Ruth White Movies

William Popper (Michael Sarrazin) is the son of a stockbroker and is thoroughly disenchanted with "the system." So much so that even though he can prove that he ran over a woman in his car entirely by accident, he accepts a sentence for manslaughter. His participation in some prison violence motivates him to attempt to escape, though he has only a week to go on his sentence. Having escaped, he and his old girlfriend (Barbara Hershey) make a run for Canada. The story is adapted from the novel The Pursuit of Happiness by Thomas Rogers. As William's starchy grandmother, Ruth White, notable for her work in To Kill a Mockingbird and Midnight Cowboy makes her last film appearance. ~ Clarke Fountain, Rovi

Based on a James Leo Herlihy novel, British director John Schlesinger's first American film dramatized the small hopes, dashed dreams, and unlikely friendship of two late '60s lost souls. Dreaming of an easy life as a fantasy cowboy stud, cheerful Texas rube Joe Buck (Jon Voight) heads to New York City to be a gigolo, but he quickly discovers that hustling isn't what he thought it would be after he winds up paying his first trick (Sylvia Miles). He gets swindled by gimpy tubercular grifter Rico "Ratso" Rizzo (Dustin Hoffman) but, when Joe falls in the direst of straits, Ratso takes Joe into his condemned apartment so that they can help each other survive. Things start to look up when Joe finally lands his first legit female customer (Brenda Vaccaro) at a Warhol-esque party; Ratso's health, however, fails. Joe turns a final trick to get the money for one selfless goal: taking Ratso out of New York to his dream life in Miami. One of the first major studio films given the newly minted X rating for its then-frank portrayal of New York decadence, Midnight Cowboy was critically praised for Schlesinger's insight into American lives, with the intercut mosaic of Joe's memories and Ratso's dreams lending their characters and actions greater psychological complexity. While they may have been drawn by the seamy content (tame by current standards), the young late '60s audience responded to Joe's and Ratso's confusion amidst turbulent times and to the connection they make with each other despite their alienation from the surrounding culture. Midnight Cowboy became one of the major financial and artistic hits of 1969, winning Oscars for Best Picture (the first for an X-rated film), Best Director, and former blacklistee Waldo Salt's screenplay. Though the one-two punch of Midnight Cowboy and The Graduate (1967) proved Hoffman's range and Voight's Joe Buck made him a star, both lost Best Actor to classical cowboy John Wayne for True Grit. The film was later re-rated R by the MPAA. ~ Lucia Bozzola, Rovi

In 1961, Cliff Robertson starred in The Two Worlds of Charley Gordon, a TV adaptation of Daniel Keyes' story Flowers for Algernon. Determined not to lose out on the film version of this play as he'd done with Days of Wine and Roses, Robertson bought up the movie rights to Keyes' story so that he and he alone would star. This determination paid off in the form of the Best Actor Academy Award for Robertson in 1968. The star plays Charly, a 30-year-old mentally retarded bakery worker. Neurosurgeon Dr. Richard Nemur (Leon Janney) and psychiatrist Dr. Anna Straus (Lilia Skala) approach Charly and ask him to participate in an experiment. Previously, Dr. Nemur was able to accelerate the intelligence of a mouse named Algernon by performing a radical new form of brain surgery; could not such a procedure work on a human being? As a result, Charly not only achieves normal intelligence, but also becomes a genius. Emboldened by his new mental status, Charly proposes marriage to his very receptive special-ed teacher (Claire Bloom). Alas, Charly notices that Algernon has begun to regress, and he reasons that he also will return to his old developmentally challenged state. ~ Hal Erickson, Rovi

