Carroll Baker Movies

Director David Fincher followed the success of his dark and atmospheric crime thriller Seven (1995) with another exercise in stylish film noir, this time lifting the pallid atmosphere a notch to indulge in a fast-paced trip through the cinematic funhouse. Michael Douglas plays Nicholas Van Orton, a Scrooge-like San Francisco investment banker following in his father's Scrooge-like footsteps. On Nicholas's 48th birthday (the age at which his father committed suicide), his younger, free-spirited brother Conrad (Sean Penn) blows into town and gives Nicholas a special gift for "the man who has everything" -- a ticket to CRS (Consumer Recreation Services), a company that constructs games custom-fit for each participant to provide, as CRS salesman Jim Feingold (James Rebhorn) cryptically puts it, "whatever is lacking." Nicholas's secure life begins a downhill slide as CRS masterminds a series of elaborate pranks, harmless at first, that quickly become malicious and life-threatening. Stripped of financial resources and convinced that he can trust no one, Nicholas begins to wonder if CRS is a front for a more covert operation, and if the game is in fact an attempt to steal his fortune and leave him for dead. Determined to fight back alone, Nicholas infiltrates CRS in order to "pull back the curtain and meet the wizard." ~ Anthony Reed, All Movie Guide

In this grim and suspenseful thriller, a news journalist and his family exchange life in grimy, hectic New York for that in a peaceful Maine village. Unfortunately, the burg they chose is ruled by a harsh, ultraconservative preacher who hates all outsiders. ~ Sandra Brennan, All Movie Guide

Farrah Fawcett delivers a dramatic tour de force in the title role of the made-for-TV Dalva. As a teenager, Dalva had fallen in love with Native American Duane Stonehorse (Jesse Borrego). Unbeknownst to her, Duane was her half brother -- a fact that came to light when she delivered Duane's baby. The child was forcibly taken from Dalva by the adoption authorities, whereupon Duane committed suicide. Thirty years later, Dalva returns to her home state of Nebraska, hoping to find her long-lost son. Impeding her progress is her growing relationship with dissolute historian Michael (Peter Coyote), whose latest book is based on Great Plains history as set down by Dalva's great grandfather, and another romance, this one with fiercely independent Native American Sam (Powers Boothe). Adapted from a novel by Jim Harrison, Dalva first aired March 3, 1996, on ABC. ~ Hal Erickson, All Movie Guide

This fact-based made-for-television drama chronicles a 17-year-long police investigation of John List, a New Jersey accountant who became a mass murderer. ~ Sandra Brennan, All Movie Guide

Unique among the many made-for-TV dramas about spousal abuse--most of which are about women victimized by men--Men Don't Tell dramatizes the true story of a loving husband who is terrorized by the violent behavior of his wife. Ed MacAffrey (Peter Strauss) has long endured the physical and emotional abuse heaped upon him by his neurotic wife Laura (Judith Light), not only because he loves her and is concerned over the welfare of his daughter, but also because men are traditionally regarded as weaklings if they allow themselves to be battered by their wives. Even worse, after one of Laura's destructive tantrums brings the attention of the police, Ed is suspected of being the aggressor! Finally, Laura goes too far and Ed tries to defend himself--whereupon Laura crashes through the front window of her home and is rendered comatose, and Ed is arrested for attempted murder. Although the ending of the story could be considered positive and upbeat, it is painfully clear that there are many issues that will never be resolved. First telecast by CBS on May 14, 1993, Men Don't Tell was never rebroadcast on over-the-air television, reportedly because it incurred the wrath of several women's groups. However, the film has since been shown a number of times on cable's Lifetime channel. ~ Hal Erickson, All Movie Guide

The title may be Blonde Fist, but that doesn't mean that the leading characters have yellow hair growing from their knuckles. This British actioner deals with the specialized world of female boxers. People essential to the action bear such monikers as "Crazy Sue" (Susan Atkins) and "Big Alice" (Jane Poter). Veteran Hollywood leading lady Carrol Baker shows up as a don't-mess-with-me promoter. There are some attempts at social satire, contrasting the female pugilists with "proper" British ladies, but Blonde Fist is essentially an excuse to show scantily clad women duke it out and sweat a lot. ~ Hal Erickson, All Movie Guide

R.O.T.O.R. stands for "Robot Officer Tactical Operation Research Unit" and that means a crime-stopping robot which is unintentionally set in motion and is headed out the door in downtown Dallas, looking for crooks. Its programmed command is "judge and execute," which has its inventors a little concerned (never having been beta-tested!) so they set out to find and deactivate the well-meaning metal guy. ~ All Movie Guide

