Jane Alexander Movies

The elaborate British miniseries Shoulder to Shoulder was an anecdotal dramatization of the women's suffrage movement in England. Covering the period from the 1890s to the end of WWI, the series focused on the movement's most vocal proponent, Mrs. Emmeline Pankhurst (Sian Phillips). As Emmeline's militancy increased, her fervor spilled over to her daughters, Christabel (Patricia Quinn) and Sylvia (Angela Down), much to the delight of her husband, pioneering feminist barrister Richard Pankhurst. With the founding of the Women's Social and Political Union in 1903, Mrs. Pankhurst and her chief lieutenant Lady Constance Lytton (Judy Parfitt) shifted into full gear, despite the efforts of patronizing politicians and surprising brutal police officials to stifle the pro-vote movement. The series was unsparing in its accuracy, with its stark portrayal of the bitter rift between sisters Sylvia and Christabel over the latter's disenchantment with the increasingly violent activities of the W.S.P.U., its disturbing depiction of the force-feeding methods used by the police to quell a hunger strike, and its gruesome reenactment of activist Emily Davison's suicidal act of bravado during a horse race (a tragedy recorded by newsreel photographers of the period). Originally telecast by the BBC in 1974, the six-part Shoulder to Shoulder premiered in the United States on October 5, 1975, as part of the PBS Masterpiece Theatre anthology. ~ Hal Erickson, All Movie Guide

Set in Vienna during the German occupation, this made-for-cable television drama centers on the friendship between a Jewish girl and the young Christian who helps her escape. ~ Sandra Brennan, All Movie Guide

The Chilean Revolution of 1973 provides the framework of this propaganda drama that chronicles the aftermath of the assassination of President Salvador Allende. Much of the story centers on the effects the revolution has upon an American couple who lived there during the tumult. ~ Sandra Brennan, All Movie Guide

Blood and Orchids was adapted from Norman Katkov from his own fact-based book. The scene is Hawaii, 1937. The wife (Madeline Stowe) of a naval officer (William Russ) is beaten nearly to death by her lover (Matt Salinger)--her husband's best friend. Four native Hawaiians find the woman and take her to the hospital, then flee out of fear of being blamed for the assault themselves. The aristocratic mother (Jane Alexander) of the beaten woman knows the truth, but, coldly insistent upon maintaining white supremacy on the islands, orders her daughter to claim that the Hawaiian boys had abused her. A trial follows, complicated by an honest police officer (Kris Kristofferson), who doesn't believe the victim's story. This two-part TV movie digresses from the source novel by hoking up a romance between the cop and the young wife (Sean Young) of the prosecuting attorney (Jose Ferrer). Blood and Orchids was originally telecast in February of 1986. ~ Hal Erickson, All Movie Guide

This standard, tongue-in-cheek, gangsters and good guys saga is carried on the star power and screen presence of Clint Eastwood as Lt. Speer, a taciturn, tough, play-it-by-the-book cop, and on Burt Reynolds as Mike Murphy, Speer's old friend in the force, now turned private eye but still a captivating rogue at heart. With a sub-text of playing their well-known screen personas off each other, Eastwood and Reynolds provide more than a surface interpretation of the characters that made them famous. After Murphy's partner is murdered, he focuses on pitting one mob boss against another in an attempt to have both mobsters kill each other. In the meantime, Lt. Speer -- who has never approved of Murphy's private detective business -- does not really know if Murphy is for or against the two top gangsters. Set in the era of speakeasies and Prohibition, an added layer of "film noir" can be discerned under the complex plot, verbal repartée, and episodes of toned-down violence (a kind of parody in themselves). Although this may not be the best film either star has made, it is still interesting to see them together on screen. ~ Eleanor Mannikka, All Movie Guide

19th century frontierwoman Martha Jane Canary (1852-1903)--better known as Calamity Jane--has been portrayed by actresses as diverse as Doris Day, Jean Arthur and Louise Dresser. Jane Alexander isn't exactly the living image of the legendary Jane, but at least she plays down the Hollywood glamour that afflicted Arthur's and Day's interpretations. This made-for-TV film details the private Jane rather than the public image. It was based on letters sent by Jane to her daughter back east; Suzanne Clauser's teleplay opines that the daughter was the illegitimate offspring of Calamity and her paramour Wild Bill Hickok (Frederic Forrest). Calamity Jane originally aired March 6, 1984. ~ Hal Erickson, All Movie Guide

Real-life father and son Martin Sheen and Emilio Estevez star in the made-for-TV In the Custody of Strangers. Blue-collar Sheen and his wife Jane Alexander attempt to instill discipline in their three growing children. But their 16-year-old son Estevez chafes at their authoritative attitudes, and runs seriously afoul of the law. Picked up on a drunk-driving charge, Estevez is charged with assault and battery when he fights off the sexual advances of his cellmate. His release continually delayed by judicial red tape, Estevez holds his parents, who are virtually helpless within the strictures of the Law, responsible for the mess he's in. But the real villain of the piece is not a person but an entity: The juvenile justice system, which is overworked, understaffed and swamped with dead-end bureaucracy. Scripted by Jennifer Miller, In the Custody of Strangers debuted on May 26, 1982. ~ Hal Erickson, All Movie Guide

