John C. Becher Movies

Newly divorced Emma Moriarty (Sally Field) moves herself and her young son to a small Arizona town, hoping to establish a horse farm. Town pharmacist Murphy Jones (James Garner), the town's most eligible bachelor, develops a platonic friendship with Emma, but he decides to keep his distance when her ex-husband Bobby Jack (Brian Kerwin), who claims he's changed his irresponsible ways, moves back in with her. At a party at Emma's ranch, Murphy and Bobby Jack get into a verbal row, but nothing is settled until Wanda (Anna Levine) shows up with two babies in tow, claiming that Bobby Jack is the father. Once rid of her ex, Emma commisserates with her friend Murphy at his drug store--and is quite surprised to discover that she's fallen in love with the older man, and he with her. Murphy's Romance is a very gentle romantic comedy; even Murphy's cast-away lady friend (Georgann Johnson) behaves like a civilized human being instead of a woman scorned. ~ Hal Erickson, Rovi

Jessica (Angela Lansbury) is among those in attendance at a literary awards convention when murder strikes. The victim is a novelist who had showed up toting a rather volatile unpublished manuscript. Although Jessica is not among the suspects, one of her close friends is under suspicion, obliging her to do her trademarked surreptitious snooping. Unfortunately, this is a particularly difficult case, inasmuch as virtually everyone else at the convention had a motive for murder--and the clues are not only plentiful, but wildly contradictory! Ron Masak, later seen on Murder She Wrote in the semi-regular role of Sheriff Mort Metzger, is here cast as Lieutenant Meyer. ~ Hal Erickson, Rovi

Jack Lemmon stars in Mass Appeal as a popular Los Angeles parish priest, who has retained the good will of his parishioners by cracking jokes and never taking a stand on crucial matters. Enter young seminarian Zeljko Ivanek, whose rebellious reputation threatens to earn him an expulsion. Lemmon is expected to bring Ivanek around to the Church's "party line," but the younger man resists the older man's advice--quite loudly at times. The audience is fully aware that, by film's end, Ivanek will have converted Lemmon instead of the other way around, but the sheer joy of watching two superb actors at work transcends the story's predictability. Mass Appeal was based on a play by Bill C. Davis, and produced by none other than the widow of McDonalds mogul Ray Kroc. ~ Hal Erickson, Rovi

In this involved send-up of two American icons -- the automobile and the tourist trap -- the tiny Florida town of Ticlaw strives desperately for success after it has been denied the most essential of all tourist amenities -- a freeway exit. The insane, and mostly successful, schemes of the mayor (William Devane) and other distinctly unbalanced citizens interrupt, often hilariously, the lives of various eccentric travellers forced into a place they never intended to be. Critics disagree violently on whether this is a neglected classic or sophomoric nonsense. The winning record of director (John Schlesinger) (Midnight Cowboy, Marathon Man, Cold Comfort Farm, etc.,) and first-class performances by William Devane, Beau Bridges, Beverly D'Angelo, Hume Cronyn, JessicaTandy and a plethora of great character actors -- not to mention the water-skiing elephant and the wild rhino -- argue that it's worth a look. ~ Michael P. Rogers, Rovi

A series of 17 short stories by American writer John Updike form the basis for this examination of the rocky marriage of a New England couple. The movie was made for television in 1979 and directed by Fielder Cook. Updike's stories focus on the issues of fidelity and responsibility hiding beneath the calm veneer of American suburban affluence. Michael Moriarty plays Richard Maple, a non-conformist middle-class man married to Joan Barlow Maple (Blythe Danner). Glenn Close plays the home-wrecker Rebecca. The couple's problems are both traced to childhood incidents in which their propensity for taking the easy way out is established. ~ Michael Betzold, Rovi

