Tony Roberts Movies

Richard Rodgers was one of the finest and most influential composers the American musical theater ever produced; with such distinguished collaborators as Lorenz Hart and Oscar Hammerstein II, Rodgers crafted such classics as Oklahoma, The Sound of Music, Pal Joey, Carousel, South Pacific, Babes in Arms, The Boys From Syracuse, and Cinderella. Richard Rogers: Sweetest Sounds is a documentary produced for the PBS series American Masters which examines Rodgers' remarkable career, which spanned six decades, as well as his often troubled personal life, which was clouded by spells of alcoholism and depression. Richard Rogers: Sweetest Sounds includes interviews with composers Andrew Lloyd Webber and Richard Rodney Bennett, vocalists Julie Andrews and Maureen McGovern, jazz artist Billy Taylor, actress Celeste Holm, and critic John Lahr. ~ Mark Deming, All Movie Guide

Investigating the stabbing death of a psychologist, the detectives find themselves in the middle of a bitter domestic dispute between a man and wife, Catholics both. The key to the investigation is the fact that the victim worked closely with the Archdiocese to arrange annulments. Once all the evidence is in, the DA's office must fence with an extremely resourceful defense attorney. ~ Hal Erickson, All Movie Guide

This made-for-cable version of Arthur Miller's play The American Clock was adapted for television by Frank Galati. Inspired partly by Studs Terkel's oral history Hard Times, and partly by Miller's own recollections, the film is set at the beginning of the Depression. When the stock market crashes, the well-to-do Baumler family (John Rubinstein, Mary McDonnell, Loren Dean) loses everything. The Baumlers are forced to move from their plush penthouse apartment to the less-attractive Brooklyn digs of Mrs. Baumler's sister (Joanna Miles). Twelve-year-old Lee Baumler (Dean), the Arthur Miller counterpart, hits the road to find out how others are coping with the Long National Nightmare. The alternately depressing and uplifting storyline moves along briskly to a surprisingly abrupt climax. Kelly Preston, David Strathairn, Eddie Bracken, Darren McGavin, and Estelle Parson co-star in The American Clock, which premiered over the TNT Cable Network on August 23, 1993. ~ Hal Erickson, All Movie Guide

A young aspiring actress is killed by a lethal drug overdose. At first glance, it seems the girl was driven to her death by her mother, the proverbial "stage mom from hell." But as the detectives and the D.A.'s office pursue the investigation, it becomes painfully clear that both mother and daughter are inextricably linked with the sleazy producer of porno films. This episode offers an interesting change-of-pace role for frequent Woody Allen co-star Tony Roberts. ~ Hal Erickson, All Movie Guide

On his 81st birthday, grandpa George Burns, bemoans the fact that he's wasted his life, and wishes he had it to do all over again. He gets his wish when he and his 18-year-old grandson Charles Schlatter are involved in an auto accident. When he awakens, Burns' personality has been transferred to Schlatter's body, and vice versa! ~ Hal Erickson, All Movie Guide

The PBS series Great Performances first presented the made-for-TV feature Seize the Day. The time is the success-driven '50s; Robin Williams plays Tommy Wilhelm, a middle-ager who has just lost his salesman's job. Margaret, his wife (Katherine Borowitz), is on the verge of divorce and fully intends to take him to the cleaners whether he has an income or not. Doctor Adler (Joseph Wiseman), Tommy's judgmental father, cannot abide having a failure in the family and refuses to lend his son a single penny. In desperation, Tommy heads to New York City, where his old wheeler-dealer pal Dr. Tamkin (Jerry Stiller) has promised him a job. Even there, however, Tommy is defeated by the cold-shoulder treatment afforded him by the people whose opinions he values most. Seize the Day was adapted by Ronald Ribman from the novel by Saul Bellow. ~ Hal Erickson, All Movie Guide

In this serio-comic made-for television adventure, an L.A. family gets more than it bargained for when it abandons the smog and hubbub for the peace of rural Oregon. Unfortunately, instead of finding a violence-free environment, they discover that they are surrounded by ultra-right-wing survivalists. ~ Sandra Brennan, All Movie Guide

