Harry Bellaver Movies

In this telemovie, Ron Leibman plays Stan Rivkin, who, sure enough, is bounty hunter, though he operates in Manhattan rather than the wild west. Rivkin has a physically handicapped 12 year old son (Glenn Scarpelli), who is frequently left in the care of a kindly retired priest (Harry Morgan). The film follows Rivkin around as he takes on several low-paying and death-defying assignments. ~ Hal Erickson, All Movie Guide

Paul Schrader's directorial debut examines the trials of Detroit autoworkers living at the mercy of a heartless corporation and a corrupt union. Surviving from paycheck to paycheck, Checker Cab assembly linemen Zeke (Richard Pryor), Jerry (Harvey Keitel), and Smokey (Yaphet Kotto) scrape by and take pleasure in a few rounds of beer or bowling (and occasional illicit amusements). But when their money troubles pile up, Jerry and Smokey join Zeke in a desperate plan to steal cash from their local union office. Along with a piddling $600, they unexpectedly swipe evidence of union corruption. Deciding to use it for blackmail, the men discover instead how powerfully malevolent the union can be in a system that counts on petty divisiveness to keep the larger power structure intact. Inspired by stories of real-life disillusionment, Schrader and his brother/co-writer Leonard Schrader took on politically difficult issues of race and corporate labor, infusing the indictment of unions with a suggestion of post-Watergate paranoia about forces beyond the union that keep workers in their place. From the opening sequence of the assembly line to the final evocative freeze-frame, Schrader maintains an atmosphere of gritty realism, with the lead trio lending low-key dramatic force to a situation beyond their control. Too downbeat for a late '70s audience increasingly drawn to happier fare, Blue Collar flopped, yet it did earn Schrader critical accolades. Although he has reportedly since disowned the film, Blue Collar remains one of Schrader's best works, with Zeke and Jerry powered by the same sense of simmering frustration that would explode so effectively in Affliction two decades later. ~ Lucia Bozzola, All Movie Guide

David Selby is cast as police sergeant James O'Connor, who is forced to kill a Latino youth in self-defense. The people in the dad boy's neighborhood protest the killing and demands that O'Connor and his partner be fired. Kojak (Telly Savalas) must defuse the situation before wholesale violence erupts and O'Connor's career is irreparably damaged. ~ Hal Erickson, All Movie Guide

It's a seemingly peaceful spring morning in New York City -- graduation day at the Police Academy -- and Police Commissioner Anthony X. Russell (Henry Fonda) is looking forward to giving a speech to the new officers. But all isn't well: Russell's been given apparently incontrovertible evidence that his oldest friend, Chief Inspector Charles Kane (James Whitmore), is shaking down a bar owner, and a black minister (Raymond St. Jacques) is claiming that his son was brutalized when he was picked up for questioning in a rape/assault case. Then Russell gets a call informing him that two first-grade detectives, Daniel Madigan (Richard Widmark) and Rocco Bonaro (Harry Guardino), allowed small-time hood Barney Benesch (Steve Ihnat) to get the drop on them, steal their guns, and escape while they were trying to pick him up for questioning at the request of Brooklyn detectives -- and Benesch is now a suspect in that earlier murder in Brooklyn. Madigan has other problems, including the fact that the commissioner -- his ex-captain -- doesn't trust him, always believing him to be a loose cannon who has taken advantage of the badge in accepting favors and cutting corners where peoples' rights were concerned. Madigan also has a beautiful, upwardly mobile wife (Inger Stevens) who loves him but can't abide all the time his job takes him away from her or crimps her socializing; and he has never fully gotten over Jonesy (Sheree North), a saloon singer he knew before he was married. Madigan and Bonaro are given 72 hours to bring in Benesch and begin beating the bushes for leads. They get help from "Midget" Castiglione (Michael Dunn), a bookmaker and an old enemy of Benesch's, and a nervous, long-haired punk named Hughie (Don Stroud). While the clock ticks away on Madigan's and Bonaro's careers, the commissioner must decide how to deal with Kane, whose father -- also a police officer -- was like his own, and he must also fathom how a four-star chief could be involved with anything as tawdry as pressuring a tavern owner. Russell genuinely believes that there must be "one standard, one rule" for any member of the department, but in the course of this one weekend, he finds this notion shattered by what he discovers about Madigan, King, and himself. Meanwhile, Benesch is still on the loose, acting like a complete psycho and a threat to anyone who crosses his path. Russell's and Madigan's paths finally cross personally, as the detective proves -- and the commissioner discovers -- just how good a cop he is. ~ Bruce Eder, All Movie Guide

