Kathleen Widdoes Movies

The then-current efforts to impeach President Bill Clinton were clearly the inspiration of this episode, the first in a two-part story. A Baltimore official is murdered in New York's Battery Park, compelling the NYPD's Briscoe (Jerry Orbach) and Curtis (Benjamin Bratt) to work side by side with Baltimore homicide cops John Munch (Richard Belzer) and Rene Sheppard (Michael Michele). It turns out that the victim was killed on Munch and Sheppard's home turf before being dumped in Briscoe and Curtis' backyard. The ensuing investigation involves a high-level Washington cover-up, a lesbian romance, and an FBI-protected witness, culminating in a clash between ADA Jack McCoy (Sam Waterston) and duplicitous Independent Counsel William Dell (George Hearn, who, coincidentally, bears a strong physical resemblance to the redoubtable Kenneth Starr). This two-parter was Law & Order's third and final crossover with the NBC crime drama Homicide: Life on the Street; the conclusion originally aired as an installment of Homicide February 19, 1999. ~ Hal Erickson, Rovi

This American Playhouse production is based on a short story by Hortense Calisher and stars funny man Jerry Stiller and the youngest member of the formidable clan of performing Arquettes, Alexis Arquette. Over the course of the hour-long film, a young German man longs to become friends with his Jewish neighbors in the late 1930s. ~ Michael Hastings, Rovi

Young divorced mother Kate Nelligan refuses to go into a panic when her six-year-old son disappears. She manages to maintain an even emotional keel even when detective Judd Hirsch unearths several clues which point to sexual molestation. After several false leads, the truth is revealed. We won't divulge the ending, but we will note that we found it pretty hard to swallow-especially when compared to the actual case upon which Beth Gutcheson's novel and screenplay were based. Despite its cop-out denouement, Without a Trace deserves to take its place among such superior missing-children dramas as the made-for-TV Adam and Just Another Missing Kid. ~ Hal Erickson, Rovi

Based on Kate Chopin's moving novel The Awakening, and set in the early 1900s, this drama chronicles the struggle of a young wife to escape the oppressing conventions of society and live life to the fullest. ~ Sandra Brennan, Rovi

In this drama, a man leaves his wife to join the circus. Many years later, he bumps into a pretty teenage girl who turns out to be the daughter he never knew existed. ~ Sandra Brennan, Rovi

Return of Charlie Chan was subtitled Happiness is a Warm Clue, which should be warning enough for the discriminating viewer. Ross Martin, the disguise-happy "Artemus Gordon" of The Wild Wild West, here plays Earl Derr Biggers' scrupulously polite Chinese sleuth. Chan is dragged out of retirement to solve a baffling case, made less baffling by the guest star line-up (the killer all but wears a neon sign reading "IT'S ME!"). The victim is a possessive Greek shipping tycoon, who isn't named Onassis but you can't fool us. Rocky Gunn, Virginia Lee, Soon Teck-Oh and Ernest Harada are among the many actors playing Charlie's offspring, none of them any brighter than the "Number One" and "Number Two" sons in the old Charlie Chan B pictures. Return of Charlie Chan was the pilot film for a projected "Chan" TV series, but it was shelved due to pressure-group complaints over the casting of a Caucasian in the lead. The film was released theatrically in Europe in 1973, but didn't make it to American television until 1979. No pressure groups complained this time, mainly because no one was watching. ~ Hal Erickson, Rovi

This hippie parable, co-written and directed by James Ivory and produced by his long-time partner Ismail Merchant, tries to make a heavy-handed parallel between civilization and corruption. A tribe of nameless natives (played by Sam Waterston, Susan Blakely, Salome Jens and Martin Kove, among others) finds a croquet ball and, rolling it along the ground mystified by what it might be, stumbles upon an estate. They enter and occupy the mansion and don the clothes and trappings of civilized luxury. A dividing line begins to develop between strong and weak tribe members, with the weak becoming subordinate to the others. A lavish party is thrown that resembles nothing so much as a summer weekend gathering of sophisticates. After a game of croquet, however, the natives begin to tire of their masquerade and devolve back into their original, more primitive state, and disappear into the forest. Cinematographer Walter Lassally makes the film's point more blunt and obvious by filming the prologue in black and white and then switching to color once the tribe discovers the estate. One of Ivory's co-writers was Michael O'Donoghue, infamous bad boy of the original Saturday Night Live writing staff. ~ Karl Williams, Rovi

This is one of several film versions of the classic play by Anton Chekhov. The depressing tale of unrequited love begins when an aging actress Arkadina (Simone Signoret) and her arrogant writer companion Trigorin (James Mason) travel to a small Russian town to visit her brother, an ailing public official in retirement. Nina (Vanessa Redgrave) is the neighbor girl who falls for Trigorin. The simple country girl is degraded by the older, more worldly author as she follows him to the big city and falls victim to the debauchery of urban life. Arkadina also deals with a hateful son who is driven to suicide in this somber and depressing film. Although there are some moments of comedy in the play, this film version is decidedly more downbeat. ~ Dan Pavlides, Rovi

Chad Everett guest stars as Daniel Sayres, a singularly despicable con artist. Decked out with a phony USAF uniform and a "borrowed" identity from the Vietnam casualty list, Sayres specializes in tricking gullible women into marrying him, whereupon he steals all their money. The FBI is alerted to Sayres' racket when one of his victims turns up murdered. Inspector Erskine (Efrem Zimbalist Jr.) must act quickly before Sayres' latest bride, Margaret Caine (Kathleen Widdowes), meets the same grisly fate as her predecessor. ~ Hal Erickson, Rovi

Based on the novel by Mary McCarthy, The Group was one of the slickest, and most highly publicized, cinematic soap operas of the 1960s. Filmed largely in New York, the story charts the exploits of eight young women, all of whom graduate from an exclusive Vassar-ish college in the middle of the Depression. Among the talented young actresses making their screen debuts herein are Candice Bergen as Lakey, the group's resident Lesbian; Joan Hackett as Dottie, a repressed socialite who takes up with bohemian artist Dick Brown (Richard Mulligan); Joanna Pettet as Kay, who marries philandering playwright Harald Peterson (Larry Hagman); and Kathleen Widdoes as Helena, the wealthiest of the girls who insists upon proving her value in the workplace. The other girls are Pokey (Marin-Robin Redd), who seems happiest when pregnant; Jessica Walter as Libby, the group's viper-tongued gossip and the darling of the Manhattan literary set (some have suggested that McCarthy based this character on herself); Elizabeth Hartman as Priss, the requisite heart-on-sleeve liberal; and Shirley Knight as Polly, whose bumpy love life culminates in a very colorful engagement party. Hal Holbrook, likewise making his first screen appearance, plays Gus LeRoy. Sumptuously produced, The Group is a bit empty dramatically, though the sheer volume of continuing characters manages to sustain audience interest. (Incidentally, here's a note for "blooper" spotters: wasn't the Pan Am building constructed in the 1950s? ) ~ Hal Erickson, Rovi