Audrey Blasdel-Goddard Movies

In a film originally made for television, a detective accidentally involves himself with a female con artist who is planning a $12 million diamond robbery. ~ John Bush, All Movie Guide

Money on the Side is a feminist's worst nightmare. This TV movie proposes that the only recourse a housewife has to the nation's "faltering economy" (to quote the film's press release) is to turn to prostitution. The three suburban housewife hookers in this opus are Jamie Lee Curtis, Linda Purl, and....Karen VALENTINE?!?!?!? Say it ain't so, Joe. Forget this one: even the title of Money on the Side sounds like a dirty joke. ~ Hal Erickson, All Movie Guide

Once seen, the made-for-TV Fallen Angel can never be forgotten. Dana Hill is nothing short of brilliant as Jennifer, a 13-year-old runaway girl who is slowly but inexorably seduced into the world of child pornography. Adding depth to Lew Hunter's screenplay is the fact that the older man responsible for Jennifer's downfall, played by Richard Masur, is not a slavering villain. Instead, partly because of his own abused childhood, he is as pathetically misguided as his victim, truly believing that his filthy activities are expressions of affection. First telecast February 24, 1981, Fallen Angel was one of the highest-rated TV movies of its time. ~ Hal Erickson, All Movie Guide

Funny Lady, the follow-up to the 1968 Funny Girl which made a movie star of Barbra Streisand, picks up the character of Fanny Brice in the 1930s. Although she is a tremendously famous Broadway star, she has suffered from the stock market crash and needs to boost her finances. Even Ziegfeld, who soon will pass away, is having a hard time raising money for a show. Into this scene bursts brash young Billy Rose (James Caan), an egotistical lyricist with unrestrained ambition. He cajoles and charms Fanny into linking up with him, convincing him that he can produce a revue that will showcase her to their mutual advantage. Out of town, the show is an unmitigated disaster, and Fanny uses her professional know-how to whip the show into shape. It arrives in New York a hit -- and Fanny and Billy arrive an item. Both of their careers blossom, but even though they marry, their relationship suffers. Fanny still carries a torch for first husband Nick (Omar Sharif), and Billy, partially because of insecurities caused by Fanny's feelings for Nick, has a roving eye. In California working on a lucrative radio show, Fanny and Nick connect again -- and Fanny realizes that she is finally over him. Thrilled, she flies to Cleveland, where Billy is working on a new show, ready to commit herself totally to him -- only to find him in bed with another woman. The two part, but years later they meet again to discuss a new show, and it's clear that the chemistry between them is still there. ~ Craig Butler, All Movie Guide

In the Los Angeles of yoga, therapy, and well-off liberals, a divorcé decides that his ex-wife is the love of his life in Paul Mazursky's romantic comedy. Beverly Hills divorce lawyer Stephen Blume (George Segal) becomes his own client when his social worker wife Nina (Susan Anspach) throws him out for sleeping with his secretary. Only then does Blume realize that he can't live without Nina, even though she seems fine without him, and he has a new sex partner in divorcée Arlene (Marsha Mason). So what does he do to win Nina back? Befriend her laid-back musician beau, Elmo (Kris Kristofferson), show up at her house with breakfast bagels, eavesdrop on her therapy sessions, and forcibly impregnate her, of course. Banished to their former honeymoon site in Venice, Italy while Nina thinks things over, Blume reflects on his past and his obsession, as he dreamily hopes for the best. Cutting between Blume's musings on love and loss in Venice's Piazza San Marco and the events in L.A. that brought him there, Mazursky humorously yet sharply dissects the complications of marriage in the let-it-all-hang-out Me Decade of the 1970s. Blume and Nina face the same dilemma as the couples in Mazursky's 1969 hit Bob & Carol & Ted & Alice: how to mesh traditional vows with the new freedom and its temptations. In this case, it takes a divorce to convince the solipsistic Blume that the woman he wants most is his own wife. Considered by some critics one of the decade's best interrogations of contemporary coupledom, Blume in Love astutely captured the absurdity of Blume's self-involved romantic quest, while slyly celebrating the operatic spirit of love that drives him. ~ Lucia Bozzola, All Movie Guide

Robert Mitchum delivers a top-notch performance as Harry Graham, a lonely and tender lout of a father who, released from prison after having killed his wife many years ago, has to start anew but must deal with his embittered teenage son Jimmy (Jan-Michael Vincent). Jimmy, seeking vengeance upon his father, tracks him from the prison where he was incarcerated to the run-down seashore community where Harry is now eking out a living in a trailer park with his girlfriend Jenny (Brenda Vaccaro). When Jimmy at last confronts his father face to face, he finds he has to deal with many unresolved emotional barriers in their relationship. ~ Paul Brenner, All Movie Guide