Sean Connery attempted to make a clean break from his "James Bond" image in the boisterous comedy A Fine Madness. Connery plays Samson Shillitoe, a Brendan Behan-like poet with a mile-wide misogynistic streak. Try as he might to complete his latest masterpiece, Shillitoe is constantly interrupted by the women in his life. Driven to a nervous breakdown, he seeks help from the medical establishment -- and ends up a babbling shell of his former self. The film takes scattered potshots at a repressive society that forces the truly creative among us into near-madness; at times, it is sidesplittingly funny, though never quite as potent as the Elliot Baker novel upon which it is based. Sean Connery is brilliant, but the public wanted James Bond to behave himself, thus the film didn't do as well at the box office as it should have. ~ Hal Erickson, All Movie Guide

Filmed in Ohio, One Potato, Two Potato was a "critic's darling" film of 1964 dealing with the then-daring topic of miscegenation. White Barbara Barrie divorces her husband Richard Mulligan, then falls in love with and marries African-American Bernie Hamilton. When the ex-husband sues for custody of Barbara's child, arguing that a mixed household is an improper place to raise the girl, Hamilton fights for his parental rights in court. But the judge is driven by the prejudices of the era, and the child goes back to its natural father. At the time of its release, One Potato, Two Potato was praised beyond all proportion for its realistic and progressive dissection of race relations. Only a few renegade critics like Judith Crist dared to note that sociologically, the film was still mired in the patronizing Pinky era. Instead of concentrating on the injustices heaped upon black Bernie Hamilton, the film's sympathies are almost totally directed towards poor, put-upon, snow-white Barbara Barrie. ~ Hal Erickson, All Movie Guide

Greenwich Village poet Duncan Kleist (Burgess Meredith) goes on a violent rampage early one morning, accosting people he meets for money and for help in mailing a parcel he's carrying. This leads to a confrontation with Stanley Dorkner (Herschel Bernardi). The two argue and fight, and Kleist is left to die on the street alone, his parcel gone and no witnesses to the assault. Detective Adam Flint (Paul Burke) leads the investigation -- but to determine who killed Kleist, he must first find out why he was killed. Flint interviews Mildred Pepper (Eileen Heckart), whom he lived with and abused for 20 years; Kleist's boyhood friend Kip Harris (Sanford Meisner), now a successful publisher, who wanted to see more of Kleist's work in print; Dorkner, to whom Kleist owed a 500-dollar bar tab; and the people with whom Kleist crossed paths on the last night of his life. The detective pieces together the tormented life of a shattered genius and finds out that Kleist had just been told that he had only days to live, a result of his alcoholism; he also learns that Kleist had planned to mail his unpublished manuscripts to his home town in Iowa, specifically to a woman he'd conjured up in his ramblings across the years named Gloria Christmas. Flint also discovers that the manuscripts were valuable enough to kill for -- and for Kleist to kill for. A humiliating confrontation with a young poet (Alan Alda) at Dorkner's tavern the night before Kleist's death had only brought matters to a head, and led to the murderous confrontation. ~ Bruce Eder, All Movie Guide

Off the air since its cancellation in the fall of 1959, the location-filmed cop drama Naked City returned to ABC's prime-time schedule on October 12, 1960. Originally a half-hour weekly, the series had been expanded to a full hour, and was seen on Wednesdays opposite a dramatic anthology on CBS and an antiseptic sitcom on NBC. Carried over from the half-hour version are Horace McMahon as veteran New York City cop Lt. Mike Parker, and Harry Bellaver as Frank Arcaro, who during the series' year-long hiatus had been promoted from patrolman to sergeant. New to the cast is Paul Burke as Parker's young partner Detective Adam Flint, and Nancy Malone as Flint's girlfriend Libby. Also new is the series' theme song "Somewhere in the Night," written by Billy May and Milton Raskin. Still filmed in its entirety in New York City, and as often as possible on authentic locations rather than inside studio walls, the new Naked City features a number of well-known actors in the supporting casts, among them Eli Wallach, Suzanne Pleshette, Leslie Nielsen, Claude Rains, Telly Savalas, Jack Lord, Dick York, Bruce Dern, Keir Dullea, Robert Duvall, Dennis Hopper, Roddy McDowall, Ed Asner, Peter Falk, Hume Cronyn, a good-looking youngster named Robert Redford, and, in his first major TV appearance, Dustin Hoffman (in the episode "Sweet Prince of Delaney Street)." ~ Hal Erickson, All Movie Guide

