Sylvia Sidney Movies

In the 1930s and 1940s, Warner Bros. developed a positive genius for remaking earlier films in new, disguised fashion, retaining the plotlines but altering the circumstances and character names. Wagons Roll at Night was a 1941 reworking of the prizefight drama Kid Galahad, filmed only four years earlier. The original film was about a naive boxer who falls in love with the sister of his semi-crooked manager. The remake stars Eddie Albert as a bucolic lion tamer, Humphrey Bogart (who'd been the villain in Kid Galahad) as the circus manager, and Joan Leslie as the girl. The earlier film also included Bette Davis as the manager's put-upon mistress; her counterpart in Wagons Roll at Night is Sylvia Sidney as a worldly circus star. It's amazing how well the prizefight milieu adapts itself to the lion cage, and for this alone Wagons Roll at Night is memorable. ~ Hal Erickson, Rovi

The troublesome years "between the wars" provide the backdrop for the romantic drama The Searching Wind. Adapted by Lillian Hellman from her own stage play, the film stars Robert Young as Alex Hazen, an idealistic but incredibly naïve US ambassador who fails to heed the warning signals when Mussolini and then Hitler ascend to power in Europe. Feeding into Hazen's ingenuousness is his beautiful but shallow wife Emily (Ann Richards), who is far more preoccupied with tuxedos and dinner gowns than with brown shirts and Nazi armbands. Only journalist Cassie Bowman (Sylvia Sidney), a character obviously based on playwright Hellman, can foresee the impending horror-even when her judgment is occasionally clouded by her undying love for Hazen. Benefiting from the mistakes of his elders is the Hazens' son Sam (Douglas Dick), who represents the "Never Again" viewpoint of the post-WW2 years. The Searching Wind was the sort of politically supercharged fare that earned Hellman condemnation as a "premature anti-fascist" during the infamous Hollywood Blacklist. ~ Hal Erickson, Rovi

Based on the novel by Agatha Christie and play by Frank Vosper, Love From a Stranger isn't quite as good as the 1937 version of the same property. This time, Sylvia Sidney and John Hodiak play the roles originally filled by Ann Harding and Basil Rathbone. Falling under the romantic spell of charismatic Manuel Cortez (Hodiak), impressionable sweepstakes winner Cecily Harrington (Sidney) marries him after a whirlwind courtship. It doesn't take long for Cecily to figure out that Cortez is a dangerous psychotic, bent on murdering his wife and claiming her fortune. Unable to convince anyone else of Cortez intentions (even though his behavior would, in real life, get him locked away in a minute), Cecily determines to outsmart her husband and catch him in his own trap. Ironically, Frank Vosper never saw either film version of Love From a Stranger, having died under mysterious circumstances in 1937 (too bad Agatha Christie never wrote that story!) ~ Hal Erickson, Rovi

Three bank robbers (J. Carroll Naish, Lee Marvin, Stephen McNally) case a small Arizona mining town prior to pulling a holdup. The audience get to know the various townsfolk as they're scrutinized by the crooks. Victor Mature plays a man who is a disappointment to his son because he didn't serve in the war. Tommy Noonan is a meek bank manager with a habit of spying on a pretty customer as she undresses in her second-story bedroom. Sylvia Sidney is a petty thief who has deposited her stolen funds in the bank. Margaret Hayes is the cheating wife of a local leading citizen, who is killed in the holdup. And Ernest Borgnine is a pacifistic Amish farmer, forced to take violent action when his children are threatened by the criminals (Borgnine's pitchfork-wielding scene was reproduced for the print ads of this film, leading some critics to assume that he was the villain!) The hero of the day turns out to be the "unheroic" Mature, who after being kidnapped by the crooks frees himself and prevents their escape. Violent Saturday is based on a novel by William I. Heath. ~ Hal Erickson, Rovi

Every so often, the prestigious 1950s CBS anthology Playhouse 90 would digress from its "live" format and offer a sumptuously produced film presentation. One of these was the suspenseful 1958 offering No Time at All, a fascinating precursor to the Airport films of the 1970s. On a routine night flight from Miami to New York, an airliner loaded with passengers is suddenly plunged into darkness due to an electrical failure. Losing contact with the plane, the ground crew in New York worries that all on board may be lost--especially since the weather has turned ugly. In a brilliant dramatic device, the viewer never sees the plane in flight nor its passengers and crew: Instead, the play stays on solid land, concentrating on the reactions of the friends and families of those on board. This Playhouse 90 entry boasts perhaps the most impressive cast ever assembled for the series, among them dramatic actors Bill Lundigan, Jane Greer, Betsy Palmer, Sylvia Sidney and Keenan Wynn; comedians Buster Keaton, Chico Marx (with a Jewish accent), and Harry Einstein (aka "Parkyakarkus", and the father of contemporary comic actors Bob Einstein and Albert Brooks); and musical-comedy favorites Jack Haley (in a rare unsympathetic role) and Cliff Edwards (the voice of Jiminy Cricket in the 1940 cartoon feature Pinocchio). Also seen in the supporting cast is an up-and-coming young player named Charles Bronson, here cast as a sentimental boxer; and "Floyd the Barber" himself, Howard McNear--who, indirectly, is the hero of the piece. Long considered a "lost" film, No Time at All was made available on the home-video market in the early years of the 21st century, complete with the original commercials and a preview of the next week's Playhouse 90. ~ Hal Erickson, Rovi

