Betsy Blair Movies

Robert Young reprises his long-running (1969-75) TV character Dr. Marcus Welby, though there's little if any medical activity in the 1988 TV movie Marcus Welby, M.D.: A Holiday Affair. Widowed and retired, Welby takes a vacation to France and Switzerland. Here he finds romance with Alexis Smith, a wealthy American divorcee. Ms. Smith's real-life husband Craig Stevens shows up in the role of the divorcee's rejected suitor. Marcus Welby, M.D.; A Holiday Affair is a pleasant but pointless geography lesson that could just as easily have featured Jim Anderson, Robert Young's character on Father Knows Best. ~ Hal Erickson, All Movie Guide

In this remake of Hitchock's great suspense film, a new bride is filled with dread as her suspicions that her groom is a ruthless killer mount. ~ Sandra Brennan, All Movie Guide

A Delicate Balance is the 1973 film adaptation of Edward Albee's Pulitzer Prize-winning play. Katharine Hepburn and Paul Scofield play an old married couple, Agnes and Tobias, who much prefer to be alone. Each time someone visits them, their "delicate balance" is threatened. The first intruder is Agnes' inebriated sister, Claire (Kate Reid). The next is their much-divorced daughter, Julia (Lee Remick). The limit is reached when well-meaning friends Harry (Joseph Cotten) and Edna (Betsy Blair) show up unexpectedly and threaten to stay forever. In keeping with the austerity of the other American Film Theatre presentations, director Tony Richardson eschews his usual cinematographic pyrotechnics here. ~ Hal Erickson, All Movie Guide

The British All Night Long is Othello to a jazz beat. Paul Harris is the Othello counterpart, a bandleader happily married to "Desdemona" Marti Stevens. Patrick McGoohan plays the film's funky Iago character, who covets Harris' job. McGoohan hopes to unnerve Harris by spreading rumors that Stevens has been unfaithful. Like the 1956 Joe MacBeth, All Night Long can either be taken seriously or as what used to be called 'high camp." Jazz aficionados will appreciate the brief appearances by Dave Brubeck, Johnny Dankworth, Paul Mingus, Tubby Hayes, Charles Mingus, Kenny Napper and several other top musicians. Also showing up in a cameo role is dancing star Geoffrey Holder, who wouldn't make a bad Othello (or Iago) himself. ~ Hal Erickson, All Movie Guide

In this touching drama, a precursor for Ted Allan's later story about Jewish life in Montreal, a young Dublin lad idolizes his grandfather, a humble seller of rags and bones. His parents are not pleased by the adoration and attempt to keep the pair apart. ~ Sandra Brennan, All Movie Guide

The grim, drab life of a man who labors in a Po Valley sugar refinery in northern Italy provides the center of this black-and-white drama from Michelangelo Antonioni. The worker lives with a married woman and their young daughter. One day, the woman learns that her legal spouse died. The refinery worker immediately proposes, but she spurns him in favor of another. Deeply depressed, the laborer begins to drift aimlessly across the northern wasteland with his daughter in tow. Along the way, he meets many people, including a woman from his past. Despite his many low-key adventures, he is unable to forget his daughter's mother and so returns to find that she lives in a new home with a new child. The story comes to its climax during a demonstration protesting the building of a U.S. airfield where the refinery stands. ~ Sandra Brennan, All Movie Guide

The Franco-Spanish Calle Mayor (aka Main Street and The Lovemaker) is an excellent showcase for the underrated and brilliant American actress Betsy Blair. In a reprise of her characterization in Marty, Blair plays Isabelle, a repressed, unmarried 35-year-old. As a cruel joke, a group of middle-aged men persuade a handsome but thick-headed hunk named Juan (Jose Suarez) to romance the reclusive Isabelle. When it becomes clear that she is hopelessly in love with him, the pangs of conscience begin exercising their prerogative on Juan. He is able to extricate himself from this awkward emotional entanglement, but the price that he and Isabelle are forced to pay is precious indeed. Calle Mayor was able to secure American bookings on the strength of the success of director Juan Antonio Bardem's previous film Death of a Cyclist. ~ Hal Erickson, All Movie Guide

Paddy Chayefsky's Oscar-winning slice-of-life drama is a heartwarming story about Marty Pilletti (Ernest Borgnine), a lonely Bronx butcher. Marty is a burly but gentle man, easing into middle age without much hope for romance or a career. He lives at home with his mother (Esther Minciotti), a kind but life-smothering woman, and a small circle of dead-end friends. Marty has no self-confidence and feels he's dumpy and unattractive. While it takes some doing, Marty's mother finally convinces him to go to the Stardust Ballroom in Manhattan, where he meets a plain-looking schoolteacher named Clara (Betsy Blair), whose life appears to mirror his own. He asks Clara to dance and soon they are smitten with one another. But to Marty's surprise and frustration, his friends put her down and his mother is hostile to her. Swayed by his friends and his mother, he doesn't call Clara back. But sitting at the bar with his friends the next night, Marty decides he has had enough, and defying his enclosed little world, he rushes to a phone booth to call Clara. As Marty shouts to his friends, "You don't like her. My mother don't like her. She's a dog. And I'm a fat, ugly man. Well, all I know is I had a good time last night ... You don't like her? That's too bad!" ~ Paul Brenner, All Movie Guide

Blonde good-time girl Vivian Heldon (Jan Sterling), who lives in a cheap rooming house in a working-class section of Boston, run by the inquisitive and neurotic Mrs. Smerrling (Elsa Lanchester), goes out one night after a phone conversation with her boyfriend, proclaiming that she's got big plans and might even move to a nicer place. After putting in her shift as a waitress at a cheap dive called The Grass Skirt, she latches onto Henry Shanway (Marshall Thompson), an innocently drunk patron, who's trying to wash away his sadness over his wife's stillborn child. She uses Henry's car with him in tow to drive out to Cape Cod, then strands him on foot and meets her boyfriend -- but when she arrives, he puts a bullet into her, then strips the body, throws it into the sea, and drops the clothes and the car into a lake. Six months later, an ornithologist from the cape spots the skeleton of a human foot sticking up through the sand.

