Gary Raymond Movies

The gimmick on this episode is a mind-transfer machine which drains all conscious thoughts from people, leaving them in a vegetative state. The villain of the piece steals the machine, hoping to harvest a secret code from the minds of three captured agents, each of whom knows only a portion of the code. Steed (Patrick MacNee), who devised this "selective memory" strategy, must go it alone to stop the villains. ~ Hal Erickson, All Movie Guide

Created by Lewis Griefer, the British series Who-Dun-It was a combination mystery series and audience-participation show. Each week for 13 weeks, Inspector Jeremy Moon (Gary Raymond) was assigned to solve a baffling murder. Just before Moon announced his findings, the home viewers were given all the clues and invited to supply their own solution (a gimmick previously utilized on several American and British radio series, notably "Ellery Queen"). Who-Dun-It was originally broadcast in 1969. ~ Hal Erickson, All Movie Guide

Filmmaker George Stevens chose Monument Valley, Utah for his exterior sequences in The Greatest Story Ever Told, this ($20 million) adaptation of Fulton Oursler's best-selling book. The "Greatest Story" is, of course, the life of Jesus Christ, played herein by Max Von Sydow. The large supporting cast includes Dorothy McGuire as Mary, Claude Rains as Herod the Great, Jose Ferrer as Herod Antipas, Charlton Heston as John the Baptist, Donald Pleasence as Satan (identified only as "The Dark Hermit"), David McCallum as Judas Iscariot, Sidney Poitier as Simon of Cyrene, Telly Savalas as Pontius Pilate and Martin Landau as Caiaphas. Even Robert Blake as Simon the Zealot, Jamie Farr as Thaddaeus, and motorcyle-flick veteran Richard Bakalyan as Dismas, the repentant thief, are well-suited to their roles. Originally roadshown at 260 minutes, Greatest Story Ever Told was later available in a 195-minute version. ~ Hal Erickson, All Movie Guide

Adapted from the classic play by John Millington Synge, The Playboy of the Western World opens with the arrival of a stranger, Christy Mahon, in a small Irish town. Entering Michael James's pub, the locals -- including pretty Pegeen, the innkeeper's daughter -- convince him to tell his story, whereupon he reveals that eleven days previous he hit his mean, persecuting father with a shovel and killed him. Rather than being scandalized, however, the denizens applaud his courage and audacity; James even hires him, thinking the lad will keep his daughter safe from harm when he must be away. Pegeen's fiancé, Shawn, disapproves, but Pegeen dismisses him. Christy grows more bold as he sees the respect and admiration his deed has earned for him. What is he to do, then, when an unexpected visitor shows up -- his father, who it turns out did not die from Christy's blow and who now has come to punish his errant son and take him back home? When he is unmasked in front of all, Christy improvises a solution, but it fails to return him to the town's -- or Pegeen's -- good graces. Eventually, Christy leaves the town, a different man than when he entered. ~ Craig Butler, All Movie Guide

When French playwright Pierre Corneille wrote El Cid, a fanciful version of the life of 11th-century Spanish hero Rodrigo Diaz de Bivar, aka "El Cid", an attempt was made to honor the "classic unities" and to compress the whole story into a single day! Be assured that the 1961 film version of El Cid is more faithful to the actual chronology. Charlton Heston adds one more character to his gallery of historical portrayals as El Cid, the disgraced Spanish knight who rids his country of its Moorish conquerors. The triumphs of El Cid's military life are not matched by his private affairs; he is betrayed by his bride Chimene (Sophia Loren) and is made a political pawn by the avaricious Spanish landowners. El Cid has a climax unique in the annals of movie epics: the final assault against the landgrabbers is led by a dead hero. El Cid established the short but generally profitable reign of producer Samuel Bronston as the King of the Epics; his imprint on the film is much stronger than that of director Anthony Mann. ~ Hal Erickson, All Movie Guide

In this lush, lurid adaptation of the 1957 Tennessee Williams one-act, Elizabeth Taylor and Katharine Hepburn play a seemingly insane, young New Orleans debutante and the wealthy aunt who wants to lobotomize her. Dr. John Cukrowicz (Montgomery Clift) is a gifted Chicago brain surgeon stymied by the primitive operating conditions at the New Orleans asylum where he works. Society matron Violet Venable (Hepburn) offers a solution in the form of a million-dollar grant -- as long as Cukrowicz will treat her niece, Catherine (Taylor). Catherine, it seems, has been institutionalized since the sudden death of her cousin, Violet's son, Sebastian, overseas the previous summer. As the young doctor tries to get to the bottom of what happened to Catherine, Violet's steely demeanor and devotion to Sebastian present a formidable barrier. Catherine herself doesn't offer much help, her recollections jumbled by medication and the trauma of Sebastian's demise. Under pressure to seal the deal and cut into Catherine's brain, Cukrowicz's principles (and attraction to the young woman) prevent him from proceeding until he uncovers what actually happened to Sebastian. In his memoirs, Gore Vidal claims to have written the screenplay for Suddenly, Last Summer single-handedly, although Williams took half the credit. Vidal toned down the original play's allusions to pedophilia, cannibalism, and incest, but the film nonetheless provoked heated controversy. As for the cast, an unhappy Hepburn reportedly was threatened by the attention lavished on Taylor by director Joseph L. Mankiewicz, whom Hepburn had hired to produce The Philadelphia Story two decades earlier. Mankiewicz, for his part, allegedly hated Clift, whose drinking and partial paralysis from an auto accident prevented him from working more than half a day at a time. ~ Brian J. Dillard, All Movie Guide

Archetypal British "angry young man" Jimmy Porter (Richard Burton) is a college-educated bloke who can't seem to get any better job than working in a candy store. Jimmy's relationship with his wife Alison (Mary Ure) alternates between hugs and kisses when he's feeling good and verbal abuse when he's down on himself, which is often. Alison's best friend Helena Charles (Claire Bloom) advises Alison to escape her injurious marriage. Left with no one for a punching bag, Jimmy romances Helena. Having suffered a miscarriage, Alison returns, and Helena walks out of Jimmy's life. In keeping with its depiction of the dead-end existence of most of England's working poor in the late 1950s, nothing is truly resolved in Look Back in Anger. Playwright John Osborne (at that time married to Mary Ure) uses Jimmy Porter as a spokesman for Osborne's own spleen-venting harangues against the British government and class system. Not only did Look Back in Anger spawn a new genre of British social-protest films, but it also inspired two remakes, both filmed for television. ~ Hal Erickson, All Movie Guide