Mart Crowley Movies

Based on Vito Russo's groundbreaking 1981 work of film history, The Celluloid Closet gathers clips from dozens of mainstream Hollywood films to illustrate how the movies have dealt explicitly -- and more importantly, implicitly -- with gay and lesbian themes. Layered between the clips are interviews with filmmakers whose works have touched on that subject. The popular films of the Golden Age could only hint at homosexuality and often portrayed gays as simpering characters, objects of scorn or merriment, or insidious villains. With the strictures of the old Production Code loosening, bolder presentations were possible, but often over the objections of studio executives who feared a public backlash against a film that dealt with a long taboo subject. Among the films discussed are Philadelphia, The Children's Hour, Making Love, Rope, and Spartacus. Gore Vidal, Tom Hanks, Susan Sarandon, and director John Schlesinger are among the film's strongest interview subjects. ~ Tom Wiener, All Movie Guide

In this drama, a formerly famous star returns from an insane asylum and tries to make a comeback. Despite the objections of her teen-age son, the woman embarks upon a risky romance with a dashing stranger. The story is based on a novel by James Kirkwood. ~ Sandra Brennan, All Movie Guide

The opening episode of Hart to Hart's fourth season demonstrates that, even when doing something as benign as purchasing a new bed, millionaire industrialist Jonathan Hart (Robert Wagner) and his journalist wife Jennifer (Stefanie Powers) will eventually find themselves neck-deep in danger, intrigue and murder. Nor does the "fun" let up in the next episode, wherein Eva Gabor guests as Jennifer's oft-married aunt, whose latest march down the aisle bids fair to be her last march anywhere. A later visit to Jennifer's old prep school not only features yet another of the Hart's old family friends who has turned murderer, but also rabbets in a clip from one of Stefanie Powers' feature-film appearances from the 1960s (hilariously passed off as a home movie of her "school play"!) And just when the Harts think that they're safe and sound in their own home, they are left at the mercy of homicidal thieves when their chauffeur-bodyguard Max (Lionel Stander) is lured away under false pretenses. As in past seasons, several guest stars show up to join in the merry mayhem. A new spin on the old grand guignol chestnut "The Most Dangerous Game", in which Jonathan and Jennifer become the human prey of a demented big game hunter, features both former Hitchcock protégée Tippi Hedren but also onetime Man From UNCLE costar David McCallum (Stefanie Powers had of course been the "Girl From" that same acronymic organization). Julie Newmar, who'd once been memorably bound and gagged by Robert Wagner in an episode of his 1960s series It Takes the Thief, turns the tables as a hitwoman who holds Jonathan and Jennifer prisoner. And Amanda Blake makes a rare post-Gunsmoke appearance in a tale involving a "trick" cigar that proves anything but funny for poor Max. Season Four ends in a virtual reprise of Hart to Hart's 1979 debut episode, with Jonathan and Jennifer Hart visiting a health club that's not so healthy after all. ~ Hal Erickson, All Movie Guide

The deeper, broader issues behind the rise and fall of one of the world's greatest ballet dancers and choreographers, Vaslav Nijinksy (1888-1950), is not at the fulcrum of this two-hour British biographical drama. Director Herbert Ross and screenwriter Hugh Wheeler base the film on Nijinsky's diaries and his wife's book Nijinsky but what they portray are the years between 1912-1913 and Nijinsky's affair with Sergei Diaghliev, his mentor and the impresario and founder of Ballets Russes. With the life of the great man (played by dancer George de la Pena) explained via the dominant, impossible personality of Diaghliev and the love of his wife (Leslie Browne), there is no room for larger questions. The business and politics and especially the homosexuality that are involved with the art of ballet are also given primary focus. ~ Eleanor Mannikka, All Movie Guide

No sooner have millionaire industrialist Jonathan Hart (Robert Wagner) and his journalist wife Jennifer (Stefanie Powers) have been introduced in the feature-length pilot episode of Hart to Hart than the couple is indulging in their favorite hobby, amateur sleuthing; it's all for a good cause of course, inasmuch as the Harts are hoping to solve the murder of an old friend at a so-called health spa. One week after the pilot aired on ABC, the Hart to Hart series proper got under way with its first 22 episodes. Frequently in harm's way during this inaugural season is the glamorous Jennifer Hart, who in the official season opener is targeted for death by a person claiming to be her cousin; a few weeks later, a looney lady (Kathleen Lloyd) who has long fantasized about being Jennifer decides to eliminate the "original"; and further down the line, Jennifer unwittingly signs her own death warrant when she commissions a portrait of herself. Both Jennifer and Jonathan are neck-deep in peril on several occasions, usually when they try to get away for a bit of rest and relaxation: for example, a vacation in Mexico goes sour when the Harts find themselves fugitives from both the local constabulary and a gang of drug dealers; a skiing weekend in Vail goes downhill when Jonathan and Jennifer are marked for death by electrocution; and a luxury cruise culminates with the Harts stuck in the middle of a blood feud between two rival teams of jewel thieves! And on separate occasions, an antique auto and a Buddha statue plunge the protagonists into the world of international espionage. In other adventures, the Harts adopt clever disguises to hunt down a killer of prostitutes; Madelyn Rhue guest stars as the latest girlfriend of the Harts' crusty chauffeur Max (Lionel Stander), and like most of Max's amours she turns out to be a crook; Jonathan is forced into a "duel a mort" with a sadistic fencing champ; the couple's pet dog Freeway dashes off to parts unknown with vital murder evidence clamped between his teeth; and a psychic employee of Hart industries bids fair to send Jonathan and Jennifer to the next world a bit ahead of schedule. Somehow or other, Jonathan and Jennifer survive to appear in the season finale, which concerns a scheming playboy who literally "plays" people like chess pieces. ~ Hal Erickson, All Movie Guide

Once you get past the fact that handsome Paul Newman could never pass for plug-ugly boxer Rocky Graziano in real life, you will be able to accept Somebody Up Their Likes Me as one of the more accomplished movie biopics of the 1950s. Based on Graziano's autobiography (co-written with Rowland Barber), the film accurately depicts the teen-aged Rocky as an unregenerate punk, evidently doomed by his slum environment, and his own lousy attitude, to a life of petty crime. Determining that the only way he'll make a living is with his fists, Rocky becomes a boxer, at first willing to participate in a series of fixed fights. Eventually, Rocky develops a conscience and sense of self-respect, no small thanks to his sweetheart (and later wife) Norma (Pier Angeli). The film ends on an optimistic note after Rocky wins a "clean" bout with Tony Zale (playing himself). Training extensively with Graziano prior to and during production, Newman is quite impressive in his first worthwhile film role (this was only his third film, following the execrable The Silver Chalice and the forgettable outing The Rack). The title song in Somebody Up There Likes Me was written by Bronislau Kaper and Sammy Cahn, and performed by Perry Como. ~ Hal Erickson, All Movie Guide