Roy Poole Movies

In the final episode of the seven-part, eighteen-hour miniseries The Winds of War, Ambassador-at-large "Pug" Henry (Robert Mitchum) represents the US in a series of conferences with the intansigent Russian premier Josef Stalin (Anatoly Chauginian). Dallying briefly with his erstwhile British sweetheart Pamela Tudsbury (Victoria Tennant), Pug stays in Moscow long enough to witness the attempted Nazi invasion. Meanwhile, Pug's daughter-in-law Natalie (Ali McGraw) and her Uncle Aaron (John Houseman) are among the Jewish refugees being smuggled into Palestine. And back in the Western Hemisphere, Pug's sons Byron (Jan-Michael Vincent) and Warren (David Dukes) are swept up in the Japanese attack on Pearl Harbor. The Winds of War was adapted by Herman Wouk from his own novel. ~ Hal Erickson, Rovi

In this suspenseful made-for-television thriller a homicidal maniac kidnaps a young girl and a female television reporter and holds them hostage in the bowels of Grand Central Station. ~ Sandra Brennan, Rovi

In his first major TV project since Kojak, Telly Savalas stars as maverick Philadelphia criminal lawyer Nick Hellinger. He heads to Houston to defend a syndicate accountant accused of murder. The government seems inordinately interested in the case, as well it should be: The accountant is actually an undercover agent. Mob boss (Rod Taylor) also puts pressure on Hellinger in regards to the case. Hellinger's Law was the pilot for a series that looked as though it was an easy sell; but when it came down to the line, CBS, despite allegedly ordering several scripts to be written, decided not to go with the show. ~ Hal Erickson, Rovi

The eternally victimized Elizabeth Montgomery is the star of Act of Violence. She plays a recently divorced newswoman whose world is shattered by a gang mugging (an astonishingly brutal sequence for a TV movie). The injuries subside, but Montgomery must heal her emotional wounds--and also reassess her liberal attitudes towards the rights of criminals. She is incapable of rational thought under the circumstances, and transforms into a vengeful bigot. The working title of Act of Violence was The Victim...Anatomy of a Mugging. ~ Hal Erickson, Rovi

Based on the novel by Harold Robbins, this is the story of Loren Hardeman, Sr., a Midwestern automobile manufacturer (Lord Olivier) who pins his future on The Betsy, a "wonder car" named after his daughter (Kathleen Beller). The Betsy is designed to last practically forever, which doesn't rest well with the "planned obscolence" mindset of the auto industry. Flashbacks cover his career from his 40s to the present, when he is in his 90s. Hardeman, Sr. has a weak-willed son, Hardeman, Jr., (Robert Duvall) who is forced into taking charge of the family business. ~ Hal Erickson, Rovi

Stone (Karl Malden) is appalled by an upsurge in teenage crime, especially because the perpetrators have been able to escape punishment because they're still "children" in the eyes of the law. Bucking against public opinion and political pressure, Stone tries to change the laws so that the teen outlaws will be tried as adults. Mark Hamill, on the verge of celebrity by virtue of Star Wars, is afforded "special guest star" billing in the episode; Carl Weathers, despite his burst of fame as Apollo Creed in Rocky, is merely listed among the featured players. ~ Hal Erickson, Rovi

A trenchant satire of "trash TV," Network seems to grow only more relevant with each passing year. Howard Beale (Peter Finch), the dean of newscasters at the United Broadcasting System, is put out to pasture because he "skews old." Network executive Max Schumacher (William Holden), Howard's best friend, is forced to deliver the bad news. Beale can't stomach the idea of losing his 25-year post as anchorman simply because of age, so in his next broadcast he announces to the viewers that he's going to commit suicide on his final program. Network head Frank Hackett (Robert Duvall) is all for kicking Beale out then and there, but when it looks as though the UBS is going to have its greatest ratings ever on the night of Beale's self-destruction, ambitious programming exec Diana Christensen (Faye Dunaway) talks Hackett into treating that fateful final telecast as a special event. Naturally, Beale doesn't go through with it -- but he does begin rambling about the horrible state of the world in general and television in particular. He concludes his tirade by admonishing his viewers to "Go to the window and shout as loud as you can: 'I'm mad as hell and I'm not going to take it anymore!'" With that, Howard Beale becomes the hottest TV personality in America, and Diana becomes the network's fair-haired girl. She draws up plans to treat the nightly news broadcast as garish entertainment (complete with a psychic), all built around the rants of Beale, billed as "The Mad Prophet of the Airwaves." Network won Oscars for Paddy Chayefsky's screenplay as well as for three of four acting categories -- Dunaway for Best Actress, Peter Finch for Best Actor (in the only posthumous Oscar yet awarded), and Beatrice Straight for Best Supporting Actress, in one of the shortest-screen-time performances ever to win an Oscar. ~ Hal Erickson, Rovi

