Fred Coe Movies

Sydney Pollack's tawdry potboiler, adapted from a one-act play by Tennessee Williams, was rife with production problems, culminating in Williams' failed attempt to have his name removed from the credits. The story is set by a framing device as thirteen-year-old Willie Starr (Mary Badham) sits on an abandoned railroad track with her friend Tom (Jon Provost) and relates the tale of her deceased older sister Alva (Natalie Wood). Alva is a beautiful woman living in a small Mississippi town in the 1930s with her manipulative mother Hazel (Kate Reid), the owner of a boarding house. Hazel wants Alva to marry the well to do Mr. Johnson (John Harding), but Alva has fallen in love with a good-looking stranger from New Orleans, Owen Legate (Robert Redford), who is in Mississippi to lay off railroad workers. Hazel is opposed to their love affair and when Owen is beaten to a pulp by a gang of workers, he decides to leave town and take Alva with him. But Hazel fools Owen into thinking Alva is engaged to Mr. Johnson. In retaliation, Alva marries Hazel's loutish lover J.J. (Charles Bronson). The next day, she abandons J.J. to meet Owen in New Orleans. Her mother, incensed at Alva's betrayal, sets out to ruin her daughter's reputation by exposing her marriage to J.J. to the world. ~ Paul Brenner, All Movie Guide

Based on William Gibson's Broadway play and retaining its acclaimed cast, Arthur Penn's The Miracle Worker tells the true story of Helen Keller (Patty Duke), an Alabama girl struck blind and deaf as a baby after an elevated fever. Enter Annie Sullivan (Anne Bancroft), a partially-blind woman assigned the task of teaching Helen sign language. After first separating Helen from her over-protective parents (Victor Jory and Inga Swenson), Annie begins the arduous process of teaching the girl. ~ Jason Ankeny, All Movie Guide

Irregularly scheduled on NBC from 1954 through 1957, Producers' Showcase was a series of lavish, full-color 90 minute specials, bringing the best of Broadway to the 21 inch screen. The series' April 2, 1956 presentation was Guthrie McClintic's adaptation of Rudolf Besier's 1931 Broadway hit The Barretts of Wimpole Street. Repeating her celebrated stage role as the fragile, invalided poetess Elizabeth Barrett was McClintic's wife, Katherine Cornell, in her first television appearance. Set in London in 1845, the play recounts the familiar story of the romance between Elizabeth and the dashing, much-younger poet Robert Browning (Anthony Quayle), who is determined to rescue Elizabeth from the autocratic grip of her domineering father, Edward Moulton-Barrett (Henry Daniell), who holds the rest of the grown Barrett children in tyrannical thrall in their home at 50 Wimpole Street. Previously filmed by Hollywood in 1934 with Norma Shearer, Fredric March and Charles Laughton, The Barretts of Wimpole Street would again go before the cameras one year after this well-mounted Producers' Showcase production, this time with Jennifer Jones, Bill Travers and John Gielgud. ~ Hal Erickson, All Movie Guide

The 1958 theatrical feature The Left-Handed Gun was adapted from the 1955 Philco Television Playhouse offering The Death of Billy the Kid. Both the film and the TV program boasted the same star (Paul Newman), the same author (Gore Vidal) and the same director (Arthur Penn). Broadcast live, The Death of Billy the Kid adhered to basically the same plot of the later film, with newly appointed New Mexico governor Lew Wallace (Matt Crowley) offering outlaw Billy the Kid amnesty if he'll agree to give up his life of crime. But Billy's friendly enemy, Sheriff Pat Garrett (Frank Overton), suspects that the young gunslinger is constitutionally incapable of staying on the right side of the law. The Freudian and homosexual subtext of The Left-Handed Gun was muted in the earlier TV presentation, but the story still retained its dramatic impact. ~ Hal Erickson, All Movie Guide

Irregularly scheduled on NBC from 1954 through 1957, Producers' Showcase was a series of lavish, full-color 90 minute specials, bringing the best of Broadway to the 21 inch screen. On September 11, 1955, the series expanded to two hours to offer an elaborate "life from Hollywood" staging of Thornton Wilder's surrealistic comedy The Skin of Our Teeth. Though the action ostensibly takes place in New Jersey--first the city of Excelsior, then on the boardwalk of Atlantic City--the episodic plotline girdles the entire history of the world, with Mankind represented by the "ubermensch" Antrobus family. Surviving the Creation, the Ice Age, the seven deadly plagues, the Black Death and every other historical calamity, the unflappable and always fastidiously dressed George Antrobus (a rare acting performance by legendary Broadway director George Abbott) and his even-tempered wife (Helen Hayes) personify every man and woman who has weathered the most harrowing of storms "by the skin of their teeth." Acting as a combination Greek Chorus and Protean Player is the Antrobus' sexually uninhibited maid Sabina (Mary Martin, in a role created on Broadway by Tallulah Bankhead), whose duties range from wrangling baby mastodons to periodically replenishing the human race. Featured in the cast as Gladys is Heller Halliday, the daughter of costar Mary Martin. This lively adaptation of Wilder's Pulitzer Prize-winning play was originally staged in Paris as part of the American National Theater Academy's Salute to France program. ~ Hal Erickson, All Movie Guide