Rosemary Murphy Movies

Stone (Karl Malden) and Keller (Michael Douglas) mingle with the cream of San Francisco society in search of a murderer. The victim was the blackmailing publisher of a sleazy tell-all magazine--and as a result, the detectives are confronted with a veritable "Who's Who" of suspects. This is the final episode of Streets of San Francisco's second season. ~ Hal Erickson, All Movie Guide

David Hartman stars as Lucas Tanner in this made for TV film. A former athlete and sportswriter, Tanner decides to become a high school teacher after losing his wife and son in an auto accident. His new career is almost over before it begins when Tanner is held responsible for the death of a student. Rosemary Murphy co-stars as Tanner's rules-are-rules principal. First telecast May 8, 1974, Lucas Tanner served as the pilot for the subsequent series of the same name, which also starred Hartman and Murphy. ~ Hal Erickson, All Movie Guide

A runaway box-office hit to the tune of 17 million dollars, Walking Tall is the unabashedly manipulative story of real-life Tennessee sheriff Buford Pusser. As played by Joe Don Baker, Pusser can either be regarded as a tireless champion of justice or a baseball-bat-wielding hooligan. But with some of the most scurrilous villains this side of a Republic serial as the main targets of Pusser's wrath, the audience cannot help but applaud the sheriff's strongarm methods. When the town baddies seek vengeance by killing Pusser's wife (Elizabeth Hartman), the you-know-what really hits the fan! Never resorting to subtlety, Walking Tall was such a winner that it spawned two sequels, a made-for-television movie, and a weekly TV series -- none of which were enjoyed by the real Buford Pusser, who had long since died under questionable circumstances. At the time of the film's theatrical release, the MPAA rating system was comparatively new, so the studio launched an ad campaign aimed at parents, letting them know that the R-rated Walking Tall contained violence and not sex, and therefore was good family entertainment. ~ Hal Erickson, All Movie Guide

When Cliff Robertson was toasted by Ralph Edwards on the TV series This is Your Life in 1972, Robertson was standing on the set of Ace Eli and Roger of the Skies. This production was announced as an "upcoming release"-though as it turned out, the film lay on the shef for several years thereafter. Robertson plays a barnstorming stunt flyer of the Roaring Twenties. Accompanying him from job to job is his 11-year-old son, Eric Shea. Despite having a child in tow, Robertson has no trouble scoring with the local lovelies wherever they go. 20th Century-Fox had so little faith in Ace Eli and Roger of the Skies that the company changed many of the names in the production credits: producer "Boris Wilson" was really Robert Fryer, director "Bill Sampson" was actually John Erdman and screenwriter "Chips Rosen" was known to friends and family as Claudia Salte. Only poor Cliff Robertson was denied the opportunity to cloak himself in an alias. ~ Hal Erickson, All Movie Guide

Football is the focus of this drama, adapted from Frederick Exley's famous novel. It tells the tale of an aspiring writer obsessed with football. His father was a football star, and the writer, wanting to follow in his dad's illustrious footsteps, constantly berates himself for not having any talent for the sport at all. The young man becomes so distraught, that he winds up in a mental hospital. In time, he comes to accept the fact that he is destined to be only a fan of the game. ~ Sandra Brennan, All Movie Guide

The star of the Broadway version of Any Wednesday was Sandy Dennis. Headlining the 1966 film version is Jane Fonda, who imbues her character with enough quirkiness to satisfy both herself and the endearingly mannered Ms. Dennis. Fonda plays the dippy mistress of philanderer Jason Robards, who visits his paramour only on Wednesdays (hence the title). Dean Jones costars as the erstwhile swain who messes up Robards' routine by falling in love with Fonda. Screenwriter Julius J. Epstein does a expert job at expanding Muriel Resnick's play for the screen without robbing it of its inherent charm. ~ Hal Erickson, All Movie Guide

Harper Lee's Pulitzer Prize-winning autobiographical novel was translated to film in 1962 by Horton Foote and the producer/director team of Robert Mulligan and Alan J. Pakula. Set a small Alabama town in the 1930s, the story focuses on scrupulously honest, highly respected lawyer Atticus Finch, magnificently embodied by Gregory Peck. Finch puts his career on the line when he agrees to represent Tom Robinson (Brock Peters), a black man accused of rape. The trial and the events surrounding it are seen through the eyes of Finch's six-year-old daughter Scout (Mary Badham). While Robinson's trial gives the film its momentum, there are plenty of anecdotal occurrences before and after the court date: Scout's ever-strengthening bond with older brother Jem (Philip Alford), her friendship with precocious young Dill Harris (a character based on Lee's childhood chum Truman Capote and played by John Megna), her father's no-nonsense reactions to such life-and-death crises as a rampaging mad dog, and especially Scout's reactions to, and relationship with, Boo Radley (Robert Duvall in his movie debut), the reclusive "village idiot" who turns out to be her salvation when she is attacked by a venomous bigot. To Kill a Mockingbird won Academy Awards for Best Actor (Peck), Best Adapted Screenplay, and Best Art Direction. ~ Hal Erickson, All Movie Guide

Having been invited to spend the weekend at a lavish estate, Donald Stuart (John Hudson) is upstairs preparing for dinner when he sees a man (Francis Bethencourt) beating his wife (Narda Onyx) to death. Rushing downstairs, Donald is surprised to see the same couple, happily exchanging affectionate words as if nothing has happened. In truth, nothing HAS happened: the murder which Donald saw won't occur until tomorrow...unless he does something to prevent it. ~ Hal Erickson, All Movie Guide

In this witty, well-written, and fast-moving drama, director Josef von Baky and scripter Fritz Kortner have fashioned a cutting statement on the nature of prejudice and ethnicity. A professor who emigrated from Nazi Germany to teach in Los Angeles comes back to Germany ten years later, intending to continue his career. He also needs to find out what happened to his ex-wife and son, the biggest motivation for his decision to return. He does find his ex-wife and they are happily reunited but exactly where his son may be is another question entirely. Meanwhile, a professor who stayed through the Nazi period in Germany is resentful of the repatriated "American" German, creating one of several problems that take their toll on the returned exile. ~ Eleanor Mannikka, All Movie Guide