Ex-lawman turned rancher Jed Cooper (Clint Eastwood) is moving a small herd of cattle when a group of nine men on horseback, led by Captain Wilson (Ed Begley Sr.), ride up and accuse him of having stolen the cattle and killed their owner. Refusing to believe his account, they string him up by the neck and leave him for dead, but they don't do the job right. Cooper is dangling there, barely alive, a few minutes later when Deputy U.S. Marshal Bliss (Ben Johnson) spots him and cuts him down. He survives the next few days in Bliss' tumbleweed wagon with the other prisoners, and is later cleared of any wrongdoing and released by Judge Fenton (Pat Hingle), just in time to witness the hanging of the man who really murdered the owner of the cattle and took Cooper's money. Cooper still wants revenge on the nine men who tried to hang him, but Fenton insists that he leave the bringing of them to justice to his deputy marshals. As it happens, Fenton is in desperate need of deputy marshals for the territory that he oversees, and he also knows that Cooper was a good lawman. Cooper, in turn, is now broke and in need of a job, and does want to see justice done. They strike an uneasy bargain, Cooper agreeing to wear a badge and bring in the men he's looking for -- alive -- for trial. The latter proves easier said than done, however, when the first of them that he spots tries to draw on him when he makes the arrest. One of the hanging party, Jenkins (Bob Steele), soon turns himself in and provides the names of the others. Cooper takes Stone (Alan Hale Jr.) alive, but the hapless blacksmith is later shot by the local sheriff (Charles McGraw) while trying to escape. The other men, led by Wilson, have no intention of dying, or even being brought to trial, without a fight. Two of them go on the run out of the territory, while Wilson and two of the others decide to take the law into their own hands once again. Meanwhile, Cooper becomes a hero when he single-handedly brings back a trio of rustlers who are also guilty of murder. This leads to Cooper's first confrontation with Judge Fenton, who, in a gripping scene, explains why it is essential that he be as seemingly quick to hang a man as he is. Unless the people are convinced that the law will do its job -- including hanging men who deserve it -- they will keep taking the law into their own hands and there will be more lynch mobs like the one that tried to kill Cooper. In the course of his quest for justice, Cooper also makes the acquaintance of Rachel (Inger Stevens), a young woman with her own search for justice, haunted by her own ghosts, and the two of them are drawn together, no more so than when Wilson and two of the others try to gun Cooper down in cold blood. The final confrontation between Cooper and Wilson escalates in violence to its savage, irony-laced conclusion. ~ Bruce Eder, Rovi

Expanded from a two-character play by Murray Schisgal, this comedy stars Eli Wallach as Ben Harris, a disgruntled New York City mail carrier. Harris is fed up with being cheated by his landlords, the Kellys (Roland Wood and Ruth White), so he terrorizes them and the city's housing authority until they agree to give him a new apartment. Not satisfied, Harris "goes postal" by kidnapping a bored suburban housewife, Gloria Fiske (Anne Jackson) and taking her back to his apartment. To his surprise, he finds that Gloria also hates the world, and they become fast friends. He eventually lets her go but follows her home. When he tries to climb into her window, her husband Jerry (Bob Dishe) chases him away. Harris returns to his apartment building, where the Kellys invite him in to watch TV, and somehow this soothes his wrath. Dustin Hoffman has a small role as a hippie named Hap. ~ Michael Betzold, Rovi

This soapy melodrama based on the novel by John O'Hara earned an Academy Award nomination for Best Costume Design. Suzanne Pleshette stars as Grace Caldwell, a newspaper heiress and nymphomaniac whose numerous dalliances threaten to destroy her wealthy Pennsylvania family's image. Taken on a vacation to the Bahamas by her widowed mother Emily (Carmen Mathews), Grace can't resist a tryst with a waiter, which causes Emily a fatal heart attack. Back home, Grace meets a new beau, Sidney Tate (Bradford Dillman) at a Christmas party. The gentlemanly Sidney wins Grace's heart and she marries him, promising to end her sexually wild ways. A few years later, however, Grace sleeps with a construction worker and the resulting scandal when her lover dies in a drunken car wreck leads Sidney to believe that Grace is also having an affair with an old friend, Jack Hollister (Peter Graves). ~ Karl Williams, Rovi

At great personal risk, Kimble returns to Fairgreen, Indiana, the home town of his late wife Helen. Having heard that his father-in-law Ed Waverly (Lloyd Gough) is on the verge of bankruptcy, Kimble hopes to somehow offer a helping hand. Though both Ed and his daughter Terry (Louise Sorel) have always believed that Kimble is innocent of Helen's murder, they are overruled by Ed's neurotic wife Edith (Ruth White), who refuses to accept any story but the "official" one about Kimble's guilt. Ultimately recognized by a local cop, Kimble must place his life in the hands of Ed and Terry--and somehow force Edith to face some very unpleasant truths about her "sainted" daughter Helen. ~ Hal Erickson, Rovi

