John Strauss Movies

Produced for the HBO cable network, this docudrama explores the social and ethical issues at the heart of the infamous Tuskegee Study of Untreated Blacks With Syphilis. From 1932 through 1972, the U.S. Public Health Service studied 600 poor African-American sharecroppers in Macon County, AL -- 399 chronic syphilitics and a 201-man healthy control group. Doctors treated the men with placebos, hid the true nature of their research, and withheld penicillin even after it became the standard and highly effective treatment for the disease in the mid-'40s. Although the experiment was hardly a secret, it was not until the early '70s that a public outcry developed; by then, all but 127 of the original study group had died. A class-action lawsuit obtained modest financial reparations for the participants and their descendants, but it was not until 1997 that President Bill Clinton offered an official government apology for the study. Framed as a series of flashbacks during the 1971 congressional hearings about the experiment, the film employs the viewpoint of Eunice Evers (Alfre Woodard), a local nurse who knew of the study's true nature, but devoted her life to caring for the men as they suffered horrifying physical and mental debilities and eventually died. The film charts her warm personal relationships with many of the participants -- the title refers to a singing and dancing troupe named in her honor -- and her failed romance with Caleb Humphries (Laurence Fishburne), an experimental subject who obtained penicillin from a military doctor and left the study to fight in World War II. Miss Evers' Boys was adapted from the play by David Feldshuh, which was itself based on the book Bad Blood: The Tuskegee Syphilis Experiment by James H. Jones. Although fictionalized, the title character is based on the real-life Eunice Rivers. The film won three Emmy Awards, including top acting honors for Woodard. ~ Brian J. Dillard, Rovi

For this film adaptation of Peter Shaffer's Broadway hit, director Milos Forman returned to the city of Prague that he'd left behind during the Czech political crises of 1968, bringing along his usual cinematographer and fellow Czech expatriate, Miroslav Ondrícek. Amadeus is an expansion of a Viennese "urban legend" concerning the death of 18th century musical genius Wolfgang Amadeus Mozart. From the vantage point of an insane asylum, aging royal composer Salieri (F. Murray Abraham) recalls the events of three decades earlier, when the young Mozart (Tom Hulce) first gained favor in the court of Austrian emperor Joseph II (Jeffrey Jones). Salieri was incensed that God would bless so vulgar and obnoxious a young snipe as Mozart with divine genius. Why was Salieri -- so disciplined, so devoted to his art, and so willing to toady to his superiors -- not touched by God? Unable to match Mozart's talent, Salieri uses his influence in court to sabotage the young upstart's career. Disguising himself as a mysterious benefactor, Salieri commissions the backbreaking Requiem, which eventually costs Mozart his health, wealth, and life. Among the film's many pearls of dialogue, the best line goes to the emperor, who rejects a Mozart composition on the grounds that it has "too many notes." Amadeus won eight Academy Awards, including Best Picture, Best Director, Best Adapted Screenplay, and Best Actor for F. Murray Abraham. In 2002, the film received a theatrical re-release as "Amadeus: The Director's Cut," a version that includes 20 minutes of additional footage. ~ Hal Erickson, Rovi

Based on a 1940s Los Angeles murder trial, this film follows the case of members of a Mexican-American gang, led by Henry Reyna (Daniel Valdez), as they are tried and sentenced to San Quentin for a murder they may not have committed. ~ Iotis Erlewine, Rovi

Nickey (John Cassavetes) is a small-time Jewish gangster in trouble with the mob. He calls on his lifelong friend Mikey (Peter Falk) for help. During the night the two spend together, the power of their friendship is undermined by their mutual nastiness and pressing financial concerns. Elaine May's script was allegedly taken from an episode in the life of her uncle. ~ Brian Whitener, Rovi

Woody Allen's in-name-only adaptation of the once notorious sexual reference guide by Dr. David Reuben contains seven episodes based on "helpful" questions answered in the book. In "Do Aphrodisiacs Work?", Allen appears as a court jester who uses a love potion to spark the erotic interests of the Queen (Lynn Redgrave). "What Is Sodomy?" stars Gene Wilder as a doctor who throws away his marriage, career, and position in the community when he falls madly in love with an Armenian sheep named Daisy. "Why Do Some Women Have Trouble Reaching Orgasm?" is a parody of stylish Italian films of the '60s in which a slick playboy (Woody Allen) discovers his wife (Louise Lasser) can climax only when they make love in public places. In "Are Transvestites Homosexuals?," Sam (Lou Jacobi) has his little secret revealed at a most inopportune moment. "What Are Sex Researchers Actually Accomplishing?" features John Carradine in a great parody of his mad-scientist roles as Dr. Bernardo, whose research into human sexuality has led to a fearsome mutation -- a 50-foot tall female breast! "What Are Sexual Perversions?" takes us to a broadcast of the popular game show What's My Perversion?, in which Jack Barry leads a panel of celebrities (including Regis Philbin and Robert Q. Lewis) in guessing the erotic obsessions of their guests. And "What Happens During Ejaculation?" takes the audience inside the body of a man in the throes of passion; The Brain (Tony Randall) guides the body's functions, with the help of his assistant (Burt Reynolds), while Allen plays a nervous sperm cell not sure if he can make the big jump. While the quality of the episodes is uneven, the best rank with the funniest moments of Allen's career, especially Gene Wilder's touching romance with the sheep ("I think we can make this work, Daisy") and the final sequence inside the male body ("What if he's only masturbating? I'll end up on the ceiling somewhere!"). ~ Mark Deming, Rovi

When Woody Allen's fans refer to his "earlier, funnier" pictures, they often cite his directorial debut as a shining example. Co-written by Allen and Mickey Rose, this side-splitting takeoff of crime documentaries stars Allen as Virgil Starkwell, a sweetly inept career criminal. The film's most celebrated sequence involves Virgil's inability to write coherent holdup notes ("I have a gub"), but others include Virgil's losing battle with a recalcitrant coke machine and his misguided effort to emulate John Dillinger by carving a gun out of a bar of soap (his weapon disintegrates in a heavy rain). As was often the case in Allen's early films, not all the gags work, but for the most part, Take the Money and Run is a delight, enhanced by the on-target supporting performances of Janet Margolin, Marcel Hillaire, and (uncredited) Louise Lasser, as well as the energetic musical score of Marvin Hamlisch. ~ Hal Erickson, Rovi