Richard Lawson Movies

Audrey Rose is a "thinking man's" horror film, which in a way is unfortunate, since it tended to be ignored amidst the many spell-it-all-out scarefests of the late '70s. Marsha Mason and John Beck play Janice and Bill Templeton, a happily married couple, the parents of well-adjusted preteen Ivy (Susan Swift). Their family security is disrupted by the arrival of a mysterious stranger, Elliot Hoover (Anthony Hopkins). At first mistaken for a potential child molester, Hoover explains that his obsessive interest in young Ivy is actually paternal. It is Hoover's contention that their daughter is the reincarnation of his own child, who died in a horrible accident. This information is dismissed out of hand-and then strange things begin happening. Directed by Robert Wise (who had previously helmed the psychological thriller The Haunting), Audrey Rose was adapted by co-producer Frank de Felitta from his own novel. ~ Hal Erickson, All Movie Guide

Charleston is a brazen rip-off of Gone with the Wind which premiered over NBC on January 15, 1979--one month before CBS' planned telecast of Wind. Delta Burke, who was an unknown in 1979, very nearly remained that way in the role of post-Civil War Southern belle Stella. As Stella fiddle-dee-dees around in an effort to raise the tax money to maintain her mansion, her faithful ex-slave Minerva (Lynne Moody) runs the household with an iron hand (that must hurt). Also lurking about is Stella's cousin Valerie (Patricia Pearcy), who squanders her own savings in an effort to find her missing husband. This is the sort of film in which the aggressively urbanized actor Mandy Pantinkin plays a corn-fed character named Beaudine Croft. Martha Scott, the only "name" actor in Charleston, is wasted in a peripheral role as Stella's mom. ~ Hal Erickson, All Movie Guide

Hal Ashby's 1978 melodrama examines the impact of the Vietnam War on the "war at home" among the men who fought it and the women in their lives. Left alone in Los Angeles when her gung-ho Marine husband Bob (Bruce Dern) heads to Vietnam in 1968, proper wife Sally Hyde (Jane Fonda) decides to volunteer at the V.A. hospital where her new friend Vi (Penelope Milford) works. There she meets Luke Martin (Jon Voight), a former high-school classmate and Marine who has returned from 'Nam a bitter paraplegic. As their relationship grows, Sally sees the effect of the war on the soldiers after they come back, inspiring her to rethink her priorities; Luke's spirits begin to lift, and a hospital tragedy helps focus his anger toward meaningful protest. After a Hong Kong visit with her increasingly withdrawn husband, Sally finds a love and companionship with Luke that she had never known with her husband. Once Bob comes home with his own injury, however, the three must find a way to deal with a changing world and with a system that betrayed the men fighting for it. ~ Lucia Bozzola, All Movie Guide

"You've got to ask yourself a question: 'do I feel lucky?' Well, do ya, punk?" Dirty Harry provoked a critical uproar in 1971 for its "fascist" message about the power of one, as it also elevated Clint Eastwood to superstar status through his most enduring screen persona. Harry Callahan (Eastwood, in a role meant for Frank Sinatra) is a sardonic, hard-working San Francisco cop who can't finish his lunch without having to foil a bank robbery with his 44 Magnum, "the most powerful handgun in the world." When hippie-esque psycho Scorpio (Andy Robinson) goes on a killing spree, Harry and new partner Chico (Reni Santoni) are assigned to hunt him down, but not before the Mayor (John Vernon) and Lt. Bressler (Harry Guardino) admonish Callahan about his heavy-handed tactics. Racing against a deadline to save a kidnap victim from suffocating to death and unbothered by the niceties of Miranda rights and search warrants, Callahan brings in Scorpio, only to see him released on technicalities. "The law's crazy," opines Harry in disgust, before taking it upon himself to ensure that Scorpio doesn't kill again. Directed in violent and efficient fashion by Don Siegel, with a propulsive score by Lalo Schifrin, Dirty Harry was the fourth Siegel-Eastwood collaboration after Coogan's Bluff (1968), Two Mules for Sister Sara (1970), and The Beguiled (1970). Critics at the time strongly objected to the heroic image of a cop's violations of a suspect's Miranda rights, forcing Siegel and Eastwood to deny that they were right-wing reactionaries. All the same, Dirty Harry proved to be highly popular and spawned four sequels: Magnum Force (1973), The Enforcer (1976), Sudden Impact (1983), and The Dead Pool (1988). ~ Lucia Bozzola, All Movie Guide