Based on the William Kennedy novel of the same name Ironweed is set in the waning years of the Depression. Jack Nicholson plays Francis Phelan, a washed-up ballplayer (a onetime infielder for the Washington Senators) who deserted his family back in the 1910s when he accidentally killed his infant son by dropping him. Since that time, Phelan has been a shabby barfly, living from drink to drink; he spends his days palling around with Rudy (Tom Waits), with whom he works a motley series of jobs in exchange for a place to lay his head and an occasional jug of wine. Wandering into his hometown of Albany, New York, Phelan blearily seeks out his girlfriend and erstwhile drinking companion of nine years, Helen Archer (Meryl Streep), who has begun prostituting herself for drink and lodging. The two derelicts touch base in a mission managed by minister James Gammon, and later in Fred Gwynne's squalid gin mill. Over the next few days, Phelan takes a few minor jobs to support his habit, while his mind wavers between past and present. Eventually, a chance for a reconciliation with his wife (Carroll Baker) emerges. Directed by Hector Babenco following his enormous success with Kiss of the Spider Woman , Ironweed netted Oscar nominations for Nicholson and Streep. ~ Hal Erickson, All Movie Guide

Previously filmed in Argentina in 1951, black author Richard Wright's powerful race-conscious novel Native Son was remade in this barely released 1986 version. The story involves Bigger Thomas (Victor Thomas), an angry Depression-era Chicago black who hopes to elevate himself through his chauffeur's job with a prosperous white Gold Coast family. The family's daughter (Elizabeth McGovern) takes advantage of Bigger's servile status by ordering him to drive her to a rendezvous with her communist-activist lover (Matt Dillon). Their "parlor liberal" attitude both pleases and confuses Bigger, as do the girl's apparent sexual advance towards him. One evening, Bigger drives the girl home after she's gotten herself drunk. She flirts harmlessly with him in her bedroom; when her blind mother (Carroll Baker) stumbles onto the scene, the terrified Bigger, certain that he'll be accused of rape, tries to muffle the girl so she can't talk. He accidentally kills her, whereupon the panicky Bigger hides the body and tries to pin the girl's "kidnapping" on her lover. Tragedy piles upon tragedy before Bigger's climactic murder trial and execution; throughout, we are given the impression that this sorry state of affairs would never have taken place without the black-white tensions and divisiveness that existed in 1930s, and which still exist to this day. During the trial scene, TV talk host Oprah Winfrey makes a heavily-made-up cameo appearance as Bigger's mother. The whole scene has the earmarks of an "Oscar clip," but Oprah's excessive histrionics pale in comparison to her brilliant, well-modulated performance in the earlier The Color Purple. The 1986 version of Native Son was co-produced by PBS' American Playhouse. ~ Hal Erickson, All Movie Guide

Supposedly focusing on the life of Sigmund Freud by means of a fictional secret diary, this attempt at satirizing the man from his childhood through his first forays into psychoanalysis is weak on laughter, especially since it is difficult to tell whether a scene is serious or not. Freud (Bud Cort) is portrayed as being too nauseated by blood and physical anatomy to make it through medical school, and because he misunderstands what practicing medicine is all about, he accidentally starts psychoanalyzing his patients. His Ultimate Patient (Dick Shawn) provides him with the theories that would make him famous. Presented as a series of nearly disconnected vignettes, this story about the relationships between Freud and a nurse (Carol Kane), and his mother (Caroll Baker) and a doctor, are meant to be funny, but are not quite. ~ Eleanor Mannikka, All Movie Guide

Director Bob Fosse's fact-based tale of Playboy centerfold Dorothy Stratten's short life and gruesome death focuses less on Stratten (played by Mariel Hemingway) than on her husband/manager, sleazoid pornographer and all-around failure Paul Snider (Eric Roberts, ideally cast). He sees the young beauty as his meal ticket and sets out to pimp her in the adult entertainment business. He marries her and appoints himself her career manager; soon after, she attracts the attention of Playboy executives and wins a spot in the magazine. As her success increases however, so does Snider's alienation as he finds himself left out in the cold. His jealousy begins to consume him; she spurns him on the advice of her new friends; he goes berserk and confronts her. The same murder-suicide inspired the made-for-television Death of a Centerfold. This was choreographer/filmmaker Bob Fosse's final film. ~ Jeremy Beday, All Movie Guide