Martin Balsam Movies

A Puerto Rican youth is on trial for murder, accused of knifing his father to death. The twelve jurors retire to the jury room, having been admonished that the defendant is innocent until proven guilty beyond a reasonable doubt. Eleven of the jurors vote for conviction, each for reasons of his own. The sole holdout is Juror #8, played by Henry Fonda. As Fonda persuades the weary jurors to re-examine the evidence, we learn the backstory of each man. Juror #3 (Lee J. Cobb), a bullying self-made man, has estranged himself from his own son. Juror #7 (Jack Warden) has an ingrained mistrust of foreigners; so, to a lesser extent, does Juror #6 (Edward Binns). Jurors #10 (Ed Begley) and #11 (George Voskovec), so certain of the infallibility of the Law, assume that if the boy was arrested, he must be guilty. Juror #4 (E.G. Marshall) is an advocate of dispassionate deductive reasoning. Juror #5 (Jack Klugman), like the defendant a product of "the streets," hopes that his guilty vote will distance himself from his past. Juror #12 (Robert Webber), an advertising man, doesn't understand anything that he can't package and market. And Jurors #1 (Martin Balsam), #2 (John Fiedler) and #9 (Joseph Sweeney), anxious not to make waves, "go with the flow." The excruciatingly hot day drags into an even hotter night; still, Fonda chips away at the guilty verdict, insisting that his fellow jurors bear in mind those words "reasonable doubt." A pet project of Henry Fonda's, Twelve Angry Men was his only foray into film production; the actor's partner in this venture was Reginald Rose, who wrote the 1954 television play on which the film was based. Carried over from the TV version was director Sidney Lumet, here making his feature-film debut. A flop when it first came out (surprisingly, since it cost almost nothing to make), Twelve Angry Men holds up beautifully when seen today. It was remade for television in 1997 by director William Friedkin with Jack Lemmon and George C. Scott. ~ Hal Erickson, All Movie Guide

Jason Robards Jr. superbly re-creates his Broadway role in this 1965 film version of Herb Gardner's play. Robards plays Murray Burns, head writer of TV's popular Chuckles the Chipmunk show. Fed up with the rat race, Murray quits his job and retreats to his cluttered Manhattan apartment, where he carries on a nonconformist, laissez-faire existence with his 12-year-old nephew Nick (Barry Gordon). Though they're as close as father and son, Robards has never gotten around to legally adopting Nick, which brings him to the attention of social workers Sandra (Barbara Harris) and Albert (William Daniels). While Albert is disgusted by Murray's irreverence, Sandra falls in love with the free-spirited writer. Teaming up with Nick, Sandra tries to convince Murray to get another job. Arnold Burns (Oscar-winner Martin Balsam), Murray's agent-brother, is amused by his sibling's independence, but can find no work for him. Desperate not to lose Nick to the authorities, Murray offers to go back to Chuckles the Chipmunk -- aka Leo (Gene Saks), a neurotic bug who bullies his staff and hates kids. Young Nick is disillusioned by Murray's willingness to conform, and he throws an uncharacteristic temper tantrum. But the boy comes around to Murray's sudden realization that compromise is sometimes necessary if it's for the sake of someone you love. While the central message of A Thousand Clowns may grate on some viewers, the film is saved by the exuberance of the cast. ~ Hal Erickson, All Movie Guide

With Peter Sellers as star, Neil Simon as screenwriter, and Vittorio DeSica as director, how could After the Fox miss? Miss it did, however--though the film, patchy and inconsistent though it might be, definitely has its moments. Sellers plays an Italian master thief who can't seem to stay out of jail. His latest scheme involves moving $3 million worth of stolen gold bullion from Cairo to Rome. To cover his tracks, Sellers pretends to be a "nouvelle vague" movie director, filming a crime picture. Britt Ekland, Mrs. Sellers at the time, plays his movie-struck sister. The film is effortlessly stolen by Victor Mature, who is unbearably funny as a vainglorious hasbeen Hollywood star. Director DeSica shows up in the film as "himself"-at least until all his camera equipment is stolen by Sellers and his partner-in-crime Akim Tamiroff. Never as hilarious as it should have been, After the Fox nonetheless manages a few isolated belly laughs. Outside of Mature's performance, our favorite bit in the film is the final gag: "Ze wrong man has escaped!" ~ Hal Erickson, All Movie Guide