The made-for-television Playing for Time debuted on September 30, 1980. Vanessa Redgrave stars as Fania Fenelon, a Jewish cabaret singer working in Paris at the time of the Nazi invasion. Shipped to the Auschwitz death camp in 1944, Fenelon is certain that she is as doomed as all the other prisoners. But SS camp matron Shirley Knight has other plans: she orders Fenelon and several other female inmates with musical ability to form themselves into a prisoner's orchestra. They are to perform for the benefit of those who are herded into the gas chambers--a "humane" means of easing the condemned into the next world. As much as she despises her work, Fenelon and her fellow musicians continue to play, lest they too be exterminated. The film raises several questions about courage, guilt and survival at any price, but the most controversial aspect was the casting of anti-Zionist Vanessa Redgrave as Fania Fenelon. Like many others, the real-life Fenelon (who died in 1988) was vehemently opposed to Redgrave's appearance in the film. Playing for Time won Emmy Awards for Redgrave, scriptwriter Arthur Miller, supporting actress Jane Alexander, and as Outstanding Dramatic Special. Redgrave's husband Tony Richardson was the original director, but he bowed out and was replaced by Joseph Sargent., who himself was replaced by Daniel Mann (the only one credited) ~ Hal Erickson, All Movie Guide

Robert Benton's Oscar-winning adaptation of Avery Corman's bestseller takes on contemporary problems of divorce and shifting gender roles, as a jilted husband learns how to be a nurturing father. Manhattan housewife Joanna Kramer (Meryl Streep) walks out on her workaholic ad man husband Ted (Dustin Hoffman), leaving their young son Billy (Justin Henry) in Ted's less than capable hands. Through trial and error, Ted learns how to take care of Billy, devoting more energy to his family than to his work, and finally losing his high-powered job because of his new priorities. When Joanna returns with her own lucrative job and the intent to take custody of Billy, Ted finds employment that won't interfere with his paternal duties. Even though he proves that he can do it all, Joanna still wins in court. Joanna, however, rethinks her desires when she finally grasps how close father and son have become. Addressing the male side of the self-actualization question, previously explored from the female perspective in such 1970s movies as An Unmarried Woman (1978), Alice Doesn't Live Here Anymore (1974), and The Turning Point (1977), Kramer focuses on Ted's evolution from absent parent to ideal father, as he learns to balance domestic and professional lives in the shifting late-1970s social landscape. Joanna's attempt to achieve the same, however, gets buried; only Streep's sensitive performance prevents Joanna from seeming an unsympathetic harridan. Critics praised the film's realistic depiction of Ted's travails, as well as the three lead actors' work; and audiences, perhaps facing the same questions of divorce and self-realization, turned it into a box-office smash. It went on to win five Oscars, including Best Picture, Best Actor, and Best Supporting Actress. ~ Lucia Bozzola, All Movie Guide

A Question of Love is the deceptively bland title for this controversial made-for-TV film. Gena Rowlands plays a divorced nurse who is doing her best to raise her young sons (Keith Mitchell and Josh Albee) without their dad's help. Rowlands' ex-husband Clu Gulager files for full custody of the children. It isn't that Gulager is selfish or vindictive: the fact is that Rowlands is a lesbian, with a live-in lover (Jane Alexander), and Gulager feels that her lifestyle is not in the boys' best interests. Nothing is cut and dried in William Blinn's intelligent screenplay: there are no heroes and villains, no absolute "right" or "wrong." Extremists and moderates are depicted with equanimity, as are the points in favor of both Rowlands' and Gulager's position. While it has unavoidably dated since its first telecast on November 26, 1978, A Question of Love retains most of his dramatic power even after nearly two decades. ~ Hal Erickson, All Movie Guide

A Circle of Children is an A-number-one TV adaptation of Mary MacCracken's autobiographical book. Recently separated from her husband, Mary (Jane Alexander) doesn't want to be just one more wealthy, useless divorcee. She plunges into volunteer work at a school for autistic children, where her presence is resented by brilliant but testy special-ed teacher Rachel Roberts, who considers MacCracken merely a dilettante. Ms. MacCracken proves her worth--to the teacher as well as herself--through her efforts to communicate with an 8-year-old victim of autism (Matthew Laborteaux). This Emmy-winning film was followed up by the equally superb Lovey: A Circle of Children, Part Two (1978). ~ Hal Erickson, All Movie Guide

Conspiracy film specialist Alan J. Pakula turned journalists Bob Woodward and Carl Bernstein's best-selling account of their Watergate investigation into one of the hit films of Bicentennial year 1976. While researching a story about a botched 1972 burglary of Democratic Party headquarters at the Watergate apartment complex, green Washington Post reporters/rivals Woodward (Robert Redford, who also exec produced) and Bernstein (Dustin Hoffman) stumble on a possible connection between the burglars and a White House staffer. With the circumspect approval of executive editor Ben Bradlee (Jason Robards), the pair digs deeper. Aided by a guilt-ridden turncoat bookkeeper (Jane Alexander) and the vital if cryptic guidance of Woodward's mystery source, Deep Throat (Hal Holbrook), Woodward and Bernstein "follow the money" all the way to the top of the Nixon administration. Despite Deep Throat's warnings that their lives are in danger, and the reluctance of older Post editors, Woodward and Bernstein are determined to get out the story of the crime and its presidential cover-up. Once Bradlee is convinced, the final teletype impassively taps out the historically explosive results. ~ Lucia Bozzola, All Movie Guide