Ed Greenberg Movies

Executed in the manner of a 1940's low-budget programmer, this comedy-thriller chronicles the misadventures of screenwriter Edgar Allen (Rufus Butler Seder), aspiring to move along in the literary footsteps of another, 19th-century Edgar Allen. Edgar is trying to come up with good horror script in order to impress an agent. If the script is good, the agent will take on the scenarist. Needing digs, but having little dough, Edgar agrees to work for room and board as a janitor of the ramshackle Welcome Apartments, owned by an odd experimental filmmaker. Edgar finds that every resident is more than a little eccentric and uses them in his new script. ~ Sandra Brennan, All Movie Guide

This year, the Shotz Brewery Talent Show is being supervised by Laverne (Penny Marshall) and Shirley (Cindy Williams). Alas, it looks like the festivities are on the fast track to disaster when the never-seen Mr. Shotz insists that his no-talent son Max Jr. (Ed Greenberg) be given a solo star turn. The episode's highlight is a rendition (or is it rendering) of "Night After Night", supposedly written by Lenny and Squiggy (but actually penned by the "genuine" Lenny, Michael McKean). Marjorie Marshall and Francine Williams, the real-life mothers of series stars Penny Marshall and Cindy Williams, respectively appear as Mrs. Ward and Mrs. Bellini. ~ Hal Erickson, All Movie Guide

It's the last night of summer 1962, and the teenagers of Modesto, California, want to have some fun before adult responsibilities close in. Among them are Steve (Ron Howard) and Curt (Richard Dreyfuss), college-bound with mixed feelings about leaving home; nerdy Terry "The Toad" (Charles Martin Smith), who scores a dream date with blonde Debbie (Candy Clark); and John (Paul Le Mat ), a 22-year-old drag racer who wonders how much longer he can stay champion and how he got stuck with 13-year-old Carol (Mackenzie Phillips) in his deuce coupe. As D. J. Wolfman Jack spins 41 vintage tunes on the radio throughout the night, Steve ponders a future with girlfriend Laurie (Cindy Williams), Curt chases a mystery blonde, Terry tries to act cool, and Paul prepares for a race against Bob Falfa (Harrison Ford), but nothing can stop the next day from coming, and with it the vastly different future ushered in by the 1960s. Fresh off The Godfather (1972), producer Francis Ford Coppola had the clout to get his friend George Lucas's project made, but only for $750,000 on a 28-day shooting schedule. Despite technical obstacles, and having to shoot at night, cinematographer Haskell Wexler gave the film the neon-lit aura that Lucas wanted, evoking the authentic look of a suburban strip to go with the authentic sound of rock-n-roll. Universal, which wanted to call the film Another Slow Night in Modesto, thought it was unreleasable. But Lucas' period detail, co-writers Willard Huyck's and Gloria Katz's realistic dialogue, and the film's nostalgia for the pre-Vietnam years apparently appealed to a 1973 audience embroiled in cultural chaos: American Graffiti became the third most popular movie of 1973 (after The Exorcist and The Sting), establishing the reputations of Lucas (whose next film would be Star Wars) and his young cast, and furthering the onset of soundtrack-driven, youth-oriented movies. Although the film helped spark 1970s nostalgia for the 1950s, nothing else would capture the flavor of the era with the same humorous candor and latent sense of foreboding. ~ Lucia Bozzola, All Movie Guide

In this adventure, a stereotypical hippie couple hitchhikes around California and meets various odd people ~ Kristie Hassen, All Movie Guide

In this modern parable of middle-American values, a nine-year-old boy leaves behind the family farm for a few very instructive days in New York. A disagreement with his father sends Brill (Richard Bray) hitching to New York City to seek his fortune. After arriving in Manhattan, he falls in with a young gang of shoe-shine boys and paper carriers who are "managed" by Rick (Jaime Charlamagne), a teenage punk who "protects" them in exchange for half their earnings. With the help of his new friend Paco (Roberto Marsach), a Puerto Rican boy about his own age, Brill gets a job selling papers. The next day Brill wins most of Rick's money in a crap game and he takes Paco out for a night on the town. When Rick's gang beats up Brill for winning the money, Suzy (Lee Grant), a prostitute, takes him home to care for him. The next morning, Suzy buys Brill new clothes and takes him on a tour of the city. He sees Suzy picked up by the police and decides to return home, purchasing a bicycle for the trip. Rick's gang spots him and gives chase, but Paco intercepts them, allowing Brill to escape. On the highway home, a truck wrecks the bike, and Brill stays the night at an elderly African-American couple's house. Upon returning home the next day, he presents his father with the remainder of his "fortune."

Pie in the Sky was Allen Baron's second attempt at directing and screenwriting. His 1961 Blast of Silence received good reviews, but never gained popularity in the United States. Pie in the Sky is a better film, painting a realistic yet heartwarming picture of a young boy's adventures. Richard Bray gives a commendable performance as the wayward youth, despite his non-professional status as an actor. The film was criticized for choppy narration in 1964, giving a "too European" feel, although modern audiences would likely be more accepting. Donald Malkame's cinematography is one of the film's strongest points. It is clear, crisp, and shot entirely on location -- including 42nd Avenue through hidden camera, and the exciting bicycle chase through upper Manhattan. ~ Lucinda Ramsey, All Movie Guide