Cybill Shepherd Movies

The made-for-TV Guide for the Married Woman was conceived by screenwriter Frank Tarloff as an "answer" to his frolicsome 1968 theatrical feature Guide for the Married Man. If the sequel isn't quite as much fun as the original, it may be because what was deemed "risque" in 1968 was kid's stuff in 1978. In her TV-movie debut, Cybill Shepherd plays a bored housewife who yearns for romance and excitement. With the help of a steady stream of celebrity guest stars, Shepherd is able to fantasize about extramarital hijinks to her heart's content. The supporting cast includes such luminaries as Peter Marshall, Eve Arden, John Beradino, John Byner, Bill Dana, Bonnie Franklin, George Gobel, Tom Poston, Barbara Feldon and Chuck Woolery (the guest-star list of the original Guide for the Married Man included Art Carney, Jack Benny, Lucille Ball, Carl Reiner, Terry-Thomas, Joey Bishop and Jayne Mansfield: guess which film had the bigger budget?) Guide for the Married Woman originally aired October 13, 1978. ~ Hal Erickson, All Movie Guide

Aliens from Spaceship Earth is a "four-waller" documentary from the Chariot of the Gods? school of speculative filmmaking. Are there, or have their ever been, extraterrestrials in our midst? This program speculates that there are, and that such aliens have taken distinctly human form - that of Indian yogis and gurus, including Guru Maharaj Ji, Sri Sathya, Yoga Bhahan and Father Yod. The "aliens" in question, in other words, are spiritual guides on a long, introspective trek into the self, prompted and encouraged by the counterculture and drug-fueled experimentation of the late '60s. Folk-rock singer Donovan provides the soundtrack.
~ Hal Erickson, All Movie Guide

The sneaky underworld of baby selling is the subject of this made-for-television movie. Cybill Shepard stars as a doctor who is trying to adopt a baby. She turns to a couple who claims to be willing to sell their child, only to be swindled out of her money and the child. ~ Bernadette McCallion, All Movie Guide

Continuing his 1970s recreations of classical Hollywood genres and styles, Peter Bogdanovich turned to the literary costume drama with an adaptation of the Henry James novella Daisy Miller. At a Swiss spa, upper-class expatriate American Frederick Winterbourne (Barry Brown) meets pretty, nouveau riche flirt Daisy Miller (Cybill Shepherd); her bratty, xenophobic little brother Randolph (James McMurtry); and her tremulous, nattering mother (Cloris Leachman). Despite warnings from his dowager aunt (Mildred Natwick) about Daisy's recklessness with men, Winterbourne finds himself drawn to her. When he encounters her again in Rome, he tries to convince her that her liberated behavior with an Italian admirer (Duilio Del Prete) may sully her reputation in aristocratic circles. But Winterbourne cannot reconcile his own feelings for Daisy with the manners that he is used to following, nor can he fathom how she may feel about him beneath her veneer of willful coquetry. After society matron Mrs. Walker (Eileen Brennan) ostracizes her, Daisy's final rash action reveals to Winterbourne how his old-fashioned mores may have sealed her fate. With a screenplay by Frederic Raphael and location shooting in Rome and Switzerland, Bogdanovich carefully recreated the rich surroundings and stultifying social strictures of James' story. Despite this well-executed atmosphere, Daisy Miller suffered critically, as Bogdanovich was especially taken to task for casting the amateurish Shepherd in the complex and pivotal role of Daisy. After three consecutive hits with The Last Picture Show (1971), What's Up, Doc? (1972), and Paper Moon (1973), Daisy Miller flopped, beginning Bogdanovich's mid-'70s slide into box-office and critical ignominy. ~ Lucia Bozzola, All Movie Guide

Based upon Peter Biskind's book of the same name, this BBC-produced documentary traces the rise of a generation of Hollywood filmmakers who briefly changed the face of movies with a more personal approach that pushed the boundaries of what was acceptable onscreen. Influenced by such European directors as Jean-Luc Godard, François Truffaut, and Federico Fellini, the movement kicked off in the mid-'60s with two films directed by Arthur Penn: Mickey One and Bonnie and Clyde. (The latter had been offered to both Godard and Truffaut before it wound up with producer/star Warren Beatty and Penn.) What really kicked it into gear was the unexpected success of Easy Rider, a biker-road movie that became that rare film phenomenon: acclaimed at the Cannes Film Festival and a huge commercial success. Film school graduates, the first generation brought up with movies as their main cultural reference, flooded the studios (whose own regimes were changing) with production chieftains such as Robert Evans of Paramount and David Picker at United Artists; they approved risky-looking projects and allowed relatively untested filmmakers like Francis Ford Coppola to take on heavyweight movies such as The Godfather or Hollywood newcomers like Britain's John Schlesinger to make quirky stories like Midnight Cowboy. Enriched by success with their TV show The Monkees, producer Bert Schneider and director Bob Rafelson formed a company that produced not only Easy Rider but seminal '70s films such as Five Easy Pieces and the Oscar-winning Vietnam War documentary Hearts and Minds. Another godfather to the new movement was producer Roger Corman, who gave early career opportunities to Coppola, Martin Scorsese, Peter Bogdanovich, and Jonathan Demme on low-budget projects that allowed them to learn their craft.

