House Jameson Movies
John Cheever's "misery in suburbia" short stories, brief and to the point, have always proven excellent TV fodder. Director Frank Perry's The Swimmer, adapted for the screen by Perry's wife Eleanor, is a rare, and for the most part successful, attempt at offering a Cheever story in feature-length form. Dressed only in swimming trunks throughout the film, Burt Lancaster plays a wealthy, middle-aged advertising man, embarked on a long and revelatory journey through suburban Connecticut. Lancaster slowly makes his way to his split-level home by travelling from house to house, and from swimming pool to swimming pool. At each stop, Lancaster comes face to face with an incident in his past. Informing Kim Hunter that he once harbored a secret love for her, Lancaster is mildly upset by Hunter's indifference. Elderly Cornelia Otis Skinner is incensed at Lancaster's intrusion in her backyard and orders him to leave. At the next home, Lancaster tries to seduce the nubile Janet Landgard, who'd once baby-sat for his daughters, but she runs away in horror. And so it goes: as each subsequent suburbanite peels off his self-protective veneer, Lancaster grows more and more disillusioned with what he thought was his ideal lifestyle. The more intensely painful episode is the confrontation between Lancaster and ex-mistress Janice Rule (this scene was directed, without credit, by Sydney Pollack). Thoroughly defeated, the all-but-naked Lancaster laboriously makes his way through the Connecticut woods in a blinding rainstorm, desperately seeking out his own home where he fully expects his "loving" wife and daughters to greet him. Not this time. Dismissed as too self-consciously "arty" at the time of its release, The Swimmer's reputation increased over the decades following its release thanks to constant late-night TV exposure. The film represents the first movie work of 22-year-old composer Marvin Hamlisch. ~ Hal Erickson, All Movie Guide
- Starring:
- Burt Lancaster, Janet Landgard, (more)
- 1967
Elizabeth (Joan Bennett) confesses to killing her husband, Paul Stoddard, 18 years ago, naming Jason McGuire (Dennis Patrick) as her accomplice. In a series of flashbacks, she reveals her motive and the whereabouts of Paul's body. This episode first aired on July 10, 1967. ~ Hal Erickson, All Movie Guide
- 1967
Carolyn (Nancy Barrett) is fully prepared to kill Jason McGuire (Dennis Patrick) rather than allow him to marry her mother, Elizabeth (Joan Bennett). But Elizabeth stops the ceremony herself with a shocking confession. This episode originally aired on July 7, 1967. ~ Hal Erickson, All Movie Guide
- 1966
A dazed man, David Stillwell (Gregory Peck), wanders down the stairs of a New York skyscraper during a power blackout, only vaguely aware of who he is, where he's been, and why he has this nagging feeling that danger lurks all about him. Stillwell does know that many of the people in the building are acquainted with him -- and that he is somehow linked with the death of wealthy philanthropist Charles Calvin (Walter Abel), who has fallen 27 floors to his death (a special effect that was remarkable for its time). From this point onward, everyone Stillwell meets is connected with Calvin's death, or is in some way threatening Stillwell's well-being. When he seeks the help of Dr. Pepper-imbibing private eye Ted Caselle (Walter Matthau), he is told that "you don't want to remember" -- shortly before Caselle is murdered by persons unknown. Only the enigmatic Sheila (Diane Baker) evinces any real sympathy, and she too is part of the conspiracy aimed at silencing and/or neutralizing the dumbfounded Stillwell. Mirage has far too many twists of plot to go into here, but if you stay with it, everything is satisfactorily explained. Less than three years after its initial release, the black-and-white Mirage was remade in color as Jigsaw. ~ Hal Erickson, All Movie Guide
- Starring:
- Gregory Peck, Diane Baker, (more)
- 1961
A scenic, tobacco-road soap opera by director Delmar Daves, known more for his westerns, Parrish features Troy Donahue in the eponymous title role. Parrish's mother Ellen (Claudette Colbert in her last movie role) happens to marry one of two competing tobacco growers in the Connecticut River Valley. Her new husband and Parrish's stepfather Judd Raike (a snarling Karl Malden) drums the tobacco business into Parrish, alienating him in the bargain. The lad is soon romancing three different women: Judd's daughter Paige (Sharon Hugeny), the daughter of Judd's arch-rival, and a wanton woman of the tobacco fields. Now all that remains is for the romance and the rivalry to shake down into the winners and losers. ~ Eleanor Mannikka, All Movie Guide
- Starring:
- Troy Donahue, Claudette Colbert, (more)
- 1950
The popular radio show was turned into a successful series of films in the 1940s starring Jimmy Lydon, and this live television production was an attempt to cash in on that popularity. In this episode, Henry Aldrich is upset because he hasn't received an invitation to a costume party. Program sponsors included Jello, Swans Down cake mixes, and Birds Eye Foods. ~ Brian Gusse, All Movie Guide
Young model Jean Dexter is knocked unconscious and drowned in her own bathtub in her Manhattan apartment, and a lot of jewelry that she supposedly owned is missing. The Naked City is actually about six days in the life of New York City that coincide with the murder and the subsequent investigation by Lt. Dan Muldoon (Barry Fitzgerald) and Detective James Halloran (Don Taylor). The account of their work, and the workings of the New York City police department, is interspersed with brief vignettes about the life of the city around them, and, especially, the reaction of residents to the murder and the newspaper reports of the progress of the case. Muldoon and Halloran first must determine why she was killed, which may (or may not) have to do with how a woman with a minimal income came by the jewelry -- was it a love affair gone bad (and if so, with whom?), or something more complex and sinister? Retracing the final 18 months of the victim's life, their investigation reaches out to a mysterious "Philip Henderson" with whom she was supposedly linked romantically, and to Frank Niles (Howard Duff), who's a little too fast-and-loose with the truth when he doesn't have to be to make Muldoon comfortable; to make things more complicated, Muldoon determines that there were at least two men involved with the actual commission of the murder. The victim turns out to have led a wild life, filled with men and parties, and was tied up with several sordid figures. Their investigation carries them into the highest and lowest ends of New York's social strata to find the killer, and it turns out there are a lot of interlocking reasons why at least three men might've wanted her dead. In the process, we get glimpses of the private lives of the detectives, which was something new in movies at this time; in the midst of all of this activity, the writers set up a fascinating contrast, in adjacent scenes, between Halloran, his wife, and their young son looking toward the future, with the parents of the dead woman, looking back with bitter regret and recriminations -- no movie ever presented in more subtle fashion the contrast between the zeitgeist of the 1930s and that of the postwar era. The final chase on the Williamsburg Bridge is one of the classic pieces of suspense cinema, as the armed and desperate killer races up the walkway past children playing and adults strolling, while detectives close in on foot from behind and patrol cars come up from ahead, with crowded subways rolling past, and then into the superstructure of the bridge for a stand-off and shootout. Sharp-eyed viewers will spot future character leads Paul Ford, James Gregory, John Marley, Kathleen Freeman, and Arthur O'Connell as well as familiar faces Tom Pedi, John Randolph, Molly Picon, and Walter Burke in the supporting cast. Cinematographer William Daniels and editor Paul Weatherwax won Oscars for their work, but awards might just as easily have been presented to director Jules Dassin, writers Albert Maltz and Malvin Wald, composers Miklos Rozsa and Frank Skinner, and, most notably, to producer/narrator Mark Hellinger, who intoned the closing monologue, which opens with one of the most famous tag lines in movie history: "There are eight million stories in the Naked City." ~ Bruce Eder, All Movie Guide
- Starring:
- Barry Fitzgerald, Howard Duff, (more)