Reginald Rose adapted the script for this Twilight Zone episode from his own 60-minute Studio One teleplay, which originally aired June 13, 1955. The earlier version starred Art Carney as Horace Ford, a middle-aged toy manufacturer with the temperament of a child. Forever yearning for the days of his idyllic childhood, Horace is at last able to relive his youth, only to find that things weren't quite as rosy as he remembered. Pat Hingle played the old Art Carney role in the Twilight Zone version of "The Incredible World of Horace Ford," which was first telecast April 18, 1963. ~ Hal Erickson, Rovi

Harper Lee's Pulitzer Prize-winning autobiographical novel was translated to film in 1962 by Horton Foote and the producer/director team of Robert Mulligan and Alan J. Pakula. Set a small Alabama town in the 1930s, the story focuses on scrupulously honest, highly respected lawyer Atticus Finch, magnificently embodied by Gregory Peck. Finch puts his career on the line when he agrees to represent Tom Robinson (Brock Peters), a black man accused of rape. The trial and the events surrounding it are seen through the eyes of Finch's six-year-old daughter Scout (Mary Badham). While Robinson's trial gives the film its momentum, there are plenty of anecdotal occurrences before and after the court date: Scout's ever-strengthening bond with older brother Jem (Philip Alford), her friendship with precocious young Dill Harris (a character based on Lee's childhood chum Truman Capote and played by John Megna), her father's no-nonsense reactions to such life-and-death crises as a rampaging mad dog, and especially Scout's reactions to, and relationship with, Boo Radley (Robert Duvall in his movie debut), the reclusive "village idiot" who turns out to be her salvation when she is attacked by a venomous bigot. To Kill a Mockingbird won Academy Awards for Best Actor (Peck), Best Adapted Screenplay, and Best Art Direction. ~ Hal Erickson, Rovi

Audrey Hepburn stars in The Nun's Story as Sister Luke, postulant of a Belgian order of nuns. Though frequently disillusioned in her efforts to spread good will -- at one point she is nearly killed by a mental patient (Colleen Dewhurst) -- Sister Luke perseveres. Sent as a nurse to the Belgian Congo, an assignment she'd been hoping for, Sister Luke is disappointed to learn that she will not be ministering to the natives but to European patients. Through the example of no-nonsense chief surgeon Peter Finch, the nun sheds her idealism and becomes a diligent worker -- so much so that she contracts tuberculosis. Upon the outbreak of World War II, Sister Luke tries to honor the edicts of her order and not take sides, but this becomes impossible when her father (Dean Jagger) is killed by the Nazis. Realizing that she cannot remain true to her vows, Sister Luke leaves the order and returns to "civilian" life. The Nun's Story ends with a long, silent sequence in which Sister Luke divests herself of her religious robes, dons street garb, and walks out to an uncertain future. There is no background music: director Fred Zinnemann decided that "triumphant" music would indicate that Sister Luke's decision was the right one, while "tragic" music would suggest that she is doing wrong. Rather than make an editorial comment, the director decided against music, allowing the audience members to fill in the blanks themselves. The Nun's Story is based on the book by Kathryn Hulme, whose depiction of convent life was a lot harsher and more judgmental than anything seen in the film. ~ Hal Erickson, All Movie Guide

Edge of the City is a modern morality play, acted out in the railyards of New York. AWOL soldier John Cassavetes takes a job as a railroad worker, where he is taunted and bullied by supervisor Jack Warden, a union functionary appointed by the Mob. Cassavetes befriends his African-American co-worker Sydney Poitier, whose very presence enrages the bigoted Warden. Poitier dies in an "accident" arranged by Warden; Cassavetes knows the truth, but is frightened into silence by the corrupt union. Inspired by Poitier's widow to stand up for what is right, Cassavetes challenges Warden in a climactic one-on-one battle. Edge of the City was produced by David Susskind, who'd previously staged Robert Alan Aurthur's screenplay for television under its original title, A Man is Ten Feet Tall. ~ Hal Erickson, Rovi