Hal Kanter Movies

As the title implies, this film is a compilation of highlights from the Academy Awards ceremonies. Hosted by Karl Malden, the film includes famous acceptance speeches, production numbers, and funniest moments. ~ Sandra Brennan, All Movie Guide

Poised to move out of the Bunker household and into a place of his own, Mike decides to release five years' worth of pent-up anger by telling Archie exactly where to go. Alas, Mike is forced to eat his words -- due to some unexpected red tape, he will be unable to move into his new home for another week. "Alone at Last" was written by Hal Kanter and was the second series episode to be directed by Carroll O'Connor's longtime friend and professional associate, Paul Bogart. The program first aired on September 15, 1975. ~ Hal Erickson, All Movie Guide

"The program you are about to see is All in the Family. It seeks to throw a humorous spotlight on our frailties, prejudices, and concerns. By making them a source of laughter, we hope to show -- in a mature fashion -- just how absurd they are." With this carefully worded disclaimer, the CBS television network ushered in a new era of television comedy on January 12, 1971, with the premiere of All in the Family. Inspired by the British sitcom Till Death Do Us Part, the series was proposed by producers Norman Lear and Bud Yorkin in early 1968, and a pilot episode titled "Those Were the Days" was commissioned by ABC. From the beginning, Carroll O'Connor and Jean Stapleton were "set" as leading characters Archie and Edith Bunker (original last name: Justice), though two unknowns were cast as the couple's daughter, Gloria, and son-in-law, Mike Stivic. Also from the beginning, it had been decided to retain the controversial nature of the original British series, with bigoted hard-hat Archie forever at odds with his flaming liberal son-in-law. Alas, ABC had just been burned by the hostile reception afforded another hot-potato project, Turn-On, and had lost its taste for controversy, even when Lear and Yorkin toned down the venom in a second pilot. But in 1970, CBS, in desperate need of a hit for its sagging Tuesday-night lineup, decided to take a chance on "Those Were the Days," which by now had been christened All in the Family, and had added Sally Struthers and Rob Reiner to the cast as Gloria and Mike. Worried that audiences might be unkindly disposed to Archie Bunker's incessant harangues against "hebes," "spics," and "coloreds," CBS prefaced the first episode with the aforementioned disclaimer. Though the opener ended up an anemic 54th in the ratings (due primarily to the decision by several affiliates not to air the program, or to reschedule it to a "fringe" time slot), the first All in the Family was the topic of conversation in virtually every household and place of business in America before the week was out.

By the time the series began in its second season in the fall of 1971, All in the Family was CBS' top-rated program, a status it enjoyed for the next five years. Archie Burnker, a loading-dock supervisor who resided at 704 Houser Street in Queens, NY, was a firm and immovable believer in America, right or wrong (but mostly far, far right). Offsetting Archie's racial slurs, antediluvian political beliefs, and incessant malapropisms was his somewhat foolish but fundamentally good-hearted wife, Edith (or "Dingbat," as Archie designated her); his budding-feminist daughter, Gloria; and Gloria's long-haired, radical husband, Michael Stivic (aka "Meathead" and "Polack"), who while attending graduate school lived with Archie and Edith, and all but ate them out of house and home. In virtually every episode, an Issue (with a capital "I") was brought to the forefront -- gun control, the sexual revolution, homosexuality, religion, integration, rape -- with Archie taking the diehard conservative viewpoint, Mike assuming the liberal stance, Gloria siding with Mike, and Edith sitting on the sidelines making inane (but sometimes surprisingly sensible) comments. Usually, Archie would be hoisted by his own bigoted petard, but sometimes Mike would be trapped in the morass of his good intentions. Whatever the case, All in the Family tackled subject matter that only a few years earlier would have been rejected out of hand on network television, using language that likewise had seldom if ever been heard on the small screen. In this respect, All in the Family can be regarded as the single most influential situation comedy in television history.

Over the years, Archie's character mellowed a bit, but fundamentally he remained the same opinionated jerk he'd been in the first episode. Through it all, however, one never doubted that the members of the Bunker family all loved one another dearly and intensely. In addition to the "core" regulars, several other recurring characters paraded past Archie's beloved easy chair: Lionel Jefferson (Mike Evans), a black friend of Mike and Gloria's who, much to Archie's dismay, became their across-the-street neighbor (Lionel's upscale black family would later be spun-off into their own series, The Jeffersons); Irene and Frank Lorenzo (Betty Garrett and Vincent Gardenia), who were every bit as broad-minded as Archie was not; Bert Munson (Billy Halop), an employee at the cab company where Archie moonlighted; Archie's co-worker and lodge buddy Barney Hefner (Allan Melvin); and Tommy Kelsey (Brendan Dillon, and later Bob Hastings), owner of Kelsey's Bar, Archie's favorite hangout. At the beginning of the 1975-1976 season, Gloria and Mike moved next door to Archie and Edith, and in December of 1975, Gloria gave birth to her first child, a boy named Joey. During the 1976-1977 season, Archie met yet another sociological opponent in the form of Puerto Rican boarder Teresa Betancourt (Liz Torres). And as the 1977-1978 season began, Archie made the momentous decision to quit his job and purchase Kelsey's bar, which he renamed Archie Bunker's Place. This season ended with Mike, Gloria, and Joey bidding farewell to Archie and Edith when Mike landed a teaching job in California. The Stivics' former sleeping quarters were taken over in 1978 by Stephanie Mills (Danielle Brisebois), Edith's niece, who had been abandoned by her ne'er-do-well father.

