Barbara Harris Movies

Most people have trouble deciding what to say when they're asked what they've been doing with their lives at a High School reunion, but Martin Blank (as played by John Cusack) has a different problem than most -- he has to make his career sound less interesting than it actually is. Martin is a former CIA operative who is now a freelance hit man, making good money for killing people he doesn't know. However, Martin's game has been a bit off lately; he's no longer happy in his work, and both his secretary Marcella (Joan Cusack) and his psychiatrist, Dr. Oatman (Alan Arkin), who is more than a bit nervous about having a hired assassin as a patient, think that Martin should accept an offered assignment in Grosse Pointe, Michigan, his old home town, which would conveniently coincide with his ten year high school reunion. While in Grosse Pointe, Martin discovers that his high school sweetheart, Debi Newberry (Minnie Driver), is still living in town, and still holds a grudge against him for standing her up on prom night. While Martin tries to sort out his past and tie up loose ends with Debi (whom he still loves), he discovers someone in Grosse Pointe is out to kill him; he's also confronted by the highly unstable Mr. Grocer (Dan Aykroyd), a fellow hit man who wants Martin to join forces with him and form a union and isn't keen on taking no for an answer. Grosse Pointe Blank was a pet project for star John Cusack, who co-wrote the screenplay and also served as co-producer. ~ Mark Deming, All Movie Guide

Dirty Rotten Scoundrels is a remake of the 1964 film farce Bedtime Story. Steve Martin and Michael Caine take over the roles originally played by Marlon Brando and David Niven: two international con artists, plying their trade on gullible wealthy women up and down the Riviera. Martin and Caine vie over the honor of fleecing ingenuous heiress Glenne Headly (in a role originated by Shirley Jones). ~ Hal Erickson, All Movie Guide

Everybody's All American covers 25 years in the life of college football hero Gavin Grey (Dennis Quaid). When he marries campus sweetheart Babs Rogers (Jessica Lange) and is picked up by the pros, a happily-ever-after denouement is predicted by friends and family. It is clear from the outset, however, that Grey is going to have to do a lot of growing up over the next few decades. Babs does her best to keep in step with her husband's career and mood swings, and in so doing becomes the "parent" in the family. John Goodman also stars as Grey's best buddy, and Timothy Hutton is on hand for a romantic-triangle subplot. Everybody's All American is based on the novel by longtime Sports Illustrated scrivener Frank Deford. ~ Hal Erickson, All Movie Guide

Ghost of a Chance is a failed TV pilot starring Redd Foxx and Dick Van Dyke. Foxx is a piano player accidentally killed by hard-hearted narcotics officer Dick Van Dyke. Since he's died before his scheduled time, Foxx is sent back to earth, where he helps Van Dyke track down genuine criminals. Naturally, Foxx is endowed with supernatural abilities, including a penchant for disguise. Ironically, Dick Van Dyke's son Barry had starred in another unsold pilot in 1981, also titled Ghost of a Chance and also dealing with a misplaced spirit. ~ Hal Erickson, All Movie Guide

During her 25th high school class reunion, middle-aged Peggy Sue (Kathleen Turner) tries to forget her marital problems with husband Charlie (Nicolas Cage) by renewing old friendships. Wondering if she made the right decisions in her life, Peggy Sue gets a chance to try again when, zapped into a time warp, she finds herself a teenager back in 1960. Armed with foreknowledge (the scene in which she tells off her algebra teacher is a particular treat), Peggy Sue gets to retrace the steps leading up to her unhappy marriage to high-school sweetheart Charlie. Will nerdish Richard Norvik (Barry Miller), who always carried a torch for Peggy Sue and whom she knows will become a millionaire computer mogul by 1985, win out over the unreliable Charlie this time? A "small" film from the otherwise profligate Francis Ford Coppola, Peggy Sue Got Married possesses an irresistible charm that makes up for its glaring plot deficiencies. The youthful cast is matched in its appeal by such veterans as Leon Ames, Maureen O'Sullivan and John Carradine. And yes, that is Jim Carrey as Walter Getz. ~ Hal Erickson, All Movie Guide

In this fantasy-drama-romance, forbidden love between an angel (Carole Laure) and a singer (Nick Mancuso) is set against the singer's attempts to resuscitate a fading theater. During the period of one night, the singer is visited by three different guardian angels out to help him succeed in putting together a stunning show (a show that will include some of Canada's best dancers). One of the angels (Laure) takes a liking to the singer, and that gives rise to musical numbers on the nature of the creative genius and the conflicts that can arise between art, artifice, and real life. ~ Eleanor Mannikka, All Movie Guide

