Charles S. Kaufman Movies

Some years earlier, Falco (Christopher Noth) was a hero; some years earlier, he was a government agent. Then he made a hash out of protecting some witnesses in an important drug case, and he has been an outcaste ever since. Now, for some reason, the government wants him back. It seems likely that a drug conspiracy involving the beautiful but shifty Esha (Sue Francis Pai) has reached its fingers into the government, and through her influence is offering him its treacherous gratitude. ~ Clarke Fountain, All Movie Guide

Three lovely waitresses contend with a drunken, slovenly chef and mutinous patrons. ~ Sandra Brennan, All Movie Guide

Three women find their worst nightmares have become a reality in this horror film that combines extreme violence with dark, absurdist comedy. Abbey (Nancy Hendrickson), Jackie (Deborah Luce), and Trina (Tiana Pierce) have been close friends since their college days, and they decide to celebrate their tenth class reunion by taking a vacation together. The women go camping in the woods of rural New Jersey; however, an idyllic few days in the great outdoors turn ugly when they're ambushed by a pair of subnormal thugs, Ike (Holden McGuire) and Addley (Billy Ray McQuade). Ike and Addley live in a garishly decorated hovel deep in the woods, where they gorge themselves on sugar, obsessively watch television, debate the merits of punk rock versus disco, and strictly obey the instructions of their aged Mother (Rose Ross) -- a vicious psychopath who goads her boys into acts of rape and murder, with Mother shouting encouragement throughout. When one of the women is killed by Ike and Addley, the other two escape, and they plot a gruesome revenge. Mother's Day developed something of a cult following after its initial release, and no small amount of controversy -- many feminist groups denounced its depiction of violence against women, while writer and director Charles S. Kaufman contended that he intended for the film to be viewed as a satire. The film was later reissued in a cut version that eliminated some of the more extreme scenes of rape and violence. ~ Mark Deming, All Movie Guide

This combination romance and wartime drama by Etienne Perier was unusual at the time it was released because it portrayed World War II in the Pacific from the perspective of Gwen Terasaki, a woman from the Southern U.S., married to a Japanese diplomat. Based on her autobiography, the interesting story relates how the couple left for Japan after the bombing of Pearl Harbor and remained in Japan throughout the duration of the war. Their experiences and hardships during the war are detailed, as well as the tragedy that separated them once the war was over. Since the suffering of the ordinary Japanese citizen at this time and the racial undercurrents connected to the Pacific war are brought forward, the film stirred some controversy when it was released. ~ Eleanor Mannikka, All Movie Guide

The CinemaScope process gets a rugged workout in Henry Hathaway's The Racers. Kirk Douglas stars as an Italian bus driver who dreams of entering the Grand Prix as a world-famous race car driver. Being Kirk Douglas, he achieves his goal, racing in all the major events around the globe. Dedicated to the philosophy of "winning is the only thing", Douglas alienates his fellow racers and everyone else with whom he comes in contact. Only when he is on the verge of losing his sweetheart Bella Darvi does our hero put his priorities in order. Adapted from a novel by Hans Ruesch, The Racers was remade in a 60-minute version as Men Against Speed, an entry in the weekly TV anthology The 20th Century-Fox Hour. ~ Hal Erickson, All Movie Guide

Fifteen-year-old Elizabeth Taylor receives her first screen kiss in the innocuous MGM confection Cynthia. Taylor plays the title character, a sickly, sheltered young lady who is never permitted the companionship of other teenagers. Frustrated though Cynthia may be, she has nothing on her parents, Larry and Louise Bishop (George Murphy and Mary Astor), who feel they could have gotten a lot further in life had they remained childless Only by discovering that she has a gorgeous (albeit dubbed) singing voice is Cynthia able to break out of her shell and join the high school choir, under the benevolent leadership of cuddly Professor Rosencrantz (S. Z. Sakall). Along the way, the girl's parents overcome their resentment and learn to appreciate their daughter for the prize that she is. As a bonus, Cynthia also falls in love with Ricky Latham (James Lydon), who bestows that historic first kiss on her blushing cheek (Elizabeth Taylor and James Lydon would later be reteamed in Warner Bros.' Life with Father). Based on a play by Vina Delmar, Cynthia is a "programmer" by MGM standards, but an "A"-picture by any other studio's standards. ~ Hal Erickson, All Movie Guide

Made just before America's entry into World War II, Paris Calling is one of the earliest French Underground adventures. When the German march into Paris, a polyglot of French patriots organize to undermine the Nazi occupation troops (represented by Lee J. Cobb, who plays his character with a surprising amount of depth). Elizabeth Bergner plays a French aristocrat who learns that her ex-fiance (Basil Rathbone) is a collaborator; she agrees to help the Underground, even unto killing her former lover. Gale Sondergaard, normally a villain, is sympathetically cast as a blowsy waterfront entertainer whose waterfront dive serves as Resistance headquarters. And how do the neutral Americans figure into all of this? Yankee-doodle-dandy Randolph Scott parachutes into view as a pilot for the RAF. ~ Hal Erickson, All Movie Guide

The Saint, Leslie Charteris' charming but deadly criminal-turned-sleuth, made his first film appearance in RKO Radio's The Saint of New York. Faithful to Charteris' original concept, this first movie Saint is a cold-blooded murderer, redeemed by the fact that all of his victims are notorious gangsters who'd otherwise elude the clutches of the law. Hired by a coterie of businessmen, Simon Templar (Louis Hayward), aka the Saint, methodically rids New York of its worst criminals, though "The Big Fellow", aka Hutch Rellin (Sig Rumann), continues to elude him. He is aided by Rellin's enigmatic mistress Fay Edwards (Kay Sutton), who pays for her actions with her life. The film's most memorable moment finds Templar disguising himself as a nun to dispose of a particularly nasty villain. The success of The Saint of New York prompted RKO to negotiate with Charteris for a series of "Saint" films, with George Sanders and Hugh Sinclair taking over from Louis Hayward as the title character. ~ Hal Erickson, All Movie Guide

In this romantic comedy a millionaire must somehow dissuade his daughter from marrying a money-grubbing social-climber. In desperation he offers to back the show of a beautiful starlet--provided she break his daughter's heart. Things don't go exactly as planned, but a lot of fun is had along the way. ~ Sandra Brennan, All Movie Guide

The low-budget football drama Saturday's Heroes is remarkably frank and timely -- at least for the first 4 reels or so. Debunking the squeaky-clean image then enjoyed by college football players, the film shows its amateur athletes betting on games, scalping tickets, and willingly accepting subsidies disguised as scholarships. But they're no worse than the college board of directors, who garner most of the football-victory profits for their own gain, all the while wrapping themselves in the cloak of respectability. When a "washed-up" young footballer who can no longer afford to remain in school commits suicide, gridiron hero Val (Van Heflin) lashes out at the sanctimonious and hypocritical faculty members. To shut Val up, his elders expel him for ticket-scalping, whereupon he teams up with honest sportswriter Red Watson (Richard Lane) to expose their hypocrisy. Enrolling at a small college cursed with a perennially losing football team, Val coaches them to victory against his alma mater. The film's refreshingly honest approach to its material falls apart about 20 minutes toward the end with the inclusion of such stock characters as toothless team trainer Andy Jones (Al St. John) and such ludicrous plot devices as Val's allowing the opposing team to score the first touchdown, just to lull them into a false sense of security. For at least 2/3 of its running time, however, Saturday's Heroes is among the best sports films of the 1930s. ~ Hal Erickson, All Movie Guide