Cathleen Nesbitt Movies

This drama is about a lonely young girl who fantasizes about adventures with Peter Pan and develops a friendship with a lonely old woman to escape her sadness. ~ Steve Huey, Rovi

The film traces the lifelong relationship between playwright Lillian Hellman and Julia, a wealthy girl who turns her back on her upbringing to follow her ideals. In the 1930s, while the adult Hellman (Jane Fonda) struggles to establish herself as a playwright with the help of her lover, Dashiell Hammett (Jason Robards), Julia (Vanessa Redgrave) battles the exigencies of the Nazi regime. Visiting Julia in Germany, Lillian realizes how much her friend's idealism has cost her, both physically and financially. Lillian is asked by Julia's friend Johann (Maximilian Schell) to smuggle a large sum of money from Paris to Germany, the better to combat the Nazis from within. Nominated for 11 Academy Awards, including Best Picture, Best Director, and four acting awards, Julia won for Alvin Sargent's screenplay and Robards' and Redgrave's performances, leading to Redgrave's infamous "Zionist hoodlums" acceptance speech. ~ Hal Erickson, Rovi

Alfred Hitchcock's final film was adapted from Victor Canning's novel The Rainbird Pattern by Ernest Lehman, who previously wrote the screenplay for Hitchcock's North by Northwest. Barbara Harris plays Blanche, a phony psychic, hired by wealthy Julia Rainbird (Cathleen Nesbitt) to trace the whereabouts of her nephew, who'd been given up for adoption years earlier and who is now heir to a fortune. Blanche's cohort is "investigator" Lumley (Bruce Dern), who is fully prepared to milk the last dollar out of Julia before locating the long-lost nephew. Meanwhile, we are introduced to elegant kidnappers Adamson and Fran (William Devane and Karen Black). The fates of the two couples are inextricably intertwined by the search for the missing heir. ~ Hal Erickson, Rovi

Homosexuality is only incidentally important in this drama of dependence and intimacy between two aging hair stylists, and nothing shocking to staid and heterosexual sensibilities takes place in this movie, a star turn for Richard Burton and Rex Harrison. Whether the original play was as patently offensive to actual homosexuals as this movie is, is open to question. What is certain is that it grossly exaggerates every unpleasant "fag" stereotype in the books, However, the lead actors skillfully make art out of these very same offensive tics, demonstrating the mysterious power of great performers to make a silk purse out of a sow's ear. In the story, Charlie (Harrison) and Harry (Burton) have been roommates, business partners and intimates for many long years, and their convoluted mutual dependency is every bit as complicated as that between any aged but incompatible couple who have grown used to one another over the years. Charlie thinks he can do without Harry, but Harry knows better and patiently bears the barbs and arrows that come his way. One of the nicer aspects of the stereotypical portrayal is that both men get to demonstrate some beautifully sharp, barbed wit. ~ Clarke Fountain, Rovi

A woman has to choose between the rich man she wants and the bohemian type who loves her in this comedy. Michele O'Brien (Leslie Caron) is a young widow raising a baby in Greenwich Village. She's decided that her child needs a father, and she determines that her best bet as a prospective mate is Dr. Phillip Brock (Robert Cummings), a well-heeled child psychologist. The only trouble is, Phillip doesn't like children very much, so Michele tries to keep her baby a secret from him. Michele's upstairs neighbor, Harley Rummell (Warren Beatty), is in love with her and is more than happy to baby-sit; however, Harley makes his living shooting nudie films in his flat, and when the baby begins making cameo appearances in the films, Michele starts wondering if Harley might be a bad influence on the tyke. William Peter Blatty, later to write the best-selling novel The Exorcist, penned the screenplay. Keep an eye peeled for a young Donald Sutherland in a bit part. ~ Mark Deming, Rovi

