Robert Simon Movies

This improvisational drama centers upon a New York rag seller and his goat who both live beside the East River. What action there is begins when he saves a young woman from an attacker and then lets her stay with him. ~ Sandra Brennan, All Movie Guide

Judith Evelyn, who played the pathetic Miss Lonelyhearts in Alfred Hitchcock's 1954 theatrical feature Rear Window, offers a radically different characterization in this episode. Grocery store owners Stanley and Dorothy Crane (Joe Mantell, Kathleen Maguire) are fed up by the loud and ceaseless squabbling of their next-door neighbors, Dan and Amelia Verber (Ed Kemmer, Judith Evelyn). Then one night, the arguments immediately cease -- whereupon Dorothy Crane becomes convinced that Amelia has murdered Dan. As things turn out, it seems that at least one of the four principals has what could be termed a special interest in the outcome of the case. ~ Hal Erickson, All Movie Guide

Darrin doesn't want his parents (Mabel Albertson and Robert F. Simon) to find out that baby Tabitha is a witch, but at the same time, he can't come up with a good reason not to leave them alone with their granddaughter. The problem blossoms into a full-scale feud between Darrin's mother and Samantha's mom, Endora. Worse still, the bitter feelings threaten to break up Darrin's mom and dad. Written by James Henerson, "It's Witchcraft" first aired on March 30, 1967. ~ Hal Erickson, All Movie Guide

It looks like the jig is up when Darrin's mother, Phyllis (Mabel Albertson), catches her grandson, Adam, in an act of magic. Using reverse psychology, Samantha manages to make it appear as if Phyllis is herself a sorceress. The problems that stem from this misapprehension culminate in a zany mock séance, and a major "change of life" for Phyllis' husband, Frank (Robert Simon). Written by Ed Jurist, "Samantha and the Antique Doll" originally aired on April 22, 1971, as the final episode of Bewitched's seventh season. ~ Hal Erickson, All Movie Guide

Based on an article in the New Yorker, Nicholas Ray's Bigger Than Life stars James Mason (who also produced the film) as elementary school teacher Ed Avery, a thoughtful, gentle man, with a loving wife, Lou (Barbara Rush), and a young son, Richie (Christopher Olsen), who loves him. Avery is successful and well liked in his community, but he is over-extended in his pursuit of the American dream -- he secretly works a second job to earn extra money, and doesn't dare break stride, despite the increasingly painful physical spasms that he suffers. He collapses one day, and the doctors inform him that he suffers from an arterial disease that will probably give him less than a year to live. But they also offer him one hope, with treatment using cortisone, which was then a new, not-fully-tested drug. Avery makes a seemingly full recovery and returns to work, but it soon becomes clear that he's not the same -- he has a new, cavalier attitude toward money, and then Lou becomes alarmed over his expressions of rage over seemingly insignificant annoyances. He starts expressing himself in grand, exalted terms, first to Lou and then to his colleagues at school, including his closest friend, Wally Gibbs (Walter Matthau). And matters only get worse when Wally determines that it is the cortisone -- which Ed has been taking in far greater doses than prescribed -- that is making him act this way. And his obsession w ith forcing Richie to live up to his full potential soon turns into a much darker fixation. Director Ray later offered regret over having used cortisone by name, as it was still not standard treatment and its benefits and drawbacks weren't known. But this did lend the movie a verisimilitude that was essential for what appeal it did hold for audiences. (Seven years later, screenwriter William Read Woodfield would incorporate Bigger Than Life's cortisone plot device into his script for the Voyage To The Bottom of the Sea episode \"Mutiny\". Bigger Than Life's more immediate problem at the time lay in its broader plot -- with a story that brought drug addiction and fact-based psychological unhingement into a suburban American setting, it was a daring subject for its time, for which audiences were unprepared in 1956. It was also one of a group of offbeat pictures that Mason produced as well as starred in. ~ Bruce Eder, All Movie Guide

Inheriting a fortune from an Indian benefactor, Candy fulfills his long-standing ambition to quit the Ponderosa. Before long, Candy has accepted an executive position with a prosperous-looking land promoter (Walter Brooke). But when he discovers that his boss is a crook, Candy enlists the aid of the Cartwrights to turn the tables on the duplicitious promoter. Written by John Hawkins, "The Big Jackpot" has seldom been aired since its original network playdate of January 18, 1970. ~ Hal Erickson, All Movie Guide

