Marianna Hill Movies

Two aspiring real estate moguls try to convince the Polynesian chief Zabu (Manu Topou) into going along with their harebrained scheme in this uneven comedy. Ben (Allen Garfield) and his partner Sammy (Zack Norman) offer Zabu lucrative concessions in exchange for bribes that will get the island tribe into the United Nations. Sammy dreams of doing stand-up comedy in Vegas while Ben aspires to get married and become a politician in Beverly Hills. ~ Dan Pavlides, All Movie Guide

Sun-worshiping Californians are disappearing by the droves at a popular beach hangout, and a pair of extremely gruff detectives (John Saxon and Burt Young) grumble their way through the case until the real culprit is discovered... it seems a giant burrowing sand-monster with a taste for well-tanned human flesh has set up house beneath the surface and has been partaking of beach bums and bunnies, sucking them down to a nasty (but mostly unseen) death. The creature is kept completely concealed until the final minutes, but its triumphant arrival reveals the real reason the filmmakers kept it hidden so long: the dreaded beast looks like a giant artichoke! The potential for campy fun in this premise is defeated by a completely straight, plodding detective story, but at least Saxon and Young turned in enjoyably cranky performances before picking up their checks. ~ Cavett Binion, All Movie Guide

The fourth of the feature-length Quincy, M.E. episodes produced for the NBC Sunday Mystery Movie anthology takes place on the Fourth of July, as medical examiner Quincy (Jack Klugman) is relaxing on the beach with the girlfriend Lee (Lynette Mettey). Quincy's idyll is cut short when a seriously injured swimmer washes onto the shore. During the subsequent lab examination, Quincy discovers that the swimmer had been poisoned by a fish--one that is usually found thousands of miles away, in warmer waters. Convinced that the swimmer was the victim of foul play, Quincy launches an investigation which leads him to a multimillion-dollar jewel robbery and a conspiracy spreading across two different countries. ~ Hal Erickson, All Movie Guide

Invisible Strangler tells the story of a boy who strangles his mother and while in a mental institution finds books which give him the key to making himself invisible. He then escapes from the hospital and goes on a murder spree, strangling his mother's friends in a series of unintentionally hilarious episodes, while they sit in their comfortable, expensive homes. The detective assigned to the case, Lt. Charles Barrett (Robert Foxworth) devises an unusual way to dispose of the killer. Sue Lyon, previously seen in Lolita, has a tiny role, as does Elke Somer. Originally shot in 1976 and titled The Astral Factor, this silly, obvious film sat on the shelf for 10 years before being released directly to video ~ Linda Rasmussen, All Movie Guide

Francis Ford Coppola's legendary continuation and sequel to his landmark 1972 film, The Godfather, parallels the young Vito Corleone's rise with his son Michael's spiritual fall, deepening The Godfather's depiction of the dark side of the American dream. In the early 1900s, the child Vito flees his Sicilian village for America after the local Mafia kills his family. Vito (Robert De Niro) struggles to make a living, legally or illegally, for his wife and growing brood in Little Italy, killing the local Black Hand Fanucci (Gastone Moschin) after he demands his customary cut of the tyro's business. With Fanucci gone, Vito's communal stature grows, but it is his family (past and present) who matters most to him -- a familial legacy then upended by Michael's (Al Pacino) business expansion in the 1950s. Now based in Lake Tahoe, Michael conspires to make inroads in Las Vegas and Havana pleasure industries by any means necessary. As he realizes that allies like Hyman Roth (Lee Strasberg) are trying to kill him, the increasingly paranoid Michael also discovers that his ambition has crippled his marriage to Kay (Diane Keaton) and turned his brother, Fredo (John Cazale), against him. Barely escaping a federal indictment, Michael turns his attention to dealing with his enemies, completing his own corruption. ~ Lucia Bozzola, All Movie Guide

"Who are you?" the dwarf Mordecai (Billy Curtis) asks Clint Eastwood's Stranger at the end of Eastwood's 1973 western High Plains Drifter. "You know," he replies, before vanishing into the desert heat waves near California's Mono Lake. Adapting the amorally enigmatic and violent Man With No Name persona from his films with Sergio Leone, Eastwood's second film as director begins as his drifter emerges from that heat haze and rides into the odd lakefront settlement of Lago. Lago's residents are not particularly friendly, but once the Stranger shows his skills as a gunfighter, they beg him to defend them against a group of outlaws (led by Eastwood regular Geoffrey Lewis) who have a score to settle with the town. He agrees to train them in self-defense, but Mordecai and innkeeper's wife Sarah Belding (Verna Bloom) soon suspect that the Stranger has another, more personal agenda. By the time the Stranger makes the corrupt community paint their town red and re-name it "Hell," it is clear that he is not just another gunslinger. With its fragmented flashbacks and bizarre, austere locations, High Plains Drifter's stylistic eccentricity lends an air of unsettling eeriness to its revenge story, adding an uncanny slant to Eastwood's antiheroic westerner. Seminal western hero John Wayne was so offended by Eastwood's harshly revisionist view of a frontier town that he wrote to Eastwood, objecting that this was not what the spirit of the West was all about. Eastwood's audience, however, was not so put off, and an exhibitors' poll named Eastwood a top box-office draw for 1973. ~ Lucia Bozzola, All Movie Guide

TV-movie perennial Ted Post served as director for the low-budget theatrical feature The Baby. Ruth Roman plays a boozy nutcase who, out of hatred for the husband who ran out on her years earlier, forces her teenaged son (David Manzy) to dress and behave like an infant. Social worker Ann Gentry (Anjanette Comer), understandably put off by the sight of a fully grown boy chewing on his toes in a playpen, sets about to rescue him. When sinister forces try to claim the "baby" from Ann, she resorts to murder. ~ Hal Erickson, All Movie Guide