Filmed in and around Houston, Girls in the Office is an easily digested TV movie with an all-video-star cast. The office is in a large Houston department store. The girls are four in number: Susan Saint James, Barbara Eden, Penny Peyser and Robyn Douglass. The film follows the quartet as they try to balance their jobs with their love lives. Some of the ladies opt for business, others for pleasure; look at the cast and figure out who does which. The viewer's interest in Girls in the Office is entirely dependent upon how appealing one finds its stars. The film couldn't help but do well when it was first telecast in February of 1979: its competition was the McLean Stevenson sitcom Hello, Larry. ~ Hal Erickson, All Movie Guide

When an heiress is falsely accused of the murder of her husband, she is assisted by 2 crafty criminal lawyers. ~ All Movie Guide

The Lindbergh Kidnapping Case, based on newspaper coverage, court testimony and eyewitness accounts, was dramatized for television by J.P. Miller. Cliff DeYoung and Sian star as Charles Lindbergh and his wife Anne Morrow Lindbergh. The couple's 2-year-old son Charles Jr. is kidnapped from the family's Hopewell, New Jersey home on March 1, 1932; though the ransom is paid, the child's body is found a few days later. All circumstantial evidence points to German expatriate Bruno Richard Hauptmann (Anthony Hopkins) as the kidnapper/murderer. While never seriously challenging the notion of Hauptmann's guilt, the film raises several questions concerning the fairness of his trial. The Lindbergh Kidnapping Case first aired in a three-hour timeslot on Febrary 26, 1976. ~ Hal Erickson, All Movie Guide

Jerry Paris's Star Spangled Girl (1971), based on Neil Simon's play (a notorious Broadway flop), never made much of an impression in theaters, which is understandable with a cheap, overlit television look to most of it and Davy Jones singing the song "Girl" over the main titles (which got a lot more visibility from its use in the Brady Bunch episode in which Marsha has to get the singer to appear at her school), it looked too much like a small-screen production blown up; it was dated from the first frame of its opening credits. Tony Roberts and Todd Susman play Andy Hobart and Norman Cornell, a pair of self-styled political radicals living in California, beating the system by stealing as much as they can from neighborhood shops and conning the rest out of anyone around, all for the greater goal of keeping their underground newspaper alive and kicking. Their lifestyle is a cross between the ideas in Abbie Hoffman's Steal This Book and Max Bialystock's dalliances in The Producers. Into their midst moves a transplant from rural Florida, Amy Cooper (Sandy Duncan) (who was called Sophie Rauschmeyer in the play), a perky aspiring Olympic swimmer and old-fashioned, patriotic Southern girl, and as corn-fed a hick as you found in movies in 1971 without a cynical bone in her body. Norman, a hopelessly neurotic and sexually dysfunctional writer, falls in love with her almost instantly upon encountering her; not, mind you, based on her personality or even her looks, but her smell. Andy is, at first, oblivious to her charms and content to maintain his relationship with their libidinous landlady (Elizabeth Allen, totally wasted here), paying their rent with all-night barhopping and trysts involving skydiving. At some point, however, Amy decides she has to have Andy (based on his smell...), and he feels the same way. Andy and Norman end up -- Odd Couple-style -- in conflict over their differing approaches to life; the Odd Couple allusions are further amplified by Roberts' remarkable resemblance to Walter Matthau in his manner and delivery of dialogue. The story is resolved as unconvincingly as it's played. It's also a sign of just how unfunny the play was in that the funniest moment in the movie is new to the screenplay and comes just a minute after the opening credits with a gag referring to a certain John Schlesinger movie from 1969. It's not much of a gag, but it's funnier than anything in the main body of the movie, which otherwise plays like a terminally extended version of a Love American Style episode. The original Broadway production, incidentally, starred Richard Benjamin, Anthony Perkins, and Connie Stevens. ~ Bruce Eder, All Movie Guide

A trio of troubled suburbanites attempts to come to grips with the personal issues that surface following the tragic death of one of their own in this introspective adolescent drama from L.I.E. screenwriter/director (Michael Cuesta). In the months following the death of Jacob's (Conor Donovan) likeable, athletic twin brother, Rudy (also Donovan), Jacob and friends Malee (Zoe Weizenbaum) and Leonard (Jesse Camacho) struggle to make sense of the unfortunate youth's fiery demise at the hands of local bullies. As Jacob quickly loses himself to revenge fantasies and sets into motion a series of destructive plans designed to destroy the kids responsible for his brother's death, Malee focuses her attention on a dejected patient of her psychotherapist mother, and obese Leonard struggles about weight and health issues with his equally obese mother. ~ Jason Buchanan, All Movie Guide