We get a double dose of Hayley Mills in this Disney vehicle: she plays 13-year-old identical twins Susan and Sharon, who meet for the very first time in summer camp. They soon learn that they were separated at a very early age when their parents Mitch and Maggie (Brian Keith and Maureen O'Hara) divorced. On a lark, the girls switch places: the one living with Mitch goes back home with Maggie, and vice versa. Mitch is planning to remarry the "wrong woman," vituperative Vicky (Joanna Barnes). The twins conspire to reunite their parents, but the road to reconciliation is rough indeed. It takes a slapsticky camping trip to get rid of the troublesome Vicky and to prompt Mitch and Maggie to renew their vows. The film introduced a hit song, "Let's Get Together," which represented the high point of Hayley Mills' very short-lived recording career. The Parent Trap was based on Das Doppelte Lottchen, a novel by Erich Kastner, which had previously been filmed in German and British versions (real twins were cast in both); over thirty years after Parent Trap was theatrically released, a short series of sequels were made for the Disney Channel cable service, with a grown-up Mills back in her original role(s), and two sets of second-generation twins. Baby Boom collaborators Nancy Meyers and Charles Shyer would remake the film with a new cast in 1998. ~ Hal Erickson, Rovi

Irregularly scheduled on NBC from 1954-1957, Producers' Showcase was a series of lavish, full-color, 90-minute specials, bringing the best of Broadway to the 21-inch screen. One of the more memorable presentations in this anthology was director Vincent Donahue's live staging of Clare Boothe Luce's brilliantly vitriolic 1936 stage comedy, The Women, which had previously been filmed by MGM in 1939. Boasting a stellar all-female cast, The Women centers around the tactics used by the supposedly demure Mary Haines (here played by Ruth Hussey) to win back her husband from predatory shopgirl Crystal Allen (Shelley Winters). Meanwhile, Mary's so-called friends gossip, bicker, and "diss" with bitchy abandon, both in New York and on a Reno "divorce ranch." Mary Boland, who played the much-married Countess DeLage in the 1939 movie, repeats her role in the TV version, while Paulette Goddard, who portrayed mercenary chorus dancer Miriam in the film, is here ironically cast as the malicious Sylvia Fowler, whose husband is stolen away by Miriam (played on this occasion by Valerie Bettis). The Women was adapted for television by Sumner Locke Elliot. ~ Hal Erickson, Rovi

Adapted by playwright John Patrick from a novel by famed globetrotter/filmmaker John H. Secondari, Three Coins in the Fountain offers the splendors of Rome in Technicolor, CinemaScope and Stereophonic Sounds. For all its lovely picture-postcard images, the film is at base a reworking of 20th Century-Fox' favorite plotline: three pretty girls on the prowl for husbands. The three lovelies, who toss their coins in the Trevi fountain and wish for romance, include Dorothy McGuire, Jean Peters and Maggie McNamara. Before the film is over, secretary McGuire has wooed her boss, Clifton Webb, Peters has won the heart of a co-worker Italian translator Rossano Brazzi (despite being fired, in the process, for having an office romance); and McNamara finds happiness with prince Louis Jourdan. Three Coins in the Fountain won two Academy Awards: "Best Color Cinematography" (Milton Krasner), and "Best Song" (written by Sammy Cahn and Jimmy Van Heusen, and sung in the pre-credits sequence by an uncredited Frank Sinatra). The film was remade in 1965 as The Pleasure Seekers, and also served as the basis for a never-sold TV pilot starring Yvonne Craig, Cynthia Pepper and Joanna Moore. ~ Hal Erickson, Rovi

Vernon Sewell, a mercurial filmmaker who preferred to lens his pictures on chunks of his own property, was the director of Black Widow. We don't know which of Sewell's real estate holdings served as the locale for this amnesia meller. We can, however, tell you that the film was inspired by the BBC radio serial "Return from Darkness." Returning from you-know-where is Robert Ayres, who learns that his wife (Christine Norden) is planning to bump him off with the help of her boyfriend (Anthony Forwood). Ayres continues feigning a loss of memory until he is able to get the drop on his would-be murderers. ~ Hal Erickson, Rovi

In this melodrama, a London girl falls happily in love with a Frenchman and immediately goes blind. Convinced her affliction is a Divine punishment for her sins, she joins a convent. The good sisters know she does not belong there and gently convince her to leave. Shortly after returning to secular life, the Frenchman marries her and they move to France to live in his parents' manor. There, the poor bride begins feeling like an unwelcome guest and like someone wants her dead, but cannot prove it. She expresses her fears, but no one believes her and after a particularly terrible fight, she miscarries. Feeling unloved by her own husband, the poor woman returns to England. There she undergoes a potentially dangerous but successful operation to restore her sight. Still upset her husband's lack of belief, she returns to France to prove her allegations. ~ Sandra Brennan, Rovi