All in the Family per se came to an end with the final episode of the 1979-1980 season; thereafter the multi-award-winning series was known as Archie Bunker's Place. In addition to its prime-time run, All in the Family was seen in rerun form as part of the CBS daytime lineup from December 1975 to December 1979; and in 1991, selected episodes of All in the Family were run in tandem with a newer but much (much) less successful Norman Lear production, Sunday Dinner, which debuted and wrapped within a month. ~ Hal Erickson, All Movie Guide

A man makes the highly unexpected discovery that he has two wives in this romantic comedy. Widower Nick Arden (James Garner) has just set off on his honeymoon with his new wife Bianca (Polly Bergen) when his mother Grace (Thelma Ritter) receives a very unexpected guest -- Nick's late wife Ellen (Doris Day). While Ellen was proclaimed legally dead five years after her plane disappeared in a flight over the Pacific Ocean, in truth her flight crash-landed on a desert island where she was stranded with Stephen Burkett (Chuck Connors) and only now has managed to return to civilization. When Grace informs Ellen that Nick has just left town with his new wife, Ellen heads out to the resort where the newlyweds are staying, and comic confusion ensues. Move Over, Darling began life as a project called Something's Got to Give, which was the film that Marilyn Monroe was working on at the time of her death; besides Monroe, the original cast included Dean Martin, Cyd Charisse, and Phil Silvers. ~ Mark Deming, All Movie Guide

One of Elvis Presley's most successful post-Army vehicles, Blue Hawaii casts Elvis as scion to a Hawaiian pineapple fortune. His snooty mother Angela Lansbury wants Presley to take over the management of the family business, but he'd rather make his own way in the world. He lands a job at a tourist agency, and incidentally finds time to dally with such lovelies as Joan Blackman and Nancy Walters. Steve Brodie, as ever, is on hand to inveigle Elvis into an outsized brawl. Among the songs featured in the film are the title number (originally written in 1937 for Bing Crosby) and "Can't Help Falling in Love." ~ Hal Erickson, All Movie Guide

Let's Make Love is a breezy comedy about an off Broadway musical production. Jean-Marc Clement (Yves Montand) is the richest man in the world and looking for someone who loves him instead of his money. He reads in Variety he is to be satirized in the new production and tries out for the part. The producers hire him, unaware of his real identity. He hires Bing Crosby, Milton Berle and Gene Kelly to coach him for the role. Amanda (Marilyn Monroe) is the poor aspiring actress who lands a part in the play. Her opening number is the classic "My Heart Belongs To Daddy". Unaware of his fabulous wealth, she falls for the playboy billionaire during the rehearsals for the show. Tony Randall plays Montand's fussy public relations agent and tries to keep his boss from embarassment. ~ Dan Pavlides, All Movie Guide

Having gained a measure of TV fame by 1958, the nightclub comedy duo of Dan Rowan and Dick Martin decided to give movies a try with Once Upon a Horse. Dan and Dick play Dan Casey and Doc Logan, a pair of nitwitted cowboys who turn to outlawry because they can't make a go at any honest profession. Stealing a valuable herd of cattle, the boys' dreams of financial security are dashed when they're forced to raise money to feed their stolen bovines. Martha Hyer costars as Miss Amity Babb, a resourceful saloon hall owner who applies 20th century business methods to her 19th century operation. For nostalgia buffs, several western-movie favorites (billed as "Our Old Pals") make cameo appearances, including Tom Keene, Bob Livingston, Kermit Maynard and Bob Steele. Hal Kanter's screenplay is full of clever, satirical touches, most of which proved to be too smart for the room in 1958. A financial disappointment, Once Upon a Horse (aka Hot Horse) would be Rowan and Martin's last joint film effort until 1969's The Maltese Bippy. ~ Hal Erickson, All Movie Guide

I Married a Woman was tailored by top comedy writer Goodman Ace to the peculiar, low-key talents of TV comedian George Gobel. Lonesome Gobel plays an advertising man whose successful "Miss Luxemburg Beer Beauty Contest" campaign yields a most unusual bonus: the contest's buxom winner Diana Dors, who becomes Gobel's wife. More devoted to his job than his marriage, Gobel is soon in danger of losing Dors' affections. He wins his wife back through a series of unexpected plot twists, not least of which is the inspiration he draws from viewing a John Wayne picture (Wayne appears as himself, unbilled). Produced by Gobel's own Gomalco company, I Married a Woman was lensed in black-and-white, except for the Technicolor John Wayne sequences; the film was slated to be released by RKO Radio, but the death of that company redirected the film to the distribution facilities of Universal-International. ~ Hal Erickson, All Movie Guide

