CCH Pounder Movies

This West German film is set in the California Desert. A husband-and-wife pair of Bavarian tourists become stranded when their car breaks down; after a quarrel, the wife, Marianne Sagebrecht, gathers her luggage and stalks off. She stops at the Bagdad Cafe, a fleapit truckstop run by outspoken C.C.H. Pounder, who is also having husband problems. The Cafe has become a magnet for some of truly odd character: temperamental Hispanic cook George Aguilar, tattoo artist Christine Kaufmann, and onetime Hollywood set designer Jack Palance. Despite obvious personality differences, Sagebrecht and Pounder become friends. Bagdad Cafe was later adapted into a short-lived American sitcom starring Jean Stapleton and Whoopi Goldberg. ~ Hal Erickson, All Movie Guide

Set in 1972, The Resting Place stars John Lithgow as an Army major who accompanies the body of a young black lieutenant killed in action to the dead man's Georgia home town. Though the local cemetery is for whites only, the town's resident liberal has paid for a plot for the deceased lieutenant. Lithgow attempts to convince the racially divided community that the boy deserves to be buried in the segregated cemetery because he died a hero--but in so doing, the major unearths evidence that the lieutenant may have been "fragged" by his own troops. While it might seem that far too many issues are being raised for a mere two hours' screen time, Walter Halsey Davis' script successfully balances all the elements, and the results are both provocative and moving. The Resting Place was originally presented as a Hallmark Hall of Fame special on April 27, 1986. ~ Hal Erickson, All Movie Guide

The Atlanta Child Murders is a five-hour, two-part dramatization of one of the most tragic and controversial homicide cases of the past twenty years. From 1979 through 1982, some 28 African-American children and young adults disappeared from Atlanta--some without a trace, but others to later turn up as murder victims. Part One (which debuted February 10, 1985) details the beginning of the manhunt conducted by the Atlanta Chief of Police (James Earl Jones). Screenwriter Abby Mann uses the actual events as a springboard for his thesis that the case and its outcome revealed many uncomfortable truths about the still-fragile state of race relations in the New South. Both parts of The Atlanta Child Murders were later combined into one 245-minute "feature film."

The second part of the five-hour TV docudrama The Atlanta Child Murders originally aired February 12, 1985. After 28 African-American children and young adults have either disappeared or been murdered, the Atlanta police finally have a suspect in custody: Small-time show business entrepreneur Wayne Williams (Calvin Levels). Scriptwriter Abby Mann utilizes actual court transcripts of Williams' trial, which results in a conviction on one count of murder. This decision in essence leaves the cases of the other 27 victims unresolved--and in so doing, Mann opens the door to speculations that Williams, a black man, was a "convenient" suspect, who might possibly have been railroaded in the authorities' haste to find a solution to the sordid case. Whatever Mr. Mann may have felt concerning Williams' guilt or innocence, the fact remains that the murders and disappearances stopped cold once Williams was in custody (as of this writing, Williams persists in his efforts to reopen the case, claiming that he was framed by the white power structure). Morgan Freeman served as narrator for both installments of The Atlanta Child Murders. ~ Hal Erickson, All Movie Guide

Jill Clayburgh plays, as one character calls her, "a pill-popping dingbat" in this film adaptation of television producer Barbara Gordon's autobiographical account of her addiction to prescription drugs. Clayburgh plays Gordon in the film as a successful television documentary filmmaker whose mounting pressures force her to pop a Valium or two for nerves. She then ingests a few more pills after an argument with boyfriend Derek Bauer (Nicol Williamson). And thus begins her slow and steady compulsion to keep taking more and more Valium. Finally realizing her addiction, Gordon makes a disastrous attempt to go cold turkey but fails miserably, finally having to undergo a painful rehabilitation in an institution. ~ Paul Brenner, All Movie Guide

"It's showtime!" In this part film à clef, part musical phantasmagoria, director/choreographer Bob Fosse takes a Felliniesque look at the life of a driven entertainer. Joe Gideon (Roy Scheider, channeling Fosse) is the ultimate work (and pleasure)-aholic, as he knocks back a daily dose of amphetamines to juggle a new Broadway production while editing his new movie, not to mention ex-wife Audrey (Leland Palmer), steady girlfriend Kate (Ann Reinking), a young daughter, and various conquests. Joe cannot, however, avoid intimations of mortality from white-clad vision Angelique (Jessica Lange) that lead him to look back at his life as he heads for a near-inevitable coronary and his departure from this mortal coil with the appropriate razzle-dazzle. Taking his cue from Federico Fellini's 8 1/2 (1963), Fosse moves from realistic dance numbers to extravagant flights of cinematic fancy, as Joe meditates on his life, his women, and his death. Following a similarly dark revisionist vein as Martin Scorsese's New York, New York (1977), Fosse shows the stiff price that entertaining exacts on entertainers (among other things, he intercuts graphic footage of open-heart surgery with a song and dance), mercilessly reversing the feel-good mood of classical movie musicals. Critics praised Fosse's daring even as they damned his self-indulgence, while Scheider was lauded for giving the best performance of his career. Though not a disastrous failure, All That Jazz came nowhere near the popularity of 1978's Grease, as late '70s audiences increasingly turned away from "difficult" movies. For all its excesses, Fosse's fiercely personal approach turned All That Jazz into another striking work from one of the few directors able to make, and experiment with, movie musicals after the 1960s. ~ Lucia Bozzola, All Movie Guide