Arthur D. Hilton Movies

The fifth and final segment of The Irish Empire confronts modern Ireland and how it differs from the country preserved in emigrant dreams and passed down through generations until "Ireland" became a mythical place to the descendants of those who left their native land. Director Alan Gilsenan provides images of a busy Irish highway, an urbanized Ireland of microchip factories and wine bars, and then examines the expectations and ideas held about Ireland by emigrants living in countries such as Australia and the United States. Highlights include footage of the 1998 Irish-American Rose of Tralee festival in New Orleans, an interview with Shane McGowan (founder of the band the Pogues) concerning the bitterness of Irish natives who have to move to England to find work, and an examination of how the mythology of Ireland as "a pastoral 'never never' land" and "a Celtic Disneyland" has affected even those who live in Ireland. Ultimately the program postulates that in today's world of mass communications and jet travel, Irish identity has of necessity become an "expandable ethnic identity" related more to a culture than a particular piece of land. Narrated by Irish actress Fiona Shaw (My Left Foot, The Last September). ~ Steve Blackburn, All Movie Guide

The 8-hour TV miniseries Blind Ambition was originally telecast May 20 through 23, 1979. This 105-minute feature-film version, prepared in 1982, seems a bit rushed at times, but overall does a credible and coherent job of storytelling. Based on John Dean's book Blind Ambition, with elements of Maureen Dean's Mo woven in by screenwriter Stanley R. Greenberg, this is the saga of the Watergate affair, as experienced by Dean (Martin Sheen) and hia wife Maureen (Theresa Russell). As the Nixon administration goes down in flames, the Deans' marriage is sorely tested-as is Dean's success-at-any-price credo. Rip Torn plays Nixon like something out of a Greek Tragedy; some viewers accepted his interpretation, others found it jarringly inaccurate. Others in the cast of "usual suspects" include Michael Callan as Charles Colson, Lonny Chapman as L. Patrick Gray, William Daniels as G. Gordon Liddy, Fred Grandy as Donald Segretti, Christopher Guest as Jeb Magruder, Lawrence Pressman as H. R. Haldeman, William Windom as Richard Kleindienst, James Greene as E. Howard Hunt, Logan Ramsey as J. Edgar Hoover, and Al Checco as judge John Sirica. Also known as The John Dean Story, Blind Ambition earned two Emmy nominations. ~ Hal Erickson, All Movie Guide

Cover Girls isn't really a Charlie's Angels rip-off. Honest! Look: there are three girls in Charlie's Angels and only two girls (Jayne Kennedy and Cornelia Sharpe) in Cover Girls. Besides, the Angels are private eyes, working on behalf of boss John Forsythe; the Cover Girls are fashion models, doubling as secret agents on behalf of boss Don Galloway. Just because Cover Girls premiered on May 18, 1977, six months into Charlie's Angels' fabulous first season, doesn't mean that there was any conscious copycatting. Does it? ~ Hal Erickson, All Movie Guide

Lloyd Bridges stars as plainclothes policeman Joe Forrester. When a gang of robber-rapists besiege his old beat, Forrester voluntarily returns to uniform duty. He hopes that his presence will encourage the frightened residents to help bring the gang to justice, but the most immediate results of Joe's return are several attempts on his life. Eddie Egan, the real-life model for The French Connection's Popeye Doyle, appears in a small role. First telecast as a 90-minute installment of Police Story on May 6, 1975, Return of Joe Forrester led to a weekly Joe Forrester series, which ran from September 1975 to August 1976. ~ Hal Erickson, All Movie Guide

Created for the "dime novels" in 1886, scientific detective Nick Carter has been transferred to film and radio several times in the past six decades, though most of these projects have tended to update his adventures. 1972's made-for-TV Adventures of Nick Carter restores the "turn of the century" surroundings of the original stories. Robert Conrad (somewhat older than his literary counterpart) portrays Nick Carter, a New York private investigator hired to locate the missing wife of a wealthy "robber baron" playboy. He also devotes some time to locating the murderer of a close friend. Though hampered by a tight budget, the film does a nice job recreating a 19th century world of crooked cops, graft-greedy politicians, all-powerful plutocrats, raggedy paper boys and Lower East Side lowlifes. Adventures of Nick Carter was one of three pilots for a projected "rotating" series of TV detective shows based on famed literary sleuths; the other two series in this aborted project were to have spotlighted the adventures of Sherlock Holmes and Hildegarde Withers. ~ Hal Erickson, All Movie Guide

Cesare Danova and Jack Elam guest star in this episode of the popular The Rifleman television series. The town of North Fork is startled by the arrival of a genuine Italian count (Danova) and no one more so than brutish cattle buyer Sim Groder (Jack Elam), who does his best to rile the newcomer. After yet another unpleasant encounter in the saloon, Count Di Montova challenges Groder to a duel at dawn. With Lucas McCain (Chuck Connors) as his second, the count leaves the hotel to face Groder and four of his rabblerousing cohorts. The episode was directed by cult figure Joseph H. Lewis. ~ Hans J. Wollstein, All Movie Guide

Gun Brothers is a rehash of the "Cain and Abel" motif that has been popular amongst screenwriters since time immemorial. Buster Crabbe and Neville Brand star as brothers Chad and Jubal. While Chad remains on the straight-and-narrow and becomes a rancher, Jubal opts for the life of an outlaw. The siblings manage to keep peace in the family until a jealous Indian maiden (Lita Milan) tells Jubal that Chad has turned stool pigeon. Only a cathartic last-reel burst of violence convinces Jubal that his brother hasn't betrayed him to the authorities--but by then, of course, it is too late. Ann Robinson, leading lady of such early-1950s esoterica as War of the Worlds and Dragnet, costars as a saloon singer. ~ Hal Erickson, All Movie Guide

