David Mauro Movies

"The German Air Force is not at all what it used to be," says Anne Bancroft's Countess, about 16 minutes into The Hindenburg, pausing and then adding, "But then, nothing is these days." That seems to sum up the ponderous, irony-laden script and plot of Robert Wise's movie, which is posited -- in true post-Watergate fashion -- upon notions of conspiracy and cover-up behind the destruction of the German airship. The movie opens with a handy Universal newsreel that gives a vestpocket history of lighter-than-air flight, and that carries us to 1937 Germany. Colonel Franz Ritter (George C. Scott), a former hero pilot now working for military intelligence, finds himself assigned to the flight of the Hindenburg as chief of security; reports and rumors about the destruction of the zeppelin have circulated both in Germany and America, and the Nazi government takes these very seriously. What Ritter walks in on is a "Grand Hotel" of the air, several dozen passengers and crew whose ranks contain enough red herrings to keep Ritter (and us) jumping through hoops for most of the first half of the film, when we're not watching glorious shots of the zeppelin in flight. The answer to the script's presentation of the plot against the airship,and theidentityof the bomber and his motivations, are actually presented in the first 15 minutes, but there are so many false leads, subplots, and blind alleys put before us that the solution will probably pass by unnoticed. In the meantime, Ritter dances around with his ex-paramour (Bancroft), scheming businessmen (Gig Young), and passengers with skeletons in their closets (Alan Oppenheimer), an entertainer (Robert Clary) with a knack for offending loyal Nazis, several officers and crew with known "political" differences with the Nazi Party, a Gestapo man (Roy Thinnes) who's got an agenda of his own, and two genuine mystery men (Burgess Meredith, Rene Auberjonois) who don't seem to have any reason for traveling on this particular voyage. It's all a little tiring, or would be, if the setting and special effects weren't that interesting, and the cast wasn't so entertaining to watch in these relatively thankless roles. ~ Bruce Eder, Rovi

This comedy finds American writer Lawrence Colby (Robert Wagner) augmenting his scribing income by smuggling Swiss watch parts into France. Martine (Mary Tyler Moore) enlists his help to find her friend Sabine (Glynis Johns), an author of erotic novels. Sabine is vacationing in Greece, but crooks kidnap her beautiful ghost writer (Barbara Rhoades) by mistake. Sabine's nervous agent Merriman Dudley (Harvey Korman) feels the pressure from the book publishers for the deadline on the new book, still unfinished. Martine and Lawrence help the ghost writer escape, but she is accused of murdering a notorious gangster. The thug conveniently appears and is promptly arrested, as the writers all try to get back to work. ~ Dan Pavlides, Rovi

In the second half of the two-part Mission: Impossible adventure "The Slave", the IMF force has kidnapped Amara (Antoinette Bower), the niece of corrupt Elkabaran King Ibn Borca (Joseph Ruskin), Fasar (David Mauro), and sold her into slavery. It is all part of a plan to end the slave trade in Elkabar, and to topple Borca from power. Crucial to the scheme is Cinnamon's masquerade as a potential slave and Phelp's pose as a trader. Originally telecast October 15, 1967, Part Two of "The Slave" was written by William Read Woodfield and Allan Balter. ~ Hal Erickson, Rovi

Christopher Wren's classic adventure story is brought to the screen for the third time in this version, which featured several popular television stars of the day. Beau Geste (Guy Stockwell) is forced to take the blame for a crime he didn't commit in order to protect the good name of his family; he and his brother John (Doug McClure) flee the country to avoid capture and join the French Foreign Legion. Under the leadership of the sadistic Sgt. Major Dagineau (Telly Savalas), Beau and John must battle Arab troops as they try to clear their names. For this more budget-minded adaptation of the story, the three Geste brothers were whittled down to two; Wren's story wasn't filmed again until Marty Feldman's send-up of the Foreign Legion epics, The Last Remake of Beau Geste, appeared in 1977. ~ Mark Deming, Rovi