Marianna Hill Movies

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

In this made-for-TV film, a screenwriter (Robert Wagner) begins writing the biography of the dead movie queen who had a brief affair with his father. After work on the project has commenced, he becomes obsessed with her spirit and gets a response from the other side of the grave. ~ John Bush, 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

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

"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

Middle-aged sculptor John Kenyon (John Larkin) falls hopelessly in love with his young model Theba (Marianna Hill), demonstrating his ardor by making a "goddess" statue of her. Unfortunately, Theba's Medusa-like mother Cleo (Faith Domergue) would rather than she marry someone her own age--and more specifically, someone with more money. Inevitably, Cleo is murdered, and Kenyon is spotted apparently disposing of the body. Among those scrutinized by Perry Mason (Raymond Burr) in his efforts to save Kenyon from the gas chamber is one George Spangler, played by future Oscar winner George Kennedy. ~ Hal Erickson, All Movie Guide

Legendary director Howard Hawks revs up and hits the track in this drama about race car drivers and the women who love them. Pat Kazarian (Norman Alden) is a racing driver who also oversees a team of racers, among them Jim Loomis (Anthony Rogers) and Mike Marsh (James Caan). Jim is engaged to marry Holly McGregor (Gail Hire), but after she arrives in Daytona to be with her man, Holly learns Jim died in a crash. With no where else to do, a shattered Holly takes a job at a restaurant owned by her friend Lindy (Charlene Holt). Ned Arp (John Robert Crawford) is tapped to replace Jim, who quickly makes a reputation for moving fast on the track. He also becomes known for moving fast with the ladies, which doesn't please Pat when he learns Ned has his eyes on Julie Kazarian (Laura Devon), his younger sister. After a few early successes, Ned breaks off from Pat's team, and Dan McCall (James Ward) steps in in his place. Dan arrives with his girlfriend, French beauty Gabrielle (Marianna Hill), but soon finds himself infatuated with Holly. Mike begins to fall for Gabrielle, and becomes angry with the shabby way Dan has treated her, going so far as to take his anger out on his teammate on the track. Red Line 7000 includes plenty of superb racing footage and some unusual rock and roll interpretations of classic folk songs; keep an eye peeled for George Takei (Mr. Sulu on Star Trek) in a minor role. ~ Mark Deming, 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

This is a Whodunit-type film, where someone is using a nasty pair of scissors to play a one-by-one elimination game with a troop of group-therapy patients. The group is made up of attractive women who soon realize that they could be next. ~ 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