Gregory Peck plays a benevolent God-like figure in a white smock as Captain Josiah Newman, the head of a psych-unit at a Southwestern army base during the waning days of World War II. Newman is a patriarchal protector to his patients, preferring to keep him in his ward, rather than return them to certain death on the battlefield. The matriarchal figure of the ward is Lieutenant Grace Blodgett (Jane Withers), but Newman is more interested in his assistant Lieutenant Francie Corum (Angie Dickinson), with whom he is having an affair. Further help is provided by human nature expert, Corp. Jackson Laibowitz (Tony Curtis), the orderly. And Newman needs all the help he can get. Particularly with three patients: Colonel Bliss (Eddie Albert) is suffering from a guilt complex from all the men he has sent to death; Corporal Tompkins (Bobby Darin, in an Academy Award-nominated performance), although decorated for bravery in combat, calls himself a coward for failing to save his pal from a burning plane; and Captain Winston (Robert Duvall) is guilt-ridden and has lapsed into catatonia because he had hidden for over a year in the basement of a building in Germany. Although Newman wants to cure these men of their psychological problems, he doesn't want to see them returned to the war to be killed. ~ Paul Brenner, All Movie Guide

Compulsion is a compelling, stylish thriller, loosely based on the famous 1924 murder trial of thrill-killers Loeb and Leopold, two homosexual students who murdered a young boy to demonstrate their intellectual superiority. Artie Straus (Bradford Dillman) is a sadistic, mother-dominated bully. Judd Steiner (Dean Stockwell) is a submissive, introverted sissy. Having been raised by wealthy, arrogant families, both Artie and Judd consider themselves above conventional morality. Unfeeling and conceited, the boys, after the killing, take delight in offering to aid in finding the culprits. It is this arrogance which leads to their capture and prosecution for the murders. Jonathan Wilk (Orson Welles), playing a Clarence Darrow-like criminal defense attorney, takes on the case, and puts on a defense, without the cooperation of his clients, who will offer no explanation for what they have done. Bradford Dillman gives an outstanding performance, as does Dean Stockwell as the utterly unsympathetic murderers. Orson Welles is flamboyantly imposing as Wilk, who must use all his wits to try to save the boys from execution. Compulsion is a suspenseful courtroom drama, even though most viewers will know the outcome. Tautly directed by Richard Fleischer, the film is an outstanding, believable courtroom drama. ~ Linda Rasmussen, All Movie Guide

Deadly Dust began as the opening episode of the live-action TV series The Amazing Spider-Man. Nicholas Hammond stars as Peter Parker, who after being bitten by a radioactive spider is transformed into the web-slinging, wall-crawling Spider-Man (a character created for the Marvel Comics line by Stan Lee and Jack Kirby). In his first TV adventure, Spider-Man is accused of stealing plutonium from a university lab, but the real culprits are terrorists who demand a one-billion-dollar ransom, lest they expose New York City to plutonium poisoning. Featured in the cast is Joanna Cameron, who'd once played a "super" character herself, a do-gooder named Isis, on Saturday morning TV. Deadly Dust was first telecast as a Spider-Man two-parter on April 5 and 12, 1978. ~ Hal Erickson, All Movie Guide

In the second episode of Walt Disney's ten-part miniseries Elfego Baca, the title character (Robert Loggia), a former gunman who yearns to be a lawyer, has been appointed sheriff of Socorro County, NM. Banking on his reputation as a fast gun, Baca "invites" all the wanted men in the area to come into town and give themselves up. All these men surrender except one, prompting Elfego to launch a manhunt in Apache territory. Originally telecast on the Walt Disney Presents anthology, "Four Down and Five Lives to Go" was later edited together with the first Elfego Baca episode, The Nine Lives of Elfego Baca, and released overseas as a theatrical feature. ~ Hal Erickson, All Movie Guide

Director Albert Band is also a screenwriter, and this is his second drama based on a story by Stephen Crane (his first screenplay was 1951's Red Badge of Courage). Band's interpretation of Crane's story The Monster, is a slow, pedestrian rendition of the emotional upheaval of a lowly handyman, Monk Johnson (James Whitmore). Johnson works for a local doctor and is a friend of everyone in town when disaster strikes. The doctor's house catches on fire and Johnson's face is completely burnt as he rushes in to save the physician's young son. After he recuperates, his grotesque appearance alienates his former friends to the point where they are aggressive, threatening, and ready for violence. ~ Eleanor Mannikka, All Movie Guide

For full appreciation of the culture-clash drama Foxfire, it is crucial that the viewer accept Jeff Chandler as a Native American--not much of a stretch, since he'd previously been thoroughly convincing as Cochise in Broken Arrow. Chandler plays Jonathan Dartland, a half-breed Apache mining engineer working in his native Arizona. On a whim, Eastern socialite Amanda (Jane Russell) marries Jonathan. Disdaining "society", Dartland insists that the flighty Amanda remain in Arizona as a "typical" housewife. The rest of the film deals with the problematic period of adjustment for the seemingly mismatched couple. Foxfire earned a footnote in history as the film which was being screened on the Andrea Doria on the day that the ill-fated luxury liner went down. ~ Hal Erickson, All Movie Guide