Scripted by famed playwright Tennessee Williams, The Rose Tattoo stars Anna Magnani as Serafina Delle Rose, a Sicilian woman who now lives in the American South. As the film opens, she is still mourning the death of her beloved husband, constantly telling herself stories of their time together. Her fragile emotional existence is shattered when she discovers that her husband had been carrying on with another woman. Luckily, Serafina also meets truck driver Alvaro Mangiacavallo (Burt Lancaster) around this time, and their tentative romance may help her through this troubling time. Williams wrote the script for Magnani, who was awarded an Oscar for her work in the film. ~ Perry Seibert, All Movie Guide

Bob Hope tries to capture the comic magic of his 1946 costume farce Monsieur Beaucaire with the splashy Technicolor romp Casanova's Big Night (filmed in 1952, released in 1954). Set in 18th century Venice, the film casts Hope as Pippo, the humble tailor of notorious ladies' man Casanova (an unbilled Vincent Price). When Casanova skips town without paying his debts, the local tradesman's guild, led by Casanova's butler Lucio (Basil Rathbone), conspire to pass off one of their number as the great lover and arrange a profitable marriage. Selected to impersonate Casanova is the hapless Pippo, who soon afterward is hired by the imperious Duchess of Castelbello (Hope Emerson) to test the fidelity of the duchess' future daughter-in-law Elena (Audrey Dalton). Along the way, Pippo is given lessons in etiquette and swordsmanship by both Lucio and tradeswoman Francesca (Joan Fontaine). Eventually, Pippo finds himself up to his neck in court intrigue, courtesy of the scheming Doge of Venice (Arnold Moss). Further complications include a couple of hilarious swashbuckling scenes, an interlude in a dungeon with addlepated prisoner Emo (Lon Chaney), and the obligatory disguise scene. The Pirandellian ending of Casanova's Big Night was later imitated by such films as The Maltese Bippy (1969) and Wayne's World (1992). Bob Hope is in fine form, the production is sumptuous and the supporting cast superb, but somehow there's a little something missing in Casanova's Big Night. ~ Hal Erickson, All Movie Guide

This sixth entry in the Crosby-Hope-Lamour "Road" series was the first (and last) in Technicolor. This time, Bing Crosby and Bob Hope play George Cochran and Harold Gridley, American vaudevillians stranded in Australia. To avoid a dual shotgun wedding, George and Harold sign on as deep-sea divers for sinister South-Sea-island prince Ken Arok (Murvyn Vye). After a contretemps with an octopus (courtesy of stock footage from Reap the Wild Wind), our heroes sail to the prince's Balinese homeland, where they meet and fall in love with gorgeous Princess Lalah (Dorothy Lamour). Though Lalah favors George, she feels obligated to Harold, because he resembles her childhood best friend -- a chimpanzee (this must be seen to be believed). When Ken Arok attempts to usurp Lalah's throne, she and the boys escape to a tropical island, where they meet the inevitable slapstick-comedy gorilla. More adventures await the intrepid trio on another island, this one dominated by an active volcano. Who gets the girl in this one? A hint: the loser tries to physically prevent the "The End" title from flashing on the screen during the final fadeout. Though not as fresh and spontaneous as earlier "Road" endeavors, Road to Bali has its fair share of non sequitur gags, inside jokes and unbilled guest appearances (including Martin and Lewis, Bing's brother Bob Crosby, Humphrey Bogart and Jane Russell). Best bit: when Crosby feels a song coming on, Hope turns to the camera and hisses "He's gonna sing, folks. Now's the time to go and get your popcorn." ~ Hal Erickson, All Movie Guide

Frightening though the prospect may sound, Dean Martin and Jerry Lewis appear in Technicolor and 3-D in the musical comedy Money from Home. Cashing in on the success of Guys and Dolls, the script is based on a Damon Runyon story. Martin plays gambler Honey Talk Nelson, whose "markers" have been called in by gangster boss Jumbo Schneider (Sheldon Leonard). In need of money in a hurry, Honey Talk tries to honey-talk his gawky assistant-veterinarian cousin Virgil Yokum (Jerry Lewis) into "fixing" the outcome of an upcoming Maryland steeplechase competition. Along the way, Virgil is forced to impersonate British jockey Bertie Searles (Richard Haydn), and also gets mixed up with a visiting Arab potentate (Romo Vincent) and his harem. Pat Crowley and Marjie Millar fulfill the leading-lady obligations, while Dean Martin gets to sing three songs, one of them co-written by Guys and Dolls composer Frank Loesser. ~ Hal Erickson, All Movie Guide