Geraldine Baron Movies

Orson Welles made his final screen appearance as, appropriately enough, Orson Welles (or "Danny's Friend") in Henry Jaglom's "emotional vérité" comedy Someone to Love. The film begins as filmmaker Danny (Henry Jaglom) prepares to spend the night at his girlfriend Helen (Andrea Marcovicci)'s apartment. Helen has just adjusted to sleeping alone after the breakup of her previous relationship and tells Danny that if he stays with her, she won't be able to go to sleep. Fascinated by the explanation, Danny sends out telegrams to a bunch of his Hollywood friends to meet on Valentine's Day at a Santa Monica theater, the Mayfair, that is about to be torn down to make way for a shopping mall. Danny figures that he will throw a party for his lonely celebrity friends. He also reasons that he could introduce his brother, real estate developer Mickey (Michael Emil, Jaglom's real-life brother), to some romantic companions. The party would also be a handy way to get some film footage. The day of the party, Danny's friends arrive --a famous movie star (Sally Kellerman); a pop singer named Blue (Stephen Bishop); a jazz pianist (David Frishberg); a sophisticated continental woman named Yelena (Oja Kodar); and, bringing up the rear and ensconced in the back of the theater, Danny's Friend (Orson Welles). With his camera crew in tow, Danny takes to filming his guests as they answer questions about love and loneliness. ~ Paul Brenner, Rovi

Rock legend Neil Young directed this bizarre bit of sci-fi-accented satire under his nom de cinema Bernard Shakey, as well as starring as Lionel Switch, an amiable but half-bright auto mechanic who has a furious crush on Charlotte Goodnight (Charlotte Stewart), a waitress at the diner next door to his garage. Lionel dreams of becoming a professional musician, and idolizes Frankie Fontaine (also played by Young), a particularly sleazy lounge singer. One day, to Lionel's astonishment, Fontaine rolls up to his garage in a limousine, and Lionel has the spine-tingling honor of working on his car. Meanwhile, suspicious-looking bad guy Otto Quartz (Dean Stockwell) is scheming to buy the diner, which has something to do with a plot against the rattletrap nuclear power plant just down the road (the plant's maintenance staff is played by members of the pioneering new wave band Devo). Along the way, we're also treated to Lionel hanging out with his equally slow-witted pal Fred (Russ Tamblyn), enjoy the residents of the desert community performing an enthusiastic rendition of the old Kingston Trio chestnut "Worried Man," and witness Lionel and Devo jamming on a long and wildly discordant version of "Hey Hey My My (Into the Black)." Financed by Young out of his pocket, and featuring Stockwell, Tamblyn, Dennis Hopper, and Sally Kirkland several years before they enjoyed critical rediscovery, Human Highway received a mostly puzzled reaction from audiences during its handful of theatrical engagements. It went largely unseen until it was released on home video more than ten years after it was completed (with the box featuring a quote from one of Young's associates: "This is so bad, it's going to be huge!"). ~ Mark Deming, Rovi

It's H.G. Wells (Malcolm McDowell) versus Jack the Ripper (David Warner) in the fanciful Time After Time -- and, per the film's title, the chase extends from the 19th century to the 20th. Wells has built a time machine in his cellar, which the Ripper uses as a means of escape. Both men find themselves in 20th century San Francisco, and, after a period of adjustment, they make themselves at home. The plot takes a dark turn when the Ripper, disappointed that Wells' dreams of a Utopian future have not come to fruition, resumes his murderous activities. ~ Hal Erickson, Rovi

Together with Orson Welles' Citizen Kane and John Singleton's Boyz 'n the Hood, director Peter Bogdanovich's Targets is among the most impressive first features ever made. When Bogdanovich's cinematic mentor Roger Corman suggested that Bogdanovich might want to make his directorial debut, he offered to "donate" 20 minutes worth of footage of the Corman-directed The Terror and the services of Boris Karloff, who owed Corman two days' worth of work (at a cost of $22,000). Karloff became so caught up in the 29-year-old Bogdanovich's enthusiasm that he agreed to work an additional two days at a bare-minimum salary.

The script, by Bogdanovich and his then-wife, Polly Platt, was inspired by the 1966 shooting spree of Texas Tower sniper Charles Whitman. Karloff, as Byron Orlock, more or less plays himself: an aging horror star, consigned to low-budget drive-in fare. Unlike the workaholic Karloff, Orlock wants to retire from films, noting that his movies seem inconsequential in light of the real-life horrors occurring every day. As Bogdanovich, playing young-and-hungry director Sammy Michaels, desperately tries to convince Orlock to star in just one more picture, the film's attentions shift to Vietnam veteran Bobby Thompson (Tim O'Kelly). An otherwise amiable, normal-looking lad, Bobby seems to harbor an inordinate fascination with guns, particularly high-powered rifles. One bright and sunny morning, Bobby suddenly and unexpectedly shoots and kills his wife, his mother, and an unlucky delivery boy. He leaves behind a note confessing to these crimes, noting that, while he fully expects to be captured, many more will die before the day is over. From this point onward, the film switches from Bobby's day-long bloodbath (from the vantage point of an oil storage tank, calmly picking off passing freeway motorists) to Orlock's grumbling preparations to make a personal appearance at a local drive-in movie.

Inevitably, Bobby also shows up at the drive-in, hiding himself behind the huge screen and shooting down the patrons as they sit complacently in their cars, watching the latest Byron Orlock film (actually The Terror, in which Karloff also starred). Once the reality of the situation sets in, panic ensues, leading to the ultimate confrontation between the escaping Bobby and the bewildered Orlock. ("Is this what I was afraid of?" Orlock ruefully exclaims as Bobby cowers at his feet.) The tension never lets up throughout Targets' jam-packed 90 minutes. The film was virtually thrown away by its distributor, Paramount Pictures, which was uncertain about packaging a film about a sniper in the wake of the King and Kennedy assassinations. Only when it was reissued to college campuses and film societies did Targets begin building up its much-deserved reputation. Though Targets was not, technically, Boris Karloff's last film, it serves as a worthy valedictory for this cinematic giant. ~ Hal Erickson, Rovi