Richard Fleischer directed this lurid historical drama based on the novel by Kyle Onstott. The story begins on a run-down plantation lorded over by Warren Maxwell (James Mason) and his son Hammond (Perry King). Hammond travels to New Orleans where he buys a top-of-the-line slave, Mede (Ken Norton), at an auction. Hammond is proud of his purchase, hoping to bring in money by training Mede to fight his other slaves. Hammond returns with Mede to the plantation, where he has to contend with his sex-crazed wife Blanche (Susan George). Hammond looks upon Blanche as damaged goods since he discovered her to not be a virgin on their wedding night. Instead, Hammond prefers erotic pursuits with his slave Ellen (Brenda Sykes). Blanche licks her lips at the sight of Mede, and seduces him to get revenge on her husband. Blanche soon becomes pregnant and gives birth to a half-black baby. Enraged, Hammond comes after Blanche, poisons her, and then the child bleed to death before going after Mede. ~ Paul Brenner, Rovi

In this episode,Banacek must investigate the disappearance of an innovative rocket after it is stolen from an exposition center. ~ Sandra Brennan, Rovi

The first independent production of former studio mogul Jack Warner, 1776 was adapted from the hit 1969 Broadway musical by Peter Stone and Sherman Edwards. William Daniels, Ken Howard, and Howard Da Silva are among the many actors who recreate their Broadway roles. The story is set during the first Continental Congress, when the Declaration of Independence was drafted by such founding fathers as John Adams (Daniels) and Benjamin Franklin (Da Silva). The script attempts to "humanize" these remote historical figures by contemporizing them -- particularly the character of Ben Franklin. Blythe Danner's character of Martha Jefferson is expanded for the film version to allow for an elaborate outdoor production number. After 1776, Warner made only one more film, the 1972 "grunge Western" Dirty Little Billy. On an added note: the picture was originally rated G with its theatrical running time of 141 minutes. It was later expanded to 166 minutes; the added scenes caused the MPAA to re-rate it PG (for language) in 1992. Both versions are available on video. ~ Hal Erickson, Rovi

Made for TV, The Face of Fear resuscitates a plot gimmick that probably wasn't new when it was used in Doug Fairbanks' 1916 vehicle Flirting With Fate. Elizabeth Ashley plays a Midwestern schoolmarm who is dying of leukemia. Hoping to end the suffering as expeditiously as possible, she hires a mob assassin to kill her. It must needs be that she changes her mind; equally predictable is the fact that her killer-to-be hasn't changed his. With the help of a police lieutenant (Jack Warden), the woman desperately tries to locate and dissuade the hit man before he can fulfill his end of the bargain. Shot on location in San Francisco, Face of Fear was first telecast October 8, 1971. ~ Hal Erickson, Rovi

The FBI launches a search for Curtis Stone (Roy Poole), a sleazy extortionist who preys upon the families of servicemen. There is someone else anxious to catch up with Stone: Sgt. Paul Devlin (John Ericson), whose wife committed suicide while he was in Vietnam. Holding Stone responsible for his wife's death, Devlin is determined to mete out his own brand of retribution--and Inspector Erskine (Efrem Zimbalist Jr.) is equally determined to prevent the embittered Devlin from becoming a murderer. ~ Hal Erickson, Rovi

This 17th-century British costume drama is taken from the life of the first Duke of Marlborough, John Churchill. Originally he and his wife Sarah were held in high esteem by Queen Anne. But when they involved themselves in political intrigue, they were socially and financially ruined. ~ Sandra Brennan, Rovi