One of the bigger non-cartoon moneymakers for Disney in the 1970s, The North Avenue Irregulars is predicated on the premise of the "Neighborhood Watch" system. Priest Michael Hill (Edward Herrmann), newly arrived on North Avenue, decides to buck the patriarchal notions of his superiors by delegating church responsibilities to the neighborhood women. Since the ladies include Vickie, Jane, Anne, Claire and Rose (Barbara Harris, Karen Valentine, Susan Clark, Cloris Leachman and Patsy Kelly), we're well primed for a surfeit of feistiness. Father Michael entrusts the church funds to Rose, who loses it all at the race track. In trying to retrieve the cash, he comes up against an influential bookie ring, controlled by several of the above-suspicion town officials. The wily priest responds by organizing the ladies of his congregation into the North Avenue Irregulars, a two-fisted crimefighting unit. There's slapstick aplenty within the film's 99 minutes, including the expected comic car crash. North Avenue Irregulars is based on a (drawn-from-life?) novel by the Reverend Albert Fay Hill. ~ Hal Erickson, All Movie Guide

This spoof of a "typical" double-feature bill of the 1930s is introduced by George Burns, who explains that we're about to see two classic films produced by the legendary Warren Brothers. The first, "Dynamite Fists," is a black-and-white takeoff of such boxing dramas as Golden Boy. Harry Hamlin plays a John Garfield-like pugilist who is brought along by a tough-but-lovable fight promoter George C. Scott. Nasty gangster Eli Wallach attempts to compromise Hamlin by offering him the delectable Trish VanDevere, but Hamlin proves loyal to Scott. When Scott is killed by Wallach, Hamlin vows to become an attorney and bring the murderer to justice -- which he does in the space of one year. Along the way, Hamlin's gangster brother-in-law secures an eye operation for his nearly blind sister Kathleen Beller (whose bump-in-the-wall myopia is good for several laughs). After "Dynamite Fists," we are treated to a coming-attractions trailer for a Dawn Patrol-style aviation epic, again starring George C. Scott. The last segment, "Blansky's Beauties of 1933," is an all-stops-out Technicolor lampoon of Busby Berkeley musicals. Told by doctor Art Carney that he is dying, Broadway impresario Blansky (George C. Scott again) determines to produce one last spectacular show before the curtain goes down for good. The highlights in "Blansky's Beauties" are too numerous to mention here: memorable bits include composer Barry Bostwick's rooftop number, and the opening dialogue exchange between Carney and Scott (told that he has a month to live, Scott philosophically replies that at least he has 30 days left -- whereupon Carney dolefully reminds his patient that it's February). An additional sequence, parodying the Republic serials of the era, was filmed for Movie, Movie but cut from the final release print. Michael Kidd, who plays "Pop Popchick" in "Dynamite Fists," handled the choreography in "Blansky's Beauties." On the videocassette version of Movie, Movie, "Dynamite Fists" has been reprocessed in color. ~ Hal Erickson, All Movie Guide

Alfred Hitchcock's final film was adapted from Victor Canning's novel The Rainbird Pattern by Ernest Lehman, who previously wrote the screenplay for Hitchcock's North by Northwest. Barbara Harris plays Blanche, a phony psychic, hired by wealthy Julia Rainbird (Cathleen Nesbitt) to trace the whereabouts of her nephew, who'd been given up for adoption years earlier and who is now heir to a fortune. Blanche's cohort is "investigator" Lumley (Bruce Dern), who is fully prepared to milk the last dollar out of Julia before locating the long-lost nephew. Meanwhile, we are introduced to elegant kidnappers Adamson and Fran (William Devane and Karen Black). The fates of the two couples are inextricably intertwined by the search for the missing heir. ~ Hal Erickson, All Movie Guide

