Howard W. Koch Movies

Originally produced for PBS, the American Cinema series examines at length what is probably the leading American art form: film. Chock-full of clips from important films and interviews with the men and women who made them, each episode is an in-depth look at an important facet of the history of American film. This particular episode examines the studio system in the golden age of Hollywood movies. For a long period of time, Hollywood was run by three or four major film studios. Having squeezed out the independent producers, these studios were free to impose their idea of what a movie should be on the viewing public. Paramount Pictures is used as a case study. ~ Rob Ferrier, All Movie Guide

This four-hour TV movie is one more of novelist Harold Robbins' "guess who everyone is supposed to really be?" wallowfests (with nary a Jolly Roger in sight). The "pirate" is Baydr (Franco Nero), an anti-Semitic Lebanese oil sheik, who, unbeknownst to himself, is actually an Israel-born Jew fathered by Ben Ezra (Eli Wallach). Baydr marries a haughty American WASP, Jordana (Anne Archer as a blonde), whom he meets at JFK's 1960 presidential campaign, and fathers a son by her. Meanwhile, Leila (Olivia Hussey), one of Baydr's two daughters from a prior marriage, trains to become a PLO terrorist and plots to kidnap Jordana and her son by Baydr. The modern viewer is luckier than those poor TV fans of 1978 who had to sit through two nights of this nonsense: the currently available syndicated version of Harold Robbins' The Pirate (retitled simply The Pirate) runs a mere 150 minutes. ~ Hal Erickson, All Movie Guide

Jerry Paris's Star Spangled Girl (1971), based on Neil Simon's play (a notorious Broadway flop), never made much of an impression in theaters, which is understandable with a cheap, overlit television look to most of it and Davy Jones singing the song "Girl" over the main titles (which got a lot more visibility from its use in the Brady Bunch episode in which Marsha has to get the singer to appear at her school), it looked too much like a small-screen production blown up; it was dated from the first frame of its opening credits. Tony Roberts and Todd Susman play Andy Hobart and Norman Cornell, a pair of self-styled political radicals living in California, beating the system by stealing as much as they can from neighborhood shops and conning the rest out of anyone around, all for the greater goal of keeping their underground newspaper alive and kicking. Their lifestyle is a cross between the ideas in Abbie Hoffman's Steal This Book and Max Bialystock's dalliances in The Producers. Into their midst moves a transplant from rural Florida, Amy Cooper (Sandy Duncan) (who was called Sophie Rauschmeyer in the play), a perky aspiring Olympic swimmer and old-fashioned, patriotic Southern girl, and as corn-fed a hick as you found in movies in 1971 without a cynical bone in her body. Norman, a hopelessly neurotic and sexually dysfunctional writer, falls in love with her almost instantly upon encountering her; not, mind you, based on her personality or even her looks, but her smell. Andy is, at first, oblivious to her charms and content to maintain his relationship with their libidinous landlady (Elizabeth Allen, totally wasted here), paying their rent with all-night barhopping and trysts involving skydiving. At some point, however, Amy decides she has to have Andy (based on his smell...), and he feels the same way. Andy and Norman end up -- Odd Couple-style -- in conflict over their differing approaches to life; the Odd Couple allusions are further amplified by Roberts' remarkable resemblance to Walter Matthau in his manner and delivery of dialogue. The story is resolved as unconvincingly as it's played. It's also a sign of just how unfunny the play was in that the funniest moment in the movie is new to the screenplay and comes just a minute after the opening credits with a gag referring to a certain John Schlesinger movie from 1969. It's not much of a gag, but it's funnier than anything in the main body of the movie, which otherwise plays like a terminally extended version of a Love American Style episode. The original Broadway production, incidentally, starred Richard Benjamin, Anthony Perkins, and Connie Stevens. ~ Bruce Eder, All Movie Guide

It is not uncommon for actors to double and triple in roles while appearing in the "omnibus" plays of Neil Simon. Plaza Suite was the first film version of a Simon play to carry over the multiple-role device to the screen. Walter Matthau appears in all three one-act playlets comprising Plaza Suite, with a different leading lady in each. First we see Matthau as the husband of Maureen Stapleton, nostalgically returning to the same hotel suite where they'd spent their honeymoon 24 years earlier. Times have changed, however, and the twosome spend more timing sniping at one another than pitching woo. The second vignette casts Matthau as an effusive movie producer (lavish toupee and all) who hopes to seduce his old sweetheart Barbara Harris. The third and best sequence finds Matthau and Lee Grant playing the parents of a bride who steadfastly refuses to leave her locked room to attend her own wedding. ~ Hal Erickson, All Movie Guide

The President's Analyst is James Coburn, whose position makes him privy to any number of delicate government secrets. Thus Coburn becomes a most desirable prize for several secret-agent organizations, including the CEA and the FBR (we know who these folks are really supposed to be, even though the phony names were crudely dubbed onto the soundtrack after the film was completed