Todd Susman Movies

The made-for-TV Portrait of an Escort stars Susan Anspach as a divorcee in financial straits, has a daughter to support. She takes a job with a professional dating service, charging fifty dollars per customer. Anspach last client of the evening turns out to be a man whose intentions are apparently homicidal. ~ Hal Erickson, All Movie Guide

In the conclusion of The Waltons' two-part season eight opener (originally telecast as a single two-hour episode), newlyweds Ben (Eric Scott) and Cindy (new series regular Leslie Winston) nearly buckle under the pressure to start a family of their own; Erin (Mary McDonough) bristles at the condescending attitude of her boss J.D. Pickett (Lewis Arquette); and Elizabeth (Kami Cotler) has mixed feelings about the budding romance between her brother Jim-Bob (David W. Harper) and her best friend Aimee (Rachel Longaker). On a more serious note, local draft-board officer John Walton (Ralph Waite) has been threatened with dire consequences by Calvin Satterfield (George DiCenzo), who holds John responsible for the combat death of his son Tommy. The episode ends with more bad news from the battlefields of Europe -- and this time the topic of conversation is John's own son John-Boy. ~ Hal Erickson, All Movie Guide

T.T. (Dennis Christopher), a Midwesterner, has traveled to the beaches of California for a dose of the surfin' life. He believes that the people he finds there are glamorous and knowledgeable. They reject his Midwestern nerdiness, make fun of him, and generally give him a hard time for not fitting in and wanting to. However, eventually he figures out that they are no wiser than he is, and that their lives are surprisingly empty. ~ Clarke Fountain, All Movie Guide

The 1975 TV movie Death Scream is based on the shameful Kitty Genovese affair of 1964, in which a N.Y.C. woman was stabbed to death while 38 witnesses locked their windows and doors and pretended not to hear. Raul Julia stars as the detective who investigates the murder and stirs up the guilt feelings of those who refused to help. The film casts celebrity actors in the roles of the witnesses (Diahann Carroll, Cloris Leachman, Lucie Arnaz, Nancy Walker, Art Carney, et al.). ~ Hal Erickson, All Movie Guide

The "little cigars" are five midget criminals, masterminded by Billy Curtis. They team up with full-sized Angel Tompkins, a gangster's girlfriend who's on the lam from her homicidal "protector." Tompkins and the five little people form a travelling carnival as a front for their crooked activities. Two of the midgets kill off the mobsters who've been sent to rub out Tompkins; in gratitude, she begins an affair with Curtis. At first planning to desert the other midgets and abscond with their hard-earned stealings, Tompkins and Curtis have a change of heart, return the money to their chums, and ride off together for a most unusual romantic rendezvous. Though Little Cigars has been unfairly maligned by such "authoritive" books as The Golden Turkey Awards, the film is actually quite entertaining, and not nearly as exploitive of Little People as might be expected. Among the other well-known Hollywood midgets and dwarves in the cast are Angelo Rossitto, Felix Silla, and Jerry Maren. ~ 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