Two things brought this movement to an end: Some individual filmmakers' personal excesses (such disastrous flops as Dennis Hopper's follow-up to Easy Rider, appropriately titled The Last Movie, and Scorsese's New York, New York), and the studios growing fascination with special effects-driven B-movies. An outgrowth of two box-office and marketing juggernauts -- Jaws and Star Wars -- the resulting films became entertainments rather than personal statements of the directors. Narrated by William H. Macy, Easy Riders, Raging Bulls features vintage clips of Coppola, Scorsese, Beatty, George Lucas, Sam Peckinpah, Roman Polanski, Robert Altman, and Pauline Kael. It also includes original interview material with Penn; Corman; Bogdanovich; Hopper; Picker; writer/directors John Milius and Paul Schrader; actresses Karen Black, Cybill Shepherd, Margot Kidder, and Jennifer Salt (the latter two shared a house in Malibu, a social center for young filmmakers); actors Peter Fonda, Kris Kristofferson, and Richard Dreyfuss; producers Jerome Hellman, Michael Phillips, and Jonathan Taplin; editor Dede Allen; production designer Polly Platt; writers David Newman, Joan Tewksbury, Gloria Katz, and Willard Huyck; cinematographers Laszlo Kovacs and Vilmos Zsigmond; agent Mike Medavoy; and former production executive Peter Bart. Among the films discussed are Rosemary's Baby, The Wild Bunch, Mean Streets, American Graffiti, The Rain People, Midnight Cowboy, M*A*S*H, McCabe and Mrs. Miller, The Last Picture Show, Shampoo, Taxi Driver, and Raging Bull. (Three interviewees -- cinematographer Gordon Willis, critic Andrew Sarris, and writer-director Monte Hellman -- listed in the Variety review of this film, were not included in this version from a screening on Bravo.) ~ Tom Wiener, All Movie Guide

An infamous ex-con on the road to redemption finds his quest unexpectedly complicated by the police, the mafia, and two of the nation's most vicious serial killers in a high octane crime thriller starring and directed by Mario Van Peebles and featuring Wesley Snipes and Cybill Shepherd. ~ Jason Buchanan, All Movie Guide

Arthur Hiller directed this comedy/drama concerning three couples, thrown together by fate, who become friendly and help each other through their marriage difficulties. Claire (Cybill Shepherd) and Leo (Ron Silver) are a wealthy couple having trouble with a daughter from a previous marriage. John (Beau Bridges) and Iris (Stockard Channing) are a couple from the '60s who have weathered a relationship involving sex, drugs, and rock 'n' roll. Chuck (Robert Sean Leonard), a securities analyst, and Nina (Mary Stuart Masterson), a child psychologist, are newlyweds needing guidance through the pitfalls of married life. The couples meet on a committee formed at a PTA meeting. They find they like each other and invite each other to dinner parties. As they meet and talk with one another, they reveal their problems and help each other. ~ Paul Brenner, All Movie Guide

The casting of Cybill Shepherd as billionaire home-economics doyenne Martha Stewart in this made-for-TV biopic allegedly grew from a quip made by Today Show host Matt Lauer, that only three people were qualified to portray Martha: Shepherd, Candice Bergen, and Robin Williams (!). The film follows the traditional rags-to-riches route, as Martha rises from a poverty-stricken childhood in Nutley, NJ, to the head of a vast financial empire, largely founded upon her talent for whipping up inexpensive gourmet meals and her sagacious, tasteful home-decorating tips. (It is explained that this metamorphosis is borne of necessity, after Martha's lawyer husband, Andy [Tim Matheson], suffers a lengthy spell of unemployment.) Much is made of the contrast between the sweet, benign "public" Stewart and the hell-on-wheels "private" Stewart, and of course a great deal of footage is devoted to the Wall Street insider-trading scandal that brought about her spectacular downfall. Highlights include a vivid recreation of the confrontation between Stewart and TV host Jane Clayson on the set of CBS' Morning Show. Based on a best-selling book by Christopher Byron, Martha, Inc.: The Story of Martha Stewart first aired May 19, 2003, on NBC. ~ Hal Erickson, All Movie Guide