In this actioner, a pugnacious aspiring pugilist pummels his way out of the slums to become a professional prizefighter. ~ Sandra Brennan, All Movie Guide

Good Times moved from Wednesday to Monday evening with this episode, in which J.J. (Jimmy Carter) loses out on a job promotion. Another employee at the ad agency intimates that J.J. would have gotten the move-up had he been a different color. The result: J.J. has a dream in which he has turned white, whereupon series regular Jimmie Walker relinquishes his customary role to Caucasian comic actor Dennis Howard. ~ Hal Erickson, All Movie Guide

Bill Duke directed this fact-based tale of a poor Southern black woman who rose from poverty to become an FBI agent. Retitled Johnnie Gibson F.B.I. for home video. ~ Jason Ankeny, All Movie Guide

Ever on the lookout for a quick buck, T.C. (Roger E. Mosley) agrees to deliver a mysterious briefcase to Oahu. En route, T.C.'s chopper plunges into the ocean, and he ends up in the hospital in a comatose state. Flying in the face of convential wisdom, Magnum (Tom Selleck) is certain that the crash was no accident, and he is determined to bring in the men responsible for T.C.'s plight. Joining Magnum in this mission is T.C.'s visiting brother Gerald (Richard Lawson)--who turns out to be pursuing an agenda of his own. ~ Hal Erickson, All Movie Guide

In this horror sequel from the director of Count Yorga, Vampire, a member of an American voodoo cult revives the fanged Prince Manuwalde (William Marshall), only to become his slave. Manuwalde then puts the bite on various victims, but finds himself fixating on pretty Lisa (Pam Grier), a voodoo princess whom he believes can finally put his soul to rest. Lynne Moody, Nicholas Worth, and Bernie Hamilton are among the familiar cast, but the various occult trappings seem somewhat out of place in the modern Los Angeles setting and the production values are pretty shabby. Blaxploitation and camp fans should still find it mildly amusing, however, and Shakespearean actor Marshall is a lot of fun as the obsessive vampire. ~ Robert Firsching, All Movie Guide

More like a series of MTV sequences than a long-term narration, this super-thin story line focuses on a kidnapped singer (Diane Lane) and her ex-boyfriend (Michael Pare) who goes forth to save her through rainy streets, the roar of elevated subways, several alleys, and the usual warehouses. Each thrust of the story has rock music that follows along with the narration. ~ Eleanor Mannikka, All Movie Guide

Despite her less than stellar performance in high school, Pam (Erika Alexander) is determined to go to college. Both her friend Charmaine (Karen Malina White) and her guidance counselor Mr. Bostic (Richard Lawson) gently try to persuade Pam that her chances of being accepted by the same college that will take Charmaine are within the "slim to none" range, but our heroine is not about to be confused by the facts. Meanwhile, Cliff (Bill Cosby) suffers yet another home-repair mishap, while Olivia (Raven-Symone) is continually sidetracked from her school show-and-tell project. This is one of a handful of episodes in which none of the Huxtable children appear. ~ Hal Erickson, All Movie Guide

Some sort of Bad Timing Award must surely be bestowed upon the otherwise worthwhile Golden Moment: An Olympic Love Story. David Keith stars as American athlete Wayne Robinson, whose main goal in life is to win the Olympic Decathlon. His dream is compromised when he falls in love with Soviet athlete Anya Andreyev (Stephanie Zimbalist), sparking an international cause celebre. First shown in two parts on May 25 and 26, 1980, Golden Moment was timed to coincide with the telecast of the 1980 Olympics--from which the United States had just withdrawn! Even with this working against it, the film performed reasonably well in the ratings, and also managed to pick up an Emmy nomination for best sound mixing. ~ Hal Erickson, All Movie Guide