Sidney Poitier stars as John Kane, a heavenly emissary who pays a visit to the Alabama town where he was born. Making it his mission to purge the community of all hatred and prejudice, "Brother John" is nothing less than the Messiah returned to earth. Trouble is, he's black, and it's Alabama-so who's going to pay attention? Will Greer costars as a local town doctor. ~ Hal Erickson, All Movie Guide

Made on the heels of Paul Mazursky's Bob & Carol & Ted & Alice, this cinematic experiment is one of the director's more personal films. With a big tip-'o-the-hat to Fellini's 8 1/2 (to make sure no one misses the references to the film, Federico Fellini appears in a cameo), Alex in Wonderland centers on a young director (Donald Sutherland) who feels compelled to follow his recent box-office hit with another blockbuster. While mulling over this dilemma, the director's mind wanders to his past, his present, and probable future. One of the film's memorable sequences involves a restaging of the Vietnam War in downtown Hollywood. ~ Hal Erickson, All Movie Guide

Kirk Douglas has an extreme case of mid-life crisis in Elia Kazan's turgid melodrama (adapted from his best-selling novel). Douglas plays successful advertising executive Eddie Anderson, who cracks under the strain of the morning rush hour in Los Angeles and plows his sports car into a truck. Landing in a convalescent home, Eddie remains mute to everyone except his boss Finnegan (Charles Drake). In his recovery room, Eddie dreams about co-worker Gwen (Faye Dunaway), a sexy research assistant at his agency. Meanwhile, the psychiatrist Dr. Liebman (Harold Gould) talks to Eddie's wife, Florence (Deborah Kerr), who reveals that at one time Eddie and Gwen had an affair, but they broke it off. Unfortunately, after that escapade, Eddie's interest in sex vanished completely.

Then after the interview with Dr. Liebman, following a terrible nightmare, Eddie breaks out of his self-imposed silence and declares to Florence that he is tired of his unfulfilling life of "arrangements." Eddie returns to work, but the return is marked by Eddie insulting a major client, alienating his co-workers, and then taking off in a private plane in which he flies madly over the skies of L.A. His lawyer Arthur (Hume Cronyn) keeps Eddie from being thrown in jail and also talks Eddie into giving Florence the power of attorney. Eddie proceeds to travel to New York, where he runs into Gwen, who now has a child. Eddie is in New York to visit his senile father, Sam (Richard Boone), but when his family attempts to put Sam in a nursing home, Eddie takes him away with him to their old family estate on Long Island. Eddie calls up Gwen, and she travels to Long Island to resume their affair. Meanwhile, Eddie's loved ones search for Sam, and they are closing in on Eddie's Long Island sanctuary. ~ Paul Brenner, All Movie Guide

Petulia is Richard Lester's ode to the Swinging Sixties: a time of psychedelic instability when neither those who were square, nor those who were hip, really had it right. George C. Scott is Archie Bollen, a divorced San Francisco doctor in the midst of "discovering himself." Julie Christie is Petulia Danner, a peculiar young beauty recently married into an established family. Archie's sterile apartment and detached, bemused manner exemplify his inability to emote. Petulia's forward nature and desperate tenderness betray her fear of her sullen, abusive, pretty-boy husband (Richard Chamberlain). The physician and the newlywed embark on a schizophrenic love affair amid Pepsi references, automated motels, roller derbies, and a cameo by Big Brother and the Holding Company -- but they never achieve the daring to truly change their lives. ~ Aubry Anne D'Arminio, All Movie Guide

In this drama, sweet and honest Tammy is hired as a secretary by a powerful industrialist with a handsome young son. Meanwhile a society dame is angered that the millionaire hired Tammy because she wanted her own girl to have a shot at the son. To ruin the new secretary's chances, the dame and her conniving daughter try to smear Tammy's reputation at every turn. They even try to sic the IRS on her for evasion of back taxes; the government agency retaliates by trying to take away Tammy's house to repay the debt. Fortunately, the hapless girl's grandpa and uncle show an old deed that proves that they do indeed own the house. Not only that, according to the deed, the little family also owns the property of the wealthy socialite and her family. Tammy disagrees with her family's plan and fears that her backwoods relatives will ruin her life. She is saved by her boss who secretly pays the taxes and then holds a riotous party in which her family acts like fools. Fortunately, everyone forgets about it and she and the son live happily. This is the last of four pictures about Tammy. ~ Sandra Brennan, All Movie Guide