Helen Hayes, Mildred Natwick, Myrna Loy and Sylvia Sidney star as four elderly pranksters devoted to practical jokes. When one of the ladies gets hold of a computer-dating questionnaire, the others invent a mythical girl and feed the falsified information into the computer. Alas, the description matches a very real young lady, who becomes the target of a murderous rapist (Vince Edwards). Attacked at the time of its release for making light of a potentially deadly situation, Do Not Fold, Spindle or Mutilate led to the casting of Helen Hayes and Mildred Natwick in the weekly detective series The Snoop Sisters. ~ Hal Erickson, Rovi

Most TV movies about obscene phone callers concentrate on the reactions of the victims--and the subsequent dangers they're exposed to. The Secret Night Caller takes a different tack, telling its story from the point of view of the caller. What makes the film doubly disturbing is that the dirty-mouthed phoner is played by Brady Bunch star and TV icon Robert Reed. Reed portrays an IRS agent (and seemingly contented family man) who is overtaken by his compulsion to phone strangers and whisper profanities. Even worse, Reed's access to tax-office records enables him to ring up people all over the country. The drama concentrates on Reed's mounting realization that he has to stop himself before someone else does. Though seedy and manipulative at times, The Secret Night Caller is elevated by the multifaceted performance of Robert Reed. ~ Hal Erickson, Rovi

In this made-for-TV film, a screenwriter (Robert Wagner) begins writing the biography of the dead movie queen who had a brief affair with his father. After work on the project has commenced, he becomes obsessed with her spirit and gets a response from the other side of the grave. ~ John Bush, Rovi

Without ever revealing the diagnosis, this film chronicles the inner life and outer circumstances of Deborah Blake (Kathleen Quinlan), a young mental patient. As the film opens, she is being accompanied by her subdued parents to yet another mental hospital. This one looks clean and cheerful, at least. Her treatment is handled by Dr. Fried (Bibi Andersson), a very skillful therapist who gets past her deranged defenses and reveals that Deborah harbors some very violent fantasies about some of her relatives. The movie is based on the best-selling autobiographical novel by Joanne Greenberg. ~ Clarke Fountain, Rovi

In this made-for-television chiller, an enormous and angry Bigfoot launches a campaign of death and destruction against the skiers who have disturbed its home. ~ Sandra Brennan, Rovi

The first episode of the first season of WKRP in Cincinnati finds troubleshooter Andy Travis (Gary Sandy) blowing in from Santa Fe to pump new life in WKRP, an all-but-moribund "beautiful music" radio station in Cincinnati. Almost immediately Andy junks the station's format in favor of Top 40 rock and roll, transforms mercurial daytime deejay Johnny Caravella (Howard Hesseman) into "Doctor Johnny Fever", and installs his own mellow overnight host, "Venus Flytrap" (Tim Reid). Andy's methods result in wide-eyed astonishment from WKRP's ineffectual station manager Carlson (Gordon Jump) and resentment from the station's uptight news reporter Les Nessman (Richard Sanders) and boorish sales manager Herb Tarlek (Frank Bonner), but the ratings are undeniably on the upsurge. Alas, Mr. Carlson's imperious mother (played in the pilot by Sylvia Sidney) and thereafter by Carol Bruce), who owns WKRP, despises the new format--and demands that Andy be fired almost as soon as he is hired! ~ Hal Erickson, Rovi

Satan's son comes of age in this horror sequel. Shortly after the events of The Omen, a pair of anthropologists uncovers an ancient crypt that depicts the face of the Antichrist -- that of Damien Thorn (Jonathan Scott-Taylor), recently orphaned scion of a wealthy industrialist. Before they can warn the world of the child's evil lineage, both men are buried under tons of rubble. Seven years later, 13-year-old Damien attends military school alongside his cousin, Mark (Lucas Donat), and spends lots of time with his adoptive parents, Uncle Richard (William Holden) and Aunt Ann (Lee Grant). After the boy's Great Aunt Marion (Sylvia Sidney) tries to convince the Thorns that Damien is a malevolent influence on Mark, she dies suddenly, and, unbeknownst to the family, horrifically. Ravens, it seems, are the harbingers of Damien's power, and in addition to Aunt Marion, they visit a long procession of characters who get too close to Damien's true identity. The most horrible death is suffered by Joan Hart (Elizabeth Shepherd), an investigative reporter who's digging into the boy's life; she gets flattened by a truck after having her eyes devoured by those menacing birds. Meanwhile, executive Paul Buher (Robert Foxworth) climbs the corporate ladder at Thorn Industries and takes young Damien under his devil-worshiping wings. Sgt. Neff (Lance Henriksen), one of the boy's instructors, also helps initiate Damien. As the pile of bodies gets bigger -- and closer -- Uncle Richard begins to suspect the truth, and, like his brother before him, plot the death of Damien. The existence of another sequel, 1981's The Final Conflict, gives a good indication of the outcome. Although Damien: Omen II is his only Hollywood feature credit, Scott-Taylor appeared frequently in the theater and on television; he once even portrayed Damien's arch-nemesis, Jesus, on-stage. ~ Brian J. Dillard, Rovi