Joe Mantell Movies

The "movers and shakers" in this weak comedy limned by Charles Grodin do not refer to a religious sect, but the big-wigs in Hollywood who determine how the next many millions are to be spent. Two parallel stories occupy center stage. On the one hand, Joe Mulholland (Walter Matthau) has made a promise to a dying producer that he would put together a film on "Love in Sex." The problem is that there is no script to go with that title -- a minor hurdle by Hollywood standards. On the other hand, Herb Derman (Grodin) is hired to make up the story, but he is neck-deep in marriage woes and will have a hard time holding down his personal life long enough to write. Mixed into both of these tales are parodies of behind-the-scenes Hollywood at its worst. These scenarios are helped along by a fine cast of actors and actresses. ~ Eleanor Mannikka, Rovi

The 8-hour TV miniseries Blind Ambition was originally telecast May 20 through 23, 1979. This 105-minute feature-film version, prepared in 1982, seems a bit rushed at times, but overall does a credible and coherent job of storytelling. Based on John Dean's book Blind Ambition, with elements of Maureen Dean's Mo woven in by screenwriter Stanley R. Greenberg, this is the saga of the Watergate affair, as experienced by Dean (Martin Sheen) and hia wife Maureen (Theresa Russell). As the Nixon administration goes down in flames, the Deans' marriage is sorely tested-as is Dean's success-at-any-price credo. Rip Torn plays Nixon like something out of a Greek Tragedy; some viewers accepted his interpretation, others found it jarringly inaccurate. Others in the cast of "usual suspects" include Michael Callan as Charles Colson, Lonny Chapman as L. Patrick Gray, William Daniels as G. Gordon Liddy, Fred Grandy as Donald Segretti, Christopher Guest as Jeb Magruder, Lawrence Pressman as H. R. Haldeman, William Windom as Richard Kleindienst, James Greene as E. Howard Hunt, Logan Ramsey as J. Edgar Hoover, and Al Checco as judge John Sirica. Also known as The John Dean Story, Blind Ambition earned two Emmy nominations. ~ Hal Erickson, Rovi

"You may think you know what you're dealing with, but believe me, you don't," warns water baron Noah Cross (John Huston), when smooth cop-turned-private eye J.J. "Jake" Gittes (Jack Nicholson) starts nosing around Cross's water diversion scheme. That proves to be the ominous lesson of Chinatown, Roman Polanski's critically lauded 1974 revision of 1940s film noir detective movies. In 1930s Los Angeles, "matrimonial work" specialist Gittes is hired by Evelyn Mulwray (Faye Dunaway) to tail her husband, Water Department engineer Hollis Mulwray (Darrell Zwerling). Gittes photographs him in the company of a young blonde and figures the case is closed, only to discover that the real Mrs. Mulwray had nothing to do with hiring Gittes in the first place. When Hollis turns up dead, Gittes decides to investigate further, encountering a shady old-age home, corrupt bureaucrats, angry orange farmers, and a nostril-slicing thug (Polanski) along the way. By the time he confronts Cross, Evelyn's father and Mulwray's former business partner, Jake thinks he knows everything, but an even more sordid truth awaits him. When circumstances force Jake to return to his old beat in Chinatown, he realizes just how impotent he is against the wealthy, depraved Cross. "Forget it, Jake," his old partner tells him. "It's Chinatown." Reworking the somber underpinnings of detective noir along more pessimistic lines, Polanski and screenwriter Robert Towne convey a '70s-inflected critique of capitalist and bureaucratic malevolence in a carefully detailed period piece harkening back to the genre's roots in the 1930s and '40s. Gittes always has a smart comeback like Humphrey Bogart's Sam Spade and Philip Marlowe, but the corruption Gittes finds is too deep for one man to stop. Other noir revisions, such as Robert Altman's The Long Goodbye (1973) and Arthur Penn's Night Moves (1975), also centered on the detective's inefficacy in an uncertain '70s world, but Chinatown's period sheen renders this dilemma at once contemporary and timeless, pointing to larger implications about the effects of corporate rapaciousness on individuals. Polanski and Towne clashed over Chinatown's ending; Polanski won the fight, but Towne won the Oscar for Best Screenplay. Chinatown was nominated for ten other Oscars, including Picture, Director, Actor, Actress, Cinematography, Art Direction, Costumes, and Score. ~ Lucia Bozzola, Rovi

The Season Six opener of The F.B.I finds federal agents Erskine (Efrem Zimbalist Jr.) and Colby (William Reynolds) canvassing an era ranging from Pennsylvania to Oregon in search of two elusive bank robbers. Perry Victor (Martin Sheen) is the suave schemer of the pair, while Shep Buford (Tim McIntire) is the bucolic triggerman. Their ultimate goal is to steal the payroll for an Oregon tunnel project--but neither man had figured on the duplicity of Shep's girlfriend Cindy (Joan Van Ark). ~ Hal Erickson, Rovi

James Garner plays a man who awakens in Central Park with no memories at all. This drama chronicles his search for his identity. ~ Sandra Brennan, Rovi

