Bobby Troup Movies

The Rebels was the second "Operation Prime Time" miniseries to be based on author John Jakes' Kent Family Chronicles (the first was The Bastard). The saga of Philip Kent (Andrew Stevens), illegitimate son of a British blueblood, picks up with Kent fighting in the Continental Army during the Revolutionary War. Part One of this two-part endeavor busies itself with setting up characters, places and events; Part Two finds Kent and his pal Judson Fletcher (Don Johnson) teaming up to prevent the assassination of General George Washington (Peter Graves). The enormous all-star cast includes Richard Basehart, Doug McClure, Joan Blondell, Tom Bosley, Macdonald Carey, Robert Vaughan, William Daniels and Nehemiah Persoff; William Conrad does off-screen duty as narrator. The Rebels was syndicated to local TV stations beginning the week of May 14, 1979. ~ Hal Erickson, All Movie Guide

Terry Kiser is Benny and Tim Thomerson is Barney, two undercover cops operating in Vegas. So as not to attract attention to their sleuthing, Benny and Barney pose as nightclub entertainers. The case of the moment is the rescue of a kidnapped singer, which B and B pull off successfully within the allotted 76 minutes. Real-life Las Vegas "regulars" Rodney Dangerfield, Marty Allen, George Gobel and Bobby Troup pop up in cameo roles. Seemingly filmed during everyone's lunch hour, Benny and Barney: Las Vegas Undercover was the pilot for a never-sold TV adventure series. ~ Hal Erickson, All Movie Guide

In this crossover episode with Adam-12's "sister" series Emergency!, mobile officers Jim Reed (Kent McCord and Pete Malloy (Martin Milner) join forces with doctors of Rampart Hospital and the paramedics of Emergency Squad 51. Their most urgent assignment consists of locating two runaways: a dangerously diabetic 8-year-old boy (Kirby Furlong) and a suicidal teenage drug addict (Diane Sherry. In addition to guest appearances by Emergency! regulars Robert Fuller, Julie London, Bobby Troup, Kevin Tighe and Randolph Mantooth, this episode features Elaine Giftos as Malloy's latest girlfriend Kathy, and future Days of Our Lives leading lady Dierdre Hall as a nurse. ~ Hal Erickson, All Movie Guide

Although he was not the first choice to direct it, the hit black comedy MASH established Robert Altman as one of the leading figures of Hollywood's 1970s generation of innovative and irreverent young filmmakers. Scripted by Hollywood veteran Ring Lardner, Jr., this war comedy details the exploits of military doctors and nurses at a Mobile Army Surgical Hospital in the Korean War. Between exceptionally gory hospital shifts and countless rounds of martinis, wisecracking surgeons Hawkeye Pierce (Donald Sutherland) and Trapper John McIntyre (Elliott Gould) make it their business to undercut the smug, moralistic pretensions of Bible-thumper Maj. Frank Burns (Robert Duvall) and Army true-believer Maj. "Hot Lips" Houlihan (Sally Kellerman). Abetted by such other hedonists as Duke Forrest (Tom Skerritt) and Painless Pole (John Schuck), as well as such (relative) innocents as Radar O'Reilly (Gary Burghoff), Hawkeye and Trapper John drive Burns and Houlihan crazy while engaging in such additional blasphemies as taking a medical trip to Japan to play golf, staging a mock Last Supper to cure Painless's momentary erectile dysfunction, and using any means necessary to win an inter-MASH football game. MASH creates a casual, chaotic atmosphere emphasizing the constant noise and activity of a surgical unit near battle lines; it marked the beginning of Altman's sustained formal experiments with widescreen photography, zoom lenses, and overlapping sound and dialogue, further enhancing the atmosphere with the improvisational ensemble acting for which Altman's films quickly became known. Although the on-screen war was not Vietnam, MASH's satiric target was obvious in 1970, and Vietnam War-weary and counter-culturally hip audiences responded to Altman's nose-thumbing attitude towards all kinds of authority and embraced the film's frankly tasteless yet evocative humor and its anti-war, anti-Establishment, anti-religion stance. MASH became the third most popular film of 1970 after Love Story and Airport, and it was nominated for five Academy Awards, including Best Picture and Best Director. As further evidence of the changes in Hollywood's politics, blacklist survivor Lardner won the Oscar for his screenplay. MASH began Altman's systematic 1970s effort to revise classic Hollywood genres in light of contemporary American values, and it gave him the financial clout to make even more experimental and critical films like McCabe and Mrs. Miller (1971), California Split (1974), and Nashville (1975). It also inspired the long-running TV series starring Alan Alda as Hawkeye and Burghoff as Radar. With its formal and attitudinal impudence, and its great popularity, MASH was one more confirmation in 1970 that a Hollywood "New Wave" had arrived. ~ Lucia Bozzola, All Movie Guide