Henpecked husband Leonard Thompson (Martin Balsam) shows up at funeral parlor, where he orders an expensive casket and makes arrangements for an even more expensive funeral. When asked who the "dear departed" is, Leonard replies that the future occupant of the casket has not died just yet. However, the funeral will go on as scheduled the following day...and Leonard will definitely be in attendance. ~ Hal Erickson, All Movie Guide

Conspiracy film specialist Alan J. Pakula turned journalists Bob Woodward and Carl Bernstein's best-selling account of their Watergate investigation into one of the hit films of Bicentennial year 1976. While researching a story about a botched 1972 burglary of Democratic Party headquarters at the Watergate apartment complex, green Washington Post reporters/rivals Woodward (Robert Redford, who also exec produced) and Bernstein (Dustin Hoffman) stumble on a possible connection between the burglars and a White House staffer. With the circumspect approval of executive editor Ben Bradlee (Jason Robards), the pair digs deeper. Aided by a guilt-ridden turncoat bookkeeper (Jane Alexander) and the vital if cryptic guidance of Woodward's mystery source, Deep Throat (Hal Holbrook), Woodward and Bernstein "follow the money" all the way to the top of the Nixon administration. Despite Deep Throat's warnings that their lives are in danger, and the reluctance of older Post editors, Woodward and Bernstein are determined to get out the story of the crime and its presidential cover-up. Once Bradlee is convinced, the final teletype impassively taps out the historically explosive results. ~ Lucia Bozzola, All Movie Guide

Two lawmen play a game of cat and mouse when one suspects the other of being implicated in a murder in this Italian crime drama. Lomunno (Luciano Lorcas, aka Luciano Catenacci) is a notorious underworld kingpin who, along with several of his bodyguards, is killed by LiPuma (Adolfo Lastretti), who then turns his gun on himself. An investigation reveals that LiPuma was a dangerous mental patient with a grudge against the mobster who had very recently been released from a state institution. District Attorney Traini (Franco Nero) is convinced something's not right, and he suspects that police detective Captain Buonavilla (Martin Balsam), who for years had been obsessed with taking Dubrosio off the streets, might have been responsible for LiPuma's release. Buonavilla, however, believes that sometimes justice is more important than strictly following the rules -- and he thinks Traini might have his own hidden agenda. Confessione di un Commissario di Polizia al Procuratore della Repubblica (aka Confessions Of A Police Captain) was one of four Italian features Martin Balsam would star in during the year of 1972. ~ Mark Deming, All Movie Guide

Martin Scorsese's remake of Cape Fear provided the director with a box-office success to follow up the critical success of the previous year's Goodfellas. After serving a lengthy prison sentence for a sexual assault, Max Cady (Robert De Niro) comes calling on the man who served as his public defender, Sam Bowden (Nick Nolte). Max begins a campaign of harassment against the man and his family because Bowden buried a report that would have in all likelihood acquitted Cady of the charges against him. Bowden's shaky ethics continue in his personal life as he is considering beginning an extramarital affair with colleague Lori Davis (Illeana Douglas), since he and his wife, Leigh (Jessica Lange) have had a difficult time coming back together since he has admitted to previous indiscretions. Cady infiltrates the family most insidiously by cultivating a relationship with the Bowden's troubled teenage daughte, Danielle (Juliette Lewis), who is all the more susceptible to Cady's advances because of her parents' problems. Robert Mitchum and Gregory Peck, the stars of the original film, have cameo appearances in this version of Cape Fear. De Niro and Lewis were both nominated for Academy Awards for their work in the film. ~ Perry Seibert, All Movie Guide

