (Michael Dunn), a bookmaker and an old enemy of Benesch's, and a nervous, long-haired punk named Hughie (Don Stroud). While the clock ticks away on Madigan's and Bonaro's careers, the commissioner must decide how to deal with Kane, whose father -- also a police officer -- was like his own, and he must also fathom how a four-star chief could be involved with anything as tawdry as pressuring a tavern owner. Russell genuinely believes that there must be "one standard, one rule" for any member of the department, but in the course of this one weekend, he finds this notion shattered by what he discovers about Madigan, King, and himself. Meanwhile, Benesch is still on the loose, acting like a complete psycho and a threat to anyone who crosses his path. Russell's and Madigan's paths finally cross personally, as the detective proves -- and the commissioner discovers -- just how good a cop he is. ~ Bruce Eder, Rovi

In Washington DC for a secret meeting with a journalist who believes in his innocence, Kimble (David Janssen) saves the life of African ambassador Unawa (Ivan Dixon). Out of gratitude, Unawa allows Kimble to hide out in his country's embassy building, where the fugitive is protected by diplomatic immunity. Unforunately, Unawa's wife Davala (Diana Sands) is planning to turn Kimble over to the cops in a desperarte efforts to improve relations between her country and the U.S. Brock Peters rather surprisingly shows up unbilled in the role of an embassy servant. ~ Hal Erickson, Rovi

Elaine Bayler (Mala Powers), the wife of small-town big shot Richard Bayler (Lloyd Gough), is being blackmailed by an unknown party who threatens to expose Elaine's romance with her protegee, musician Donald Hobart (Will Hutchins), unless she ponies up $10,000. While making the "drop", Elaine is murdered, whereupon Donald's girlfriend Cynthia Perkins (Luana Patten) is charged with the crime. Perry Mason (Raymond Burr) is forced to relinquish a long-awaited fishing excursion to defend Cynthia in court. ~ Hal Erickson, Rovi

At great personal risk, Kimble returns to Fairgreen, Indiana, the home town of his late wife Helen. Having heard that his father-in-law Ed Waverly (Lloyd Gough) is on the verge of bankruptcy, Kimble hopes to somehow offer a helping hand. Though both Ed and his daughter Terry (Louise Sorel) have always believed that Kimble is innocent of Helen's murder, they are overruled by Ed's neurotic wife Edith (Ruth White), who refuses to accept any story but the "official" one about Kimble's guilt. Ultimately recognized by a local cop, Kimble must place his life in the hands of Ed and Terry--and somehow force Edith to face some very unpleasant truths about her "sainted" daughter Helen. ~ Hal Erickson, Rovi