Jack Richardson Movies

In this documentary, director and screenwriter James Toback asks a wildly divergent group of people to ponder some basic philosophical questions for his camera -- How did the world begin? How did we get here? What's the purpose of life? What do we love, what do we fear, and how would we spend the rest of our lives if we could choose the circumstances ourselves? Toback's interview subjects range from a pair of ten-year-olds, a nun, a medical school student, and a holocaust survivor to basketball star Darryl Dawkins, movie producer Don Simpson, boxer and author Jose Torres, and classical violinist Eugene Fodor. Some of the responses are funny, some are moving, and most say a great deal about the people who give them, but ultimately most of Toback's subjects come to a similar conclusion -- we all have ideas, but no one really knows for sure. The Big Bang also includes, as a framing device, footage of Toback attempting to secure financing from a producer who sounds a bit dubious about the commercial prospects of a film in which a bunch of people discuss philosophy for 80 minutes. ~ Mark Deming, All Movie Guide

The third (and last) of author Norman Mailer's experiments in cinéma vérité filmmaking created between 1968 and 1970, Maidstone stars Mailer as Norman T. Kingsley, a celebrated filmmaker who is often described as "the American Buñuel." Kingsley and a large retinue of friends, actors, and colleagues have descended on his estate in Upstate New York to work on his latest project, a sexually provocative drama. At the same time, Kingsley is planning to launch a campaign for president, and he's visited by a large number of guests eager to discuss his political perspectives, including journalists, academics, and a handful of African-American radicals. Also on hand is Kingsley's ever-present posse of hangers-on nicknamed "the cash box," led by his half-brother Raoul (Rip Torn). As a British television reporter records the proceedings for an upcoming profile, a shadowy group of American intelligence agents questions if the nation might be better off without the possibility of a Kingsley candidacy. In the film's final reels, Mailer and his cast and crew drop their collective improvisation and discuss their work so far before the camera, but Torn takes it upon himself to give the film the ending he feels it needs by attacking Mailer with a hammer. Fascinating if only for its remarkable portrait of Mailer's legendary ego in full flight, Maidstone would be the writer's last stab at filmmaking until he was hired to direct a film adaptation of his novel Tough Guys Don't Dance in 1987. ~ Mark Deming, All Movie Guide

George Axelrod's Goodbye Charlie flopped on Broadway with Lauren Bacall in the lead, but fared a little better as a film vehicle for Debbie Reynolds. Charlie (Harry Madden) is an inveterate philanderer who is shot dead by jealous husband Walter Matthau. Through a celestial fluke, Charlie's soul enters the well-rounded body of Debbie Reynolds. In this form, Charlie/Debbie seeks to settle old scores with her murderer as well as several other enemies. As if these aren't complications enough, Charlie's best friend Tony Curtis falls in love with Debbie, knowing full well that Debbie isn't really Debbie. If you liked Goodbye Charlie once, you'll love it twice: Blake Edwards retooled the whole megillah for Ellen Barkin, added a trendy feminist underlining, and came up with Switch (1991). ~ Hal Erickson, All Movie Guide

The body of a woman who has been savagely beaten to death is found in a parked car. Friday (Jack Webb) and Smith (Ben Alexander) focus their investigation on the most likely suspect, the woman's husband (Kevin Hagen). But the man protests his innocence, insisting that his wife was out with a girlfriend on the night of the murder--an alibi that proves to have more than its share of holes. Watch for Stafford Repp, aka "Chief O'Hara" on the original Batman TV series, in a small role. ~ Hal Erickson, All Movie Guide

Dismissed when first released, later heralded as one of director Alfred Hitchcock's finest films (and, according to Hitchcock, his most personal one), this adaptation of the French novel D'entre les morts weaves an intricate web of obsession and deceit. It opens as Scottie Ferguson (James Stewart) realizes he has vertigo, a condition resulting in a fear of heights, when a police officer is killed trying to rescue him from falling off a building. Scottie then retires from his position as a private investigator, only to be lured into another case by his old college friend, Gavin Elster (Tom Helmore). Elster's wife, Madeleine (Kim Novak), has been possessed by a spirit, and Elster wants Scottie to follow her. He hesitantly agrees, and thus begins the film's wordless montage as Scottie follows the beautiful yet enigmatic Madeleine through 1950s San Francisco (accompanied by Bernard Herrmann's hypnotic score). After saving her from suicide, Scottie begins to fall in love with her, and she appears to feel the same way. Here tragedy strikes, and each twist in the movie's second half changes our preconceptions about the characters and events. In 1996 a new print of Vertigo was released, restoring the original grandeur of the colors and the San Francisco backdrop, as well as digitally enhancing the soundtrack. ~ Dylan Wilcox, All Movie Guide