"There are eight million stories in The Naked City...This has been one of them." These words were intoned by producer Mark Hellinger at the conclusion of The Naked City, a 1947 detective film lensed in its entirety in New York City (quite an innovation in those Hollywood-dominated years). The same words were heard as the coda in each episode of the TV series Naked City, which like its movie predecessor was entirely shot in the Big Apple. Technically, there were two TV series bearing the title Naked City. The first, which aired on ABC from September 30, 1958 through September 29, 1959, was a weekly, half-hour endeavor, starring John McIntire as veteran NYPD lieutenant John Muldoon and James Franciscus as his youthful partner, Detective Jim Halloran. While Muldoon spent virtually every hour of his day tracking down the various robbers, muggers and two-bit hoodlums in his jurisdiction, Halloran divided his time between his job and his home life with wife Janet (Suzanne Storrs). In a startling plot development, Muldoon was killed in a car chase on the episode originally telecast March 17, 1959, whereupon another seasoned veteran, Lt. Mike Parker (Horace McMahon) took over as Halloran's partner. Also seen during Naked City's initial run was Harry Bellaver as patrolman Frank Arcaro. After a year-long hiatus, Naked City returned to the ABC schedule on October 12, 1960, this time as an hour-long series with several new cast members. Horace McMahon was back as Lt. Parker, as was Harry Bellaver as Frank Arcaro, who in the interim had been promoted to sergeant. New to the series was Paul Burke in the "young partner" slot as Detective Adam Flint, while Nancy Malone was seen as Flint's loyal, ever-patient girlfriend, Libby. Both incarnations of Naked City were outfitted with bluesy, evocative theme songs, with George Duning composing the theme of the 1958 version and Billy May and Milton Raskin handling the 1960 theme. And both were overflowing with familiar faces in their supporting casts, with such actors as Sandy Dennis, Dustin Hoffman, and Jon Voight making their earliest filmed TV appearances. The hour-long version of Naked City ended its ABC run on September 11, 1963. ~ Hal Erickson, All Movie Guide

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, All Movie Guide

Though Slaughter on Tenth Avenue's background music relies heavily on the Richard Rodgers composition of the same name, the film itself bears no relation to the ten-minute ballet for which Rodgers wrote the piece. Instead, this Albert Zugsmith-produced crime meller attempts to expose waterfront union racketeering. In trying to solves a murder on the docks, deputy DA Richard Egan runs up against the stevedores' code of silence. It also dawns on Egan that his own boss (Sam Levene) shows little interest in pursuing justice in this instance. The DA is finally able to mount a case, but at the crucial courtroom moment he may have to pull out due to lack of evidence--a lack engineered by crooked boss Walter Matthau, who has several local politicians in his pocket. A last-minute dockside battle enables Egan to bring the racketeers to justice. Slaughter on Tenth Avenue was based on New York district attorney William J. Keating's memoirs The Man Who Rocked the Boat. ~ Hal Erickson, All Movie Guide

Loosely based on a novel by James M. Cain, this romantic drama centers on the struggles of a humble vineyard worker (real-life opera star Mario Lanza) who rises to become a renowned opera star. In the original book, Damon, the protagonist, has a homosexual relationship with the patron who boosts his career, but in the film, the patron is a wealthy and manipulative young woman named Kendall (Joan Fontaine). As charming as she is selfish, poor Damon cannot help but fall in love with Kendall. Unfortunately, she is a fickle creature and soon grows bored with him, thereby breaking his heart and causing him to choke during his audition for the Met. Afterward, he flees to Mexico. There he comes down with a mysterious, debilitating movie disease. Fortunately, Juana, a beautiful ex-bullfighter's daughter is there to help him recover. Damon falls in love with her, but just as it looks like happiness will finally be his, conniving Kendall reappears. In addition to singing numerous selections from popular operas, Lanza also sings a pair of Sammy Cahn/Nicholas Brodszky pop tunes: "Serenade" and "My Destiny." ~ Sandra Brennan, All Movie Guide