Following 24 characters through 5 days in the country music capital, Robert Altman's 1975 epic presents a complexly textured portrayal (and critique) of American obsessions with celebrity and power. Among the various stars, aspirants, hangers-on, observers, and media folk are politically ambitious country icon Haven Hamilton (Henry Gibson) and his fragile star protegée Barbara Jean (Ronee Blakley); Tom (Keith Carradine), a self-absorbed rock star who woos lonely married gospel singer Linnea Reese (Lily Tomlin); Sueleen Gay (Gwen Welles), a talentless waitress painfully humiliated at her first singing gig; Albuquerque (Barbara Harris), a runaway wife with dreams of stardom; nightclub owner Lady Pearl (Barbara Baxley), who reminisces about "those Kennedy boys"; single-minded groupie L.A. Joan (Shelley Duvall); vapid BBC commentator Opal (Geraldine Chaplin); and campaign guru John Triplette (Michael Murphy), who is trying to organize a concert rally for the unseen but always heard populist presidential candidate-cum-demagogue Hal Phillip Walker. Everything comes to a head during a climactic concert at Nashville's replica of the Parthenon temple, as the entertainment-hungry audience is momentarily woken out of its stupor by unexpected violence, only to be lulled into a restorative sing-along to "It Don't Worry Me." ~ Lucia Bozzola, All Movie Guide

Loosely based on the life and work of cartoonist and essayist James Thurber, The War Between Men and Women stars Jack Lemmon as cartoonist Peter Wilson, who, while visiting an eye doctor for his failing vision, quite literally stumbles upon Terry Kozlenko (Barbara Harris), an attractive but somewhat volatile divorcee with three children. Peter has a well-documented antipathy for women, children, and dogs, so everyone he knows is rather surprised when he finds himself falling in love with Terry -- and she falls in love with him. Peter and Terry get married, but her affection for him is not shared by her kids, who still idolize their father Stephen (Jason Robards, a successful photojournalist; Terry's dog doesn't care for Peter, either. When Peter's eye condition worsens, leaving him nearly blind, he suggests to Terry that she should go back to Stephen for the sake of her children, only to learn that Stephen has been killed while on assignment. Peter is now the only father the children have, and he's forced to find a way to reach out to them. The War Between Men and Women's interpolation of Thurber's life and work, using both live-action and animation, was inspired by a respected but short-lived television series, My World and Welcome to It, in which William Windom starred as Thurber. ~ Mark Deming, All Movie Guide

Georgie Soloway (Dustin Hoffman) is an unbelievably successful composer of popular music. Just in the last year, he has written over 60 hit songs. That kind of output worries him, however. Now that he is getting to be middle-aged, he wonders if he will be able to keep the pace he has set. He also has a rich crop of neuroses, and his worries go way beyond what might seem reasonable. For instance, Georgie believes that someone named Harry Kellerman sabotaged each of his previous relationships, and he is worried about his current one with Alison (Barbara Harris), a singer. He seeks the aid of his psychiatrist (Jack Warden) but gets little satisfaction. He then tries to get comfort from his business associates (Dom De Luise and Gabriel Dell), but they don't have a clue about how to help him. Turning to home, he visits his mother (Betty Walker) and father (David Burns) but is further distressed when he learns that his father is dying. Still highly agitated, he takes to the air in his private jet. ~ Clarke Fountain, All Movie Guide

Jason Robards Jr. superbly re-creates his Broadway role in this 1965 film version of Herb Gardner's play. Robards plays Murray Burns, head writer of TV's popular Chuckles the Chipmunk show. Fed up with the rat race, Murray quits his job and retreats to his cluttered Manhattan apartment, where he carries on a nonconformist, laissez-faire existence with his 12-year-old nephew Nick (Barry Gordon). Though they're as close as father and son, Robards has never gotten around to legally adopting Nick, which brings him to the attention of social workers Sandra (Barbara Harris) and Albert (William Daniels). While Albert is disgusted by Murray's irreverence, Sandra falls in love with the free-spirited writer. Teaming up with Nick, Sandra tries to convince Murray to get another job. Arnold Burns (Oscar-winner Martin Balsam), Murray's agent-brother, is amused by his sibling's independence, but can find no work for him. Desperate not to lose Nick to the authorities, Murray offers to go back to Chuckles the Chipmunk -- aka Leo (Gene Saks), a neurotic bug who bullies his staff and hates kids. Young Nick is disillusioned by Murray's willingness to conform, and he throws an uncharacteristic temper tantrum. But the boy comes around to Murray's sudden realization that compromise is sometimes necessary if it's for the sake of someone you love. While the central message of A Thousand Clowns may grate on some viewers, the film is saved by the exuberance of the cast. ~ Hal Erickson, All Movie Guide