Anthony Ray Movies

Sam Greenlee's cult favorite novel of political unrest was brought to the screen in this drama, which also earned a small but loyal following. A congressman hoping to attract African-American voters during an election year decides to make political hay by pointing out that the Central Intelligence Agency has no black agents. Bowing to subsequent public pressure, the CIA admits a number of black applicants to their training program, but they purposefully make the process difficult and unpleasant enough to winnow out nearly all the African-American students. Dan Freeman (Lawrence Cook), a strong, intelligent but soft-spoken man, somehow makes it through the gauntlet to become the black CIA agent; however, rather than being given important field assignments, Freeman is put in charge of the agency's copying machines and gives tours of their facilities to give the offices a progressive front for visitors. After a few years, Freeman leaves the agency to move back to his hometown of Chicago and do work with the community...at least that's what he tells his superiors. In fact, Freeman has used his time at the CIA collecting information on how to launch a political revolution, and not long after he arrives in the Windy City, he begins recruiting an army of leftist radicals and black nationalists fed up with the system. With their help, Freeman launches the first stage of an armed revolt with the stated goal of bringing the white-dominated power structure to its knees. The Spook Who Sat by the Door was a rare feature directorial assignment for Ivan Dixon, best known as an actor (he played Sgt. "Kinch" Kinchloe on Hogan's Heroes), Dixon has an extensive resume of directorial credits, but primarily in episodic television. Spook is his second theatrical release. ~ Mark Deming, All Movie Guide

Made on the heels of Paul Mazursky's Bob & Carol & Ted & Alice, this cinematic experiment is one of the director's more personal films. With a big tip-'o-the-hat to Fellini's 8 1/2 (to make sure no one misses the references to the film, Federico Fellini appears in a cameo), Alex in Wonderland centers on a young director (Donald Sutherland) who feels compelled to follow his recent box-office hit with another blockbuster. While mulling over this dilemma, the director's mind wanders to his past, his present, and probable future. One of the film's memorable sequences involves a restaging of the Vietnam War in downtown Hollywood. ~ Hal Erickson, All Movie Guide

"Consider the possibilities," read the ads for Paul Mazursky's 1969 satirical comedy about what happens when the sexual revolution hits affluent bourgeois life. After a weekend of "beautiful" emotional honesty at an Esalen-type retreat, married wannabe hipsters Bob (Robert Culp) and Carol (Natalie Wood) return to their well-heeled Los Angeles life determined to apply the principles of free love and complete openness to their marriage. To the respective curiosity and repulsion of their married best friends, Ted (Elliott Gould) and Alice (Dyan Cannon), Bob and Carol have affairs that they happily reveal to everyone. Inspired by all that openness during the quartet's trip to Vegas, Ted admits an affair of his own, provoking the outraged Alice to demand that this new ethos be taken to its obvious conclusion: a mate-sharing foursome. Once they're bedded down and ready to go, however, they start to have second thoughts. Without sacrificing authenticity for comedy, first-time director Mazursky and co-writer/producer Larry Tucker delve into the confusion of the Eisenhower generation when faced with the temptations of the counterculture. Too old to be hippies and too young to be fogies, the would-be California swingers sincerely attempt to try on the lifestyle, but it never looks quite right. A then-controversial example of the New Permissiveness both onscreen and off, Bob & Carol debuted at the New York Film Festival to great praise, particularly for Gould and Cannon. Whether they wanted to laugh at their elders' faux looseness or see what their peers might be doing, audiences turned Bob & Carol into a substantial hit, and its observations about marriage and sex remain humorously sharp even if the encounter group jargon is past its vogue. ~ Lucia Bozzola, All Movie Guide

Shadows was John Cassavetes' first directorial effort. Like his later critically acclaimed films Faces and Husbands, Cassavetes fills the screen with probing, unflattering closeups. Unlike his other films, however, Shadows zips along at 87 minutes, avoiding the pitfall of putting the director's nonfans to sleep. The film is a straightforward account of a biracial romance (a far less common film subject in 1960 than today). Light-skinned African-American Lelia Goldoni falls in love with a white man Anthony Ray, who spurns her when he meets the rest of her family. Far from subtle, Shadows benefits from the undisciplined energy of its direction and the excellence of its individual performances. Costing a scant $40,000 (less than the average half hour TV episode of the era), Shadows won the Critic's Award at the Cannes Film Festival and led to more expensive studio assignments for John Cassavetes. ~ Hal Erickson, All Movie Guide

Actually, this retelling of the life of outlaw Jesse James is only as true as its predecessor, the highly fanciful 1939 Tyrone Power-Henry Fonda starrer Jesse James. Generous chunks of stock footage from the earlier film are reused here, albeit reframed to accommodate the CinemaScope process. Robert Wagner makes an interesting James, though he is upstaged throughout by Jeffrey Hunter as his brother Frank. Adhering to the Canon, the film insists that the James boys were forced into a life of crime by greedy railroad men -- hence, their ongoing vendetta against trains. Director Nicholas Ray adds a few psychological nuances not found in the more prosaic 1939 film. John Carradine, who played "dirty little coward" Bob Ford in the original Jesse James, appears in the remake as Rev. Jethro Bailey. ~ Hal Erickson, All Movie Guide