The story begins as an innocuous romantic triangle involving wealthy, spoiled Melanie Daniels (Tippi Hedren), handsome Mitch Brenner (Rod Taylor), and schoolteacher Annie Hayworth (Suzanne Pleshette). The human story begins in a San Francisco pet shop and culminates at the home of Mitch's mother (Jessica Tandy) at Bodega Bay, where the characters' sense of security is slowly eroded by the curious behavior of the birds in the area. At first, it's no more than a sea gull swooping down and pecking at Melanie's head. Things take a truly ugly turn when hundreds of birds converge on a children's party. There is never an explanation as to why the birds have run amok, but once the onslaught begins, there's virtually no letup. ~ Hal Erickson, Rovi

Though their ranks have been badly depleted, the men of King Company are chosen to stay behind at the front when their batallion withdraws. Already in a lousy mood, the soldiers are further angered when Pvt. Dulaney (Joe Mantell), a middle-aged assistant cook, is assigned to replaced their popular B.A.R. man Grady Long. Sgt. Saunders (Vic Morrow) hopes that Dulaney's lack of combat experience will not impede his efforts to shepherd his men out of harm's way--even though they're surrounded on all sides by the Germans. This episode marked the departure of series regular Shecky Greene (Braddock), though because it was shown out of sequence Greene would continue to make appearances in the weeks to come. ~ Hal Erickson, Rovi

In the conclusion of a two-part story, Capone's second-in-command Frank Nitti (Bruce Gordon) steps up his heretofore unsuccessful efforts to eliminate Anton Cermak (Robert Middleton), the incorruptable mayor of Chicago. Scheduled to appear at a public event in Miami with president-elect Franklin Delano Roosevelt, Cermak would seem to be a sitting duck for Nitti's torpedoes, but Elliot Ness and the Untouchables aren't about to let that happen. Meanwhile, a deranged anarchist named Giuseppe Zangara (Joe Mantell) may well succeed where Nitti has failed--assuming that Cermak is Zangara's intended target. Though historically inaccurate in many respects, this episode paints a vibrant picture of the euphoria surrounding the election of the first anti-Prohibition president in 14 years. Parts One and Two of "The Unhired Assassin" were later combined and released theatrically as the feature film Guns of Zangara. ~ Hal Erickson, Rovi

Though obviously an episode designed to absorb the costs of the more expensive Twilight Zone installments, this was one of the better efforts of the series' second season, with a tour de force performance by Joe Mantell as penny-ante gangster Jackie Rhoades. Ordered to bump off a rival gangster, the timorous Rhoades tries to summon up the courage for the foul deed, only to be thwarted at every turn by his own conscience -- who as it turns out has more "guts" than Jackie ever dreamed of. Though essentially a solo endeavor, the episode also features a good performance from future producer-director William D. Gordon as Jackie's nasty boss, while another future director, Brian G. Hutton, serves as Joe Mantell's back-to-camera stand-in when the actor "confronts" himself. Written by Rod Serling and scored by Jerry Goldsmith, "Nervous Man in a Four Dollar Room" was the first episode produced for Twilight Zone's second season, even though it was telecast as the third episode, on October 14, 1960. ~ Hal Erickson, Rovi

The 1962 theatrical release of The Scarface Mob was created from the first two episodes of the famously popular 1959 TV series, The Untouchables. It stars Robert Stack as the courageous agent whose job is to corral the powerful mobster Al Capone. Nevill Brand plays Capone and Walter Winchell adds flavor as the Dragnet-style narrator. ~ Rovi

Terminally ill Clarence Weems (Russell Collins) is offered 50 dollars per week for the rest of his life if he will invest in a cemetery plot purchased by his lodge brothers. Unfortunately for the other investors, it soon becomes apparent that Clarence is not about to cash in his chips in the near future. Out of desperation, his "brothers" give serious thought to hastening Clarence's demise before his 50-per-week stipend bankrupts them all. ~ Hal Erickson, Rovi

In his second solo starring film after breaking with Dean Martin, Jerry Lewis plays cartoonist George Baker's classic GI misfit The Sad Sack. Lewis' constitutional inability to do anything right brings him under the scrutiny of gorgeous Army psychiatrist Phyllis Kirk. She discovers that Lewis possesses a photographic memory, making him valuable enough to be transferred to a top secret assignment in Morocco. Assigned along with buddies David Wayne and Joe Mantell to guard a new weapon, Lewis deviates from his task when he falls in love with sexy nightclub performer Lilliane Montevecchi. She spurns him, so the heartbroken Lewis deserts the army and joins the Foreign Legion. When enemy spy Peter Lorre discovers that Lewis has memorized the assembly instructions for the secret weapon, he and his minions kidnap Lewis, Wayne and Mantell. With the help of Montevecchi, Lewis thwarts the baddies and becomes a hero--but within minutes, he's fouled up again, so it's back to permanent KP duty. Jerry Lewis still needed a straight-man foil at the time of The Sad Sack so Paramount provided him with David Wayne and Joe Mantell. By the time Geisha Boy rolled around in 1958, Lewis was finally able to carry a picture by himself. ~ Hal Erickson, Rovi