Enter Lt. Peter Morales (Ricardo Montalban) of the Boston PD; he and his partner on this case, Det. Sharkey (Wally Maher), bring the bones to Dr. McAdoo (Bruce Bennett), of Harvard University's forensic medical laboratory. Over the next few days, McAdoo and his staff are able to determine the gender, age, and general appearance of the person to whom the bones belonged, and that this is a case of murder -- and that the victim was pregnant. Morales and Sharkey, combing through what they know about the victim and the missing persons records of six nearby states, eventually tie the skeleton up with Vivian Heldon, who disappeared on just about the same day the victim was killed, and also to Shanway's car, which he reported stolen that day. The poor slob, who is merely trying to cover up a drunken lapse from his wife (Sally Forrest), acts guilty enough and lies about just enough so that Morales is certain that he's the murderer. His investigation isn't helped by the interference of Mrs. Smerrling, who sold Vivian's belongings when she didn't return to her room, and now seems fixated, even obsessed with the details of the case and its connection to her rooming house. While the police tighten the screws on Shanway, she backtracks Vivian's phone calls and makes contact with the woman's boyfriend, James Joshua Harkley (Edmon Ryan), member of a wealthy Boston family, and a married man; she also manages to steal a vital piece of evidence. But instead of turning it over to the police, she uses it to blackmail Harkley.

Meanwhile, the district attorney sets an early trial date for Shanway, but with the opening arguments only a week away, Morales begins to develop doubts about Shanway's guilt, in addition to harboring his own sympathy for Grace Shanway, whose life is being gradually destroyed by the prosecution on her husband -- not that Morales thinks he's innocent, but there's enough that's not right about the case, including the missing murder weapon, that he's not 100-percent sure. And that's when Vivian's friend and neighbor, Jackie Elcott (Betsy Blair) reports how strangely Mrs. Smerrling is acting, and the fact that she's got a gun. But before they can question her, Harkley kills Mrs. Smerrling -- now it's a race between Morales and Harkley to see who can get to the murder weapon first. ~ Bruce Eder, All Movie Guide

"A woman loses her mind and is confined to a mental institution." That's the usual TV-listing encapsulation of The Snake Pit -- and like most such encapsulations, it only scratches the film's surface. Olivia de Havilland stars as an outwardly normal young woman, married to loyal, kindly Mark Stevens. As de Havilland's behavior becomes more and more erratic, however, Stevens comes to the sad conclusion that she needs professional help. She is sent to an overcrowded state hospital for treatment -- a curious set-up, in that, while de Havilland is treated with compassion by soft-spoken psychiatrist Leo Genn, she is sorely abused by resentful matrons and profoundly disturbed patients. Throughout the film, she is threatened with being clapped into "the snake pit" -- an open room where the most severe cases are permitted to roam about and jabber incoherently -- if she doesn't realign her thinking. In retrospect, it seems that de Havilland's biggest "crime" is that she wants to do her own thinking, and that she isn't satisfied with merely being a loving wife. While this subtext may not have been intentional, it's worth noting that de Havilland escapes permanent confinement only when she agrees to march to everyone else's beat. Amazingly, Olivia de Havilland didn't win an Academy Award for her harrowing performance in The Snake Pit (the only Oscar won by the film was for sound recording). While some of the psychological verbiage in this adaptation of Mary Jane Ward's autobiographical novel seems antiquated and overly simplistic today, The Snake Pit was rightly hosannahed as a breakthrough film in 1948. ~ Hal Erickson, All Movie Guide

Ronald Colman won an Academy Award for his portrayal of an off-the-beam actor in A Double Life. A beloved stage star, Anthony John (Colman), has problems with his private life due to his unpredictable outbursts of temper. This trait has already cost him his wife, Brita (Signe Hasso), and threatens to sabotage his career. Nonetheless, Anthony makes his peace with Brita, and the two actors star in a new Broadway staging of Othello. The play is a hit, running over 300 performances, but the pressures of portraying a man moved to murder by jealousy takes its toll on Anthony. In a fit of delirium, he strangles his casual mistress, Pat (Shelley Winters), but retains no memory of the awful crime. Press agent Bill Friend (Edmond O'Brien), unaware that Anthony is the killer, uses Pat's murder as publicity for Othello. Anthony becomes enraged at this cheap ploy, and attacks Friend. At this point, Anthony realizes that he has been living "a double life" and is in fact Pat's murderer. A Double Life was written for the screen by Ruth Gordon and Garson Kanin, who occasionally digress from the melodramatic plotline to include a few backstage inside jokes. ~ Hal Erickson, All Movie Guide