Gerald Michenaud Movies

In this modern-day fairy tale, a sightless girl learns valuable life lessons after she helps her cruel father break out of prison. ~ Sandra Brennan, All Movie Guide

Officers Jim Reed (Kent McCord) and Pete Malloy (Martin Milner) try to negotiate a peace treaty between two Native Americans (Tom Geas, Bill Borsella), who plan to fight each other to the death. In other assignments, Jim and Pete search for an extortionist who specializes in bombing buildings containing businesses. Also, the two cops are summoned to the scene of an alleged burglary, where a hapless delivery man insists that he's just doing his job. ~ Hal Erickson, All Movie Guide

Filmed in 1966 (when screenwriter Richard Breen was still around), this made-for-TV feature marked the return of Jack Webb's classic 1950s cop series Dragnet after a seven-year absence. Ordered to cut his vacation short, Sgt. Joe Friday (played by Jack Webb) is assigned to investigate the mysterious disappeances of two beautiful models and a pretty young war widow. In concert with partner Bill Gannon (Harry Morgan), Friday does his best to follow the trail of evidence, only to be continually stymied by contradictory or reluctant eyewitnesses. Before arriving at the disturbing conclusion that the missing girls have been the victims of a voyeuristic serial killer, Joe and Bill manage to solve another, unrelated murder involving a visiting Frenchman. Several members of Jack Webb's radio and TV Dragnet stock company are cast in colorful supporting roles, including Virginia Gregg, Victor Perrin, and Herb Ellis, while L.A. Dodgers catcher John Roseboro is seen as a fellow cop. A powerful opening sequence and an thrilling action climax more than compensate for the unevenness of the script (the last such by veteran Webb collaborator Richard Breen) and the occasional pokiness of the direction. Although this 97-minute Dragnet was good enough to convince NBC to revive the vintage Jack Webb series on a weekly, half-hour basis (it ran successfully for three seasons), the film itself was shelved for several years, not making its network TV debut until January 27, 1969. ~ Hal Erickson, All Movie Guide

Chaddock (Barry Sullivan) is the straight-shooting marshall of Gloryhole, Montana. Wealthy rancher Rep Marlowe (Wendell Corey) practically owns the town by way of his gambling saloons, shady land deals and hired guns who intimidate the law-abiding citizens. Sheriff Tangley (Lon Chaney Jr.) calls on Chaddock when Marlowe holds the town hostage by damming the river and cutting off the water supply. Barbara Hale plays Sarah Cody, whose young son is killed by gunfire in the ensuing melee. The saloon girl Nora (Joan Caulfield) is a former schoolteacher forced into her tawdry occupation by the menacing Marlowe in this routine western film. ~ Dan Pavlides, All Movie Guide

Enemy agent Peter Kiri (Sorrell Booke) has kidnapped US special envoy Wilson (James Daly) and replaced him with an exact lookalike named Gort. Kiri's plan is to discredit Wilson by having "him" behave in a disgraceful manner while on a delicate diplomatic assignment in a neutral nation. The IMF agents counter Kiri's scheme by providing their own Wilson impostor--a well-disguised Dan Briggs. Originally broadcast on March 25 1967, "Shock" was written by Laurence Heath. ~ Hal Erickson, All Movie Guide

Kelly (Constance Towers), a prostitute who wants to transform her life, beats up her pimp, takes the 75 dollars he owes her, and leaves town. Winding up in the small town of Grantville, she turns a trick with Griff (Anthony Eisley), who is actually the sheriff. After paying her for sex, Griff tells Kelly that Grantville is a clean town and orders her out, though he refers her to a brothel in a neighboring city. Instead, Kelly makes a final break with her past and becomes a nurse's aide at the local children's hospital. In that capacity, she meets Grant (Michael Dante), who is a benefactor of the hospital, a descendant of the town's founder -- and Griff's best friend. As Grant and Kelly fall in love, Griff viciously accuses Kelly of using her hospital job to hide ongoing illicit activities. When Kelly tells Grant about her past, he seems to accept her without reservation and proposes marriage; however, Kelly soon learns the perverse truth about her fiancée and takes matters into her own hands. Samuel Fuller's raw film noir exposes the hypocrisy of a supposedly proper society. Beneath the veneer of respectability lies an exploitive abuse of power, no different from that of any pimp. ~ Steve Press, All Movie Guide