An aspiring actor leaves his home in Brooklyn for adulthood in Manhattan in Paul Mazursky's loosely autobiographical comedy-drama. In 1953, would-be thesp Larry Lapinsky (Lenny Baker) flees his hysterically clinging mother (Shelley Winters) for a $25-a-month (!!) apartment in bohemian Greenwich Village. Between Method-like acting classes, a movie audition (where he meets a posturing actor played by Jeff Goldblum), and work at a juice bar, Larry hangs out with a circle of archetypal Village eccentrics, including suicidal Anita (Lois Smith), womanizing poet Robert (Christopher Walken), and flamboyantly un-closeted homosexual Bernstein (Antonio Fargas), as he negotiates the pitfalls of love and sex with liberated girlfriend Sarah (Ellen Greene). The fallout over the group's ill-fated love affairs, and the Lapinskys' inopportune surprise visits, finally lead Larry to make peace with his past as he contemplates his future in Hollywood. Mazursky looks back to the 1950s as in such other 1970s films as American Graffiti, Grease, and TV's Happy Days, but his Greenwich Village life is less a time of lost pre-'60s innocence than a precursor of things to come. Sex, Larry jokes, may be serious, but it is also an omnipresent fact of life rather than something to be feared or repressed; love is the real problem. Even as Larry's friends strike various poses, they are all out to do their own thing as best they can. Critical response to Mazursky's nostalgia trip was mixed when the film was released, but the performances, particularly Winters, were admired. ~ Lucia Bozzola, Rovi

Bernie Travis stars as the late Lenny Bruce, the controversial and profane stand up comic. Bruce divides his time between the sleazy, smoke filled nightclubs and courthouses when he is charged with violating obscenity laws in several states. The battles moralistic lawyers, shady club owners and drugs. The acid tongued comedian confides in girlfriend Iris McCabe (Coutney Sherman) as his legal and drug problems increase his paranoia. He refuses to concede to those who would limit his right to free speech. A powerful scene is his arrest in a New York club that is a prelude to his death by a heroin overdose. ~ Dan Pavlides, Rovi

Director Alfred Hitchcock lets us know from the outset that The Wrong Man is a painfully true story and not one of his customary fabricated suspense yarns, through the simple expedient of walking before the camera and telling us as much (this introductory appearance replaced his planned cameo role as a nightclub patron). The real-life protagonist, musican Christopher Emmanuel Balestrero, is played by Henry Fonda. Happily married and gainfully employed at the Stork Club, Balestrero's life takes a disastrous turn when he goes to an insurance office, hoping to borrow on his wife's (Vera Miles) life insurance policy in order to pay her dental bills. One of the girls in the office spots Balestrero, identifying him as the man who robbed the office a day or so earlier. This, and a few scattered bits of circumstantial evidence, lead to Balestrero's arrest. Though he's absolutely innocent, he can offer no proof of his whereabouts the day of the crime. Lawyer Frank O'Connor (Anthony Quayle) does his best to help his client, but he's up against an indifferent judicial system that isn't set up to benefit the "little man". Meanwhile, Balestrero's wife becomes emotionally unhinged, leading to a complete nervous breakdown. As Balestrero prays in his cell, his image is juxtaposed onto the face of the actual criminal-who looks nothing like the accused man! Utilizing one of his favorite themes-the helplessness of the innocent individual when confronted by the faceless bureaucracy of the Law-Hitchcock weaves a nightmarish tale, all the more frightening because it really happened (the film's best moment: Fonda looking around the nearly empty courtroom during his arraignment, realizing that the rest of the world cares precisely nothing about his inner torment). Hitch enhances the film's versimilitude by shooting in the actual locations where the real story occured. His only concession to Hollywood formula was the half-hearted coda, assuring us that Mrs. Balestrero eventually recovered from her mental collapse (she sure doesn't look any too healthy the last time we see her!) Watch for uncredited appearances by Harry Dean Stanton, Bonnie Franklin, Tuesday Weld and Charles Aidman. ~ Hal Erickson, Rovi