Jim Brown and Lee Van Cleef team up for this western set on the Mexican border. Brown is Luke, who escapes from a chain gang after learning that a fortune in gold is hidden in the Mexican fortress of El Condor. He joins up with the snake-eyed crook Jaroo (Lee Van Cleef) and together they round up a tribe of Apaches, headed by Santana (Iron Eyes Cody), to attack the fort -- convincing the Indian renegades that the fort houses food and guns greatly needed by the Apaches. During their first crack at taking the fort, Luke and Jaroo are captured by the fort's commandant, Chavez (Patrick O'Neal). Claudine (Marianna Hall), the wife of the commandant, falls in love with Luke and she aids them in their escape from the fort. Later on, she is instrumental in getting Luke and Jaroo's band into the fort -- diverting the gaze of the fort's defenders by disrobing in front of a well-lit bedroom window. Chavez escapes, but Santana is shot by Jaroo after discovering that Jaroo deceived him. With Santana shot, the Apaches leave the fort, carrying the food and ammunition. Now the only ones left to defend the defenseless fort are Luke, Claudine, and Jaroo. ~ Paul Brenner, All Movie Guide

"I love to shoot film" is the sanguine motto of TV lensman John Cassellis (Robert Forster) in Haskell Wexler's 1969 Medium Cool, a semi-documentary investigation of image-making and politics. With his soundman, Gus (Peter Bonerz), John films such events as gruesome car wrecks with frosty detachment, considering himself a mere recorder of circumstances, his only responsibility to get his film in on time. Even his girlfriend, Ruth (Marianna Hill), cannot understand or penetrate John's complacency. Encounters with signs of the late '60s times, however, raise John's consciousness about the implications of his job, as he films a verbal attack by black militants on the media's racism, gets fired after he objects to having that footage turned over to the FBI, and meets Vietnam War widow Eileen (Verna Bloom). John witnesses the violence of the state firsthand as he and Eileen search for her son amidst the real-life demonstrations and riots at the 1968 Chicago Democratic Convention. Even though he realizes the political power of pointing a camera at anything, John finally cannot extricate himself or his loved ones from a culture obsessed with recording any sensational, gory incident. Scripted (from a novel by Jack Couffer), directed, and shot by Oscar-winning cinematographer and political activist Wexler, Medium Cool systematically questions the ideological power of images by combining documentary techniques such as "talking heads" and cinéma vérité with staged scenes between the actors. By the time Wexler and his crew start filming Forster and Bloom among the actual events at the convention, all barriers between fiction and fact are broken down, as Wexler's assistant can be heard warning, "Watch out, Haskell, it's real," when tear gas is thrown. The footage of cops clubbing people in the crowd is real, but Wexler's presence also turns it into part of a fictional story, revealing filmed "reality" to be as artificially constructed as any other fiction, subject to the interpretation of whoever holds the camera and, perhaps, to larger institutions of power.

Funding Medium Cool partly out of his own resources, Wexler had free reign during production, but when the execs at Paramount saw the result, they were not pleased. Despite the timely subject matter, Paramount delayed and then curtailed the film's release, tempering its impact on critics and audiences. Regardless of that record, Medium Cool stands as a vital late-'60s film for its incisive narrative and formal dissection of the visual politics of "truth," and its awareness of how coolly seductive televised violence might be as entertainment, especially in a historical moment marked by incendiary images of political assassinations, the Vietnam War, the civil rights movement, and counterculture protests. ~ Lucia Bozzola, All Movie Guide

Like the first-season Mission: Impossible episode "The Ransom," the second-season installment "The Condemned" is an unusual departure from the series' format. Racing against the clock, Jim Phelps hopes to save the life of his close friend Kevin Hagen, who has been convicted of murder and sentenced to die in a Spanish prison. Unbeknownst to anyone, the "murder victim" is actually alive and well and living under an assumed name. Other plot wrinkles include the disappearance of a diamond tiara and the curious behavior of Webster's ex-sweetheart Luisa Rojas (Mariana Hill). First telecast January 28 1968, "The Execution" was written by Laurence Heath. ~ Hal Erickson, All Movie Guide

Rick Richards (Elvis Presley) is a helicopter pilot who is grounded when his chopper runs federal aviation official Donald Beldon (John Doucette) off the road in Paradise, Hawaiian Style. Already suspended as a airline pilot, he and partner Danny Kohana (James Shigeta) struggle to keep their business flying. Suzanna Leigh plays the pretty secretary, but Elvis does not limit his affections to just one girl. Technical credits and locations scenes of the beautiful islands are the highlight of the film. Presley warbles his usual slew of songs, but most are unremarkable. ~ Dan Pavlides, All Movie Guide

Charlie Rogers (Elvis Presley) is a coffeehouse singer who joins a financially troubled carnival in Roustabout. He is hired by owner Maggie Morgan (Barbara Stanwyck) and soon catches the eye of his pretty female co-worker Cathy Lean (Joan Freeman). Cathy's irate father Joe (Leif Erickson) clashes with Charlie when he tries to romance his daughter, but Charlie's singing helps bring in the much-needed money for the failing carnival and keeps the wolves from the big tent show. A disagreement has Charlie joining another carnival before things are smoothed out. Watch for Raquel Welch and Terry Garr in bit parts. Presley delivers 11 songs, the highlight being the Mike Leiber/Jerry Stoller tune"Little Egypt". ~ Dan Pavlides, All Movie Guide