Cat Women of the Moon tells the tale of a group of American space travellers who confront a hostile tribe of females on the border between the light and dark side of the moon. The expedition is led by Laird Grainger (Sonny Tufts), whose polyglot crew--including co-pilot Kip Reissner (Victor Jory) and navigator Helen Salinger (Marie Windsor)--land on the lunar surface, where they soon discover that there's an atmosphere and water and everything. After a few minutes of wandering, the travellers come upon a huge modernistic city, populated by leotard-clad "cat women". The ruler, Alpha (Carol Brewster), reveals that she has telepathically brought the earthlings to her city, using Salinger as her unsuspecting go-between. The cat women perform a kinky dance to the tune of "Stranger in Paradise," while the shifty copilot Reissner tries to steal the city's cache of gold. Alpha enslaves the visitors via mind control, leaving only cat-woman Lambda (Susan Morrow), who has fallen in love with crewman Douglas Smith (Bill Phipps), to save the day. ~ Hal Erickson, All Movie Guide

Fritz Lang was the guiding hand of this laudable Republic Studios melodrama. Louis Hayward stars as a wealthy wastrel who tries to seduce the family maid. She resists, and he kills her. Long jealous of his brother Lee Bowman, Hayward does his best to pin the blame for the murder on his sibling. Also affected by Hayward's arrogant dementia is his long-suffering wife Jane Wyatt. Originally, director Lang had proposed that the unfortunate maid be a black woman, and that the killing take place accidentally during some harmless flirtation on Hayward's part. He was vetoed by the timorous Republic staff (even the slightest hint of miscegenation was taboo in 1950), but House by the River turned out pretty well all the same. ~ Hal Erickson, All Movie Guide

This hastily assembled "feature" is comprised of several episodes of an early-1950s TV series starring Buster Keaton. One of the most important stepping stones in Keaton's miraculous career comeback was a live (as opposed to film) comedy series titled Life With Buster Keaton, produced in Los Angeles in 1949. For syndication purposes, the series was committed to film, losing most of its hilarious spontaneity in the process. Buster portrays an employee in a sporting-goods store who indulges in Walter Mittyesque daydreams at the drop of a pork-pie hat. The always reliable Iris Adrian proves an excellent foil for the antics of the nimble Mr. Keaton. Misadventures of Buster Keaton was largely written by longtime Keaton crony Clyde Bruckman, who indulges in his usual practice of lifting entire routines from earlier films. ~ Hal Erickson, All Movie Guide

Samuel Fuller wrote and directed this lively drama based on the real-life adventures of James Addison Reavis, one of the most ambitious swindlers of the 19th Century. In 1871, Reavis (played by Vincent Price) began hatching an elaborate scheme to claim the Arizona territory (then three decades away from statehood) as his own. At the time, land grants established during Spanish rule of Arizona were still valid, and one rainy evening Reavis visited Pepito Peralta (Vladimir Sokoloff) and his daughter Sofia (Karen Kester) with some exciting news. While working as a real estate clerk, Reavis found documents which granted ownership of nearly the whole of the Arizona territory to one Miguel Peralta, who was named Baron of the new land by Spain's rulers, and as his heir Sofia will become Baroness when she reaches adulthood, giving her claim to the territory. After giving Pepito and Sofia money and hiring a governess (Beulah Bondi) to educate the girl in a manner befitting the Barony, Reavis sailed for Spain on business; unknown to the Peraltas, Reavis posed first as a monk and then as a gypsy in order to revise old land grant documents to conform with his story. Several years later, Reavis returned to Pepito and Sofia's home, and asked the young woman (now played by Ellen Drew) to marry him. Once wed, Reavis presented his carefully forged paperwork to the Arizona authorities which gave him and his bride royal claim to the land; however, not everyone believed Reavis's elaborate tale, and John Griff (Reed Hadley), an expert in falsified documents, was brought in to examine the evidence. The Baron of Arizona gave Vincent Price a rare leading role in a non-horror vehicle, and he cited it as one of his favorite performances on film. ~ Mark Deming, All Movie Guide

Sexual harassment can work both ways as can be seen in this romantic comedy when ad man endeavors to maneuver out of a relationship with his girlfriend. This is difficult as she controls a major account for his company and refuses to renew it unless he continues to go out with her. The frustrated fellow then begins having neurotic fits until, at last, he is taken off her account. For his new assignment, he must promote a psychiatrist's latest book. They meet and he is captivated by the lovely doctor. The nervous fellow then becomes her patient, and before long they both fall in love. Unfortunately, the other woman has not given up. His troubles are far from over when he later discovers that the shrink doesn't really love him--she is only using him for a case study. ~ Sandra Brennan, All Movie Guide

The Killers uses Ernest Hemingway's short story as a springboard for a complex film noir. Two mysterious men (William Conrad and Charles McGraw) muscle their way into a small town and kill an aging boxer (Burt Lancaster, making his screen debut), who offers no resistance and seems to be welcoming his death. An insurance investigator (Edmond O'Brien) is hired to locate the beneficiary to Lancaster's policy, and in the course of his investigation reopens a long-dormant robbery case. In a series of flashbacks, O'Brien makes the connection between Lancaster and the robbery and tracks down the "brains" behind the operation. He also comes in contact with Lancaster's former girlfriend (Ava Gardner), whose duplicity played a big part in Lancaster's demise -- and his indifferent reaction to it. Siodmak's hard-edged, moody direction of the Oscar-nominated screenplay by Anthony Veiller, makes The Killers one of the definitive films noirs, including what is considered to be one of the greatest opening sequences in movie history. ~ Hal Erickson, All Movie Guide