Ron Catlin (Charleton Heston) is a pro-football player who realizes his playing skills have eroded. His actions on the field have slowed to the point where retirement looms. His wife Julie (Jessica Walter) has her own fashion-designing business and his former teammate Richie (Bruce Dern) has parlayed his football heroics into a successful auto-leasing company. As "The Cat" loses his legendary quickness, he finds himself ill-suited to join the real world after his pampered isolation in the NFL. He takes to the bottle and to the lure of an illicit affair with Ann (Diana Muldaur). John Randolph plays a realistic coach who can't rely on this fading player's past heroics to win the next big game. Trumpeter Al Hirt and members of the New Orleans Saints appear as themselves. Bobby Troupe plays a local businessman who offers Catlin a job. ~ Dan Pavlides, All Movie Guide

Contacted by a man claiming to be a US intelligence agent, lawyer Ward Toyama (James Shigeta) uses his influence with his father's export firm to help the self-proclaimed spy deliver a top-secret cargo to the Middle East. As a result, Toyama becomes innocently involved in an illegal gun-running operation--and worse, he is charged with the murder of Frank Jones, alias Frank Jensen (Douglas Henderson). Coming to Toyama's rescue is his old friend and colleague Perry Mason (Raymond Burr). ~ Hal Erickson, All Movie Guide

Singer Frankie Laine makes a rare acting appearance in this episode, which includes a truly offbeat characterizaton by musician-composer Bobby Troup). Laine is cast as comedian Danny Ross, whose long-awaited TV comeback is sabotaged by his duplicitous agent Charles Goff (Harry Jackson). Danny contemplates suicide, but is talked out of it by his longtime pal Freddie Green (Walter Burke). When Green is charged with Goff's murder, Danny asks Perry Mason (Raymond Burr) to defend his buddy, obliging the detective to take a crash course in "hip" jazz lingo. ~ Hal Erickson, All Movie Guide

Sal Mineo, who'd previously registered well as the lead in the TV drama Drummer Man, essays a strikingly similar role in The Gene Krupa Story. The film details Krupa's troubled home life: (he wanted to be a musician; his father wanted him to become a priest), his rise to fame as drummer for the Benny Goodman orchestra, his years on top as a bandleader, and his ongoing problems with drug abuse. A fictional romantic subplot is grafted onto the proceeding involving clearly defined "good" and "bad" girls Ethel Maguire (Susan Kohner) and Dorissa Dinelli (Susan Oliver). Yvonne Craig has an entertaining scene as an anachronistically garbed good-time girl. Craig would later recall that, at the time of shooting The Gene Krupa Story, she weighed more than Sal Mineo, and that in the scene where he's required to lift her off the floor, she virtually had to lift him. Mineo, a drummer of some accomplishment, convincingly wields the sticks during the musical highlights, though the trickier drum solos were dubbed in by Gene Krupa himself. Real-life recording stars Anita O'Day, Red Nichols, Bobby Troup and Shelley Manne make cameo appearances. ~ Hal Erickson, All Movie Guide

After a string of such serious projects as The Shrike and I Accuse, director-star Jose Ferrer lightens up a bit with the frothy comedy The High Cost of Loving. Ferrer plays purchasing executive Jim Fry, who has doubts about his financial future when his company is taken over by a conglomerate. Adding to the dilemma is the fact that Fry's wife Virginia (Gena Rowlands, in her film debut) is expecting her first child. Surrounded by ulcerated status-seekers and "grey flannel suits", Jim and Virginia wonder if they've lost the fundamental values that attracted them to one another in the first place. The film's satirical barbs seem a bit muted today, but that's the price one pays when putting together a "topical" comedy. ~ Hal Erickson, All Movie Guide