First telecast in early 1985, the 2-hour pilot film for the lighthearted TV detective series Moonlighting opens with fashion model Maddie Hayes (Cybill Shepard) discovering that her business manager has skipped with her fortune. The only asset she has left is the ramshackle Blue Moon Detective Agency, manned by acerbic David Addison (Bruce Willis). Maddie takes an immediate dislike to David, while he considers her a sexual conquest-to-be. The twosome continues to bicker their way through their first case, pausing for amenities only when it appears that both of them are about to be bumped off. Once safely back in the office, their verbal guerilla warfare resumes, leading the viewer to expect marvelous things from the subsequent Moonlighting TV series. Little of the series' fabled self-consciousness (talking directly to the audience, making references to the quality of the scriptwriting, etc.) surfaces in the Moonlighting pilot, but the film works well despite this "drawback." The series itself ran (or, as it turned out, limped) until May of 1989. ~ Hal Erickson, All Movie Guide

The irrepressibly hip detective series Moonlighting really shifts into high gear for its second season, which offers 18 delightfully intriguing episodes, chock-full of knowledgeable inside jokes and eccentric deviations from the plotlines. In the opener, reluctantly teamed private eyes Maddie Hayes (Cybill Shepherd) and David Addison (Bruce Willis) find themselves in hot water thanks to David's charming but thoroughly untrustworthy older brother (Charles Rocket). In later episodes, the couple is hired by a self-proclaimed lady leprechaun to find her missing pot o' gold; Christmas Eve finds the Blue Moon Detective Agency being used as a combination nursery and "Santa Hot Line"; the agency's ditsy secretary, Agnes DiPesto (Allyce Beasley), gets the thrill of her life when she subs for her bosses at a fancy ball; a Hitchcock-style plotline, replete with Bernard Herrmannesque music, finds Maddie probing the mysterious suicide of the artist who pained her portrait; an elderly client insists that David and Maddie serve as "expert witnesses" -- to his own murder; and Whoopi Goldberg guest stars as a con artist who becomes a target for assassination after inadvertently emerging as a national hero. Other highlights include the first appearance of Maddie's well-heeled parents (played by Eva Marie Saint and Robert Webber) and a lavish film noir black-and-white episode in which Dave and Maddie solve a cold case from 1946 -- and which is dedicated to narrator Orson Welles, who died five days before the episode was telecast. ~ All Movie Guide

Although fans were still addicted to the hip, kidding-on-the-square detective series Moonlighting, the series was being eroded from within by profound production problems and internal squabbles. As a result, only 13 new episodes were produced for the series' fourth season, forcing ABC to fill out the rest of the schedule with reruns. Also, tensions between series star Bruce Willis and Cybill Shepherd, coupled with ongoing arguments between the two leads and the series' producers, culminated with extended absences from the set and lengthy production shutdowns. In one episode, "Here's Living With You, Kid," Willis and Shepherd didn't appear at all, forcing supporting actor Curtis Armstrong, cast as junior detective Herbert Viola (a character who graduated this season from recurring to regular status), to carry the plotline by himself. Fortunately, the old spark roared into flame long enough for some top-rank episodes to be produced during season four. The opener, which occurs shortly after detective-agency partners Maddie Hayes (Shepherd) and David Addison (Willis) have finally slept together, finds the duo separately seeking out advice on their relationship from psychologist Dr. Joyce Brothers and singer Ray Charles (this installment also finds time for an elaborate takeoff of The Honeymooners). In later episodes, it is revealed that Maddie is pregnant with David's baby, whereupon she gets married -- not to David, but to a total stranger named Walter Bishop (Dennis Dugan). With the two stars spending so much time on affairs of the heart, it is up to the supporting characters, notably the aforementioned Herbert Viola and detective-agency receptionist Agnes DiPesto (Allyce Beasley), to take care of the "mystery" angle; especially memorable is the episode in which Agnes' mother is inexplicably targeted for elimination after returning from a vacation. ~ All Movie Guide

The murder of a millionaire has unexpectedly humorous results in this farcical comedy. When Phoebe (Sean Young) and Julian (Richard Lewis), two Americans on a tour of Europe, discover a lost dachshund, they learn that a $5,000 reward has been posted for the dog's return. Phoebe and Julian head to Monte Carlo to return the pet and claim the money, but they find that the dog's owner has been murdered -- and suddenly, they're suspects in the killing. As hapless detective Inspector Bonnard (Giancarlo Giannini) investigates the crime (imagining that the maid and butler must somehow be involved), he grills several other American tourists he believes are likely suspects, including gambling addict Augie Morosco (John Candy) and loud-mouthed suburbanites Neil and Marilyn Schwary (James Belushi and Cybil Shepherd). George Hamilton appears as an unusually opportunistic gigolo; former SCTV star Eugene Levy directed. ~ Mark Deming, All Movie Guide