Director Mike Nichols and writer-actor Buck Henry followed their enormous hit The Graduate (1967) with this timely adaptation of Joseph Heller's satiric antiwar novel. Haunted by the death of a young gunner, all-too-sane Capt. Yossarian (Alan Arkin) wants out of the rest of his WW II bombing missions, but publicity-obsessed commander Colonel Cathcart (Martin Balsam) and his yes man, Colonel Korn (Henry), keep raising the number of missions that Yossarian and his comrades are required to fly. After Doc Daneeka (Jack Gilford) tells Yossarian that he cannot declare him insane if Yossarian knows that it's insane to keep flying, Yossarian tries to play crazy by, among other things, showing up nude in front of despotic General Dreedle (Orson Welles). As all of Yossarian's initially even-keeled friends, such as Nately (Art Garfunkel) and Dobbs (Martin Sheen), genuinely lose their heads, and the troop's supplies are bartered away for profit by the ultra-entrepreneurial Milo Minderbinder (Jon Voight), Yossarian realizes that the whole system has lost it, and he can either play along or jump ship. Though not about Vietnam, Catch-22's ludicrous military machinations directly evoked its contemporary context in the Vietnam era. Cathcart and Dreedle care more about the appearance of power than about victory, and Milo cares for money above all, as the complex narrative structure of Yossarian's flashbacks renders the escalating events appropriately surreal. Confident that the combination of a hot director and a popular, culturally relevant novel would spell blockbuster, Paramount spent a great deal of money on Catch-22, but it wound up getting trumped by another 1970 antiwar farce: Robert Altman's MASH. With audiences opting for Altman's casual Korean War iconoclasm over Nichols' more polished symbolism, the highly anticipated Catch-22 flopped, although the New York Film Critics Circle did acknowledge Arkin and Nichols. Despite this reception, Catch-22's ensemble cast and pungent sensibility effectively underline the insanity of war, Vietnam and otherwise. ~ Lucia Bozzola, All Movie Guide

Contract on Cherry Street represented Frank Sinatra's TV movie debut--an event deemed worthy of a TV Guide cover story. Sinatra plays NYPD veteran Deputy Inspector Frank Hovannes, in charge of a special unit set up to battle organized crime. The murder of Hovannes' partner, coupled with departmental restrictions and legalities, leads the Inspector to organize a semi-vigilante group with three other like-minded officers. They murder an underworld honcho, in hopes of triggering a mob war that will result in the decimation of every gangster in the Big Apple. Edward Anhalt's script for Contract on Cherry Street can't make up its mind whether to emulate The Godfather or Kojak. Sinatra's own Artanis Productions was responsible for this film, so any praise or blame must ultimately fall upon Ol' Blue Eyes' shoulders. ~ Hal Erickson, All Movie Guide

In this drama, a farmer is bequeathed an onion field. Unfortunately he finds he must take on an oil company that also wants the land. ~ Sandra Brennan, All Movie Guide

Canadian actress Kate Reid plays a lady p.i. in Death Among Friends. Kate is hired to solve the murder of a multimillionaire financier. As tipped off by the title, she need look no farther than the dead man's circle of friends. Refreshingly, both the heroine and her police contact, John Anderson, are well into middle age, rather than being depicted as mindless hunks of cheese- and beefcake. Intended as the pilot for a weekly series, Death Among Friends was first telecast May 20, 1975. The film was later syndicated as Mrs. R-Death Among Friends. ~ Hal Erickson, All Movie Guide

Michael Winner ups the ante once again in Death Wish 3. Any pretense of Paul Kersey (Charles Bronson) having a career in architecture is completely gone. Kersey's new career appears to be as a professional vigilante, blowing away muggers, rapists and thieves off the mean streets -- or as he terms it "thinning the herd." Back in New York City, Kersey, with his usual luck, arrives just in time to find an old friend dying after a vicious beating by a multi-cultural gang of thugs. The cops arrest Kersey, but it just so happens that police chief Richard S. Shriker (Ed Lauter) is like Kersey with a badge: "I'm the law, and that means I get to violate your civil rights." He makes a deal with Kersey: he can go free as long as he keeps the cops informed of his death counts. Kersey grunts in agreement and proceeds to move into a decaying tenement building in the middle of a bombed out gang war zone. The building is populated by a group of elderly tenants who are terrified by the neighborhood gang warfare. Kersey declares his own personal war on the neighborhood gang, led by a frenzied leader named Fraker (Gavan O'Herilhy), who wears a reverse Mohawk hair-style. As Kersey devises booby traps and trip-wire bombs to confound the gang, the senior citizens gleefully take pot shots at the wounded gang members from their windows. ~ Paul Brenner, All Movie Guide

Hard Frame is the syndication title for the made-for-TV film Hunters Are for Killing. Burt Reynolds plays a man who returns home after serving six years in prison for manslaughter. Reynolds knows that he was framed; so does someone else in town. The most nervous citizens are Burt's father (Melvyn Douglas), his ex-girlfriend (Suzanne Pleshette) who is now chief of police, and the man (Martin Balsam) whose testimony cinched Reynolds' conviction. The film was shot on location in the wine country of Northern California. Under its original title, this 2-hour actioner first aired on March 12, 1970. ~ Hal Erickson, All Movie Guide