A bank robber's avarice and obsessive quest for freedom lead to his downfall in this adventure-packed crime drama that was shot on location in Mexico. After lifting a cool million from a U.S. bank, the crook is anxious to sneak across the border into Mexico, but to do so he must hire an experienced wilderness guide. He goes to the guide's ranch and finds his ex-lover, now the guide's wife, preparing to leave her husband. The crook offers to take her to her home town. There is trouble with a border guard and the crook runs him over with his car. Terrified, the girl tries to escape, but the crook runs after her and they go back to the ranch where they meet the guide (who was beside the border guard when he died). Desperately, the crook forces the guide and his wife to head into the mountains with him. As they traverse the treacherous terrain, the crook becomes increasingly desperate and makes it plain that he will kill anyone who stands in his way. He also makes it clear that he would rather die himself than give up the money. ~ Sandra Brennan, All Movie Guide

Based on a novel by television producer Al Morgan, The Great Man is a Citizen Kane-style look at the private life of a public figure. The Great Man is a beloved radio and television personality who dies suddenly. Jose Ferrer (who also directed) plays a writer/commentator who has a chance to break into the Big Time by preparing a eulogistic broadcast concerning the deceased celebrity. As he interviews the various people who knew the Great Man on the way up (including Julie London and Ed and Keenan Wynn) he learns that the "idol of millions" was actually a conniving, duplicitous scoundrel who stepped on everyone in his path and who took credit for the hard work of others. Warned by his boss (Dean Jagger) that his career will be ruined if he tells the truth, Ferrer nonetheless takes to the airwaves with a "warts and all" biography--and the results are surprising only to those with no cynicism in their souls. The Great Man stirred up a sensation in 1956 because it was perceived to be an a clef study of the enormously popular (and ruthlessly powerful) media star Arthur Godfrey. ~ Hal Erickson, All Movie Guide

The inimitable writer-director Frank Tashlin once more aims his satiric barbs at modern culture (modern 1950s culture, that is) in The Girl Can't Help It. Much of the film is dominated by Edmond O'Brien as mob boss Murdock, who while serving a term in federal prison becomes a singing sensation with his hit tune "Rock Around the Rock Pile." Once he's sprung, Murdock hires impoverished agent Tom Miller (Tom Ewell), not to promote his own career, but to turn his curvaceous lady friend Jerri Jordan (Jayne Mansfield) into a star. Alas, Jerri has no singing or acting talent whatsoever, a fact that she's eager and willing to admit. A domestic type at heart, all Jerri really wants out of life is to marry Murdock, so that she can clean his house, cook his meals and raise his children. When Murdock refuses to grant her wishes, Jerri falls in love with Tom instead.

Every so often, director Tashlin takes time out from the plot to poke fun at such technical marvels as CinemaScope and Technicolor, and to lampoon the American male's fixation on female bosoms and bottoms (at one point, Jayne Mansfield leans towards the camera, her cleavage exposed as far as the censors will allow, and plaintively asks Tom Ewell if he believes that she's equipped for motherhood). While much of the humor in the film is dated, The Girl Can't Help It is an invaluable record of the pop-music scene of the 1950s, featuring such guest artists as Julie London (playing Tom Ewell's dream girl), Ray Anthony, Fats Domino, The Platters, Little Richard and his Band, Gene Vincent and his Blue Caps, the Treniers, Eddie Fontaine, Abbey Lincoln and Eddie Cochran. ~ Hal Erickson, All Movie Guide

In this musical comedy, a group of clean-cut teens desire to turn an abandoned warehouse into a youth center. Unfortunately they and their two leaders are opposed by the mayor who wants to use the building for his own gain. The kids then put on a show and soon the mayor is convinced to give them the building. Musical numbers include: "Young Man with a Beat" (performed by the Gene Krupa Orchestra), "Sincerely Yours" (sung by Stewart), "Isn't This a Night for Love?" (sung by Stewart), "Household Blues" (sung by Davis), and "Young Man" (sung by Davis, Stewart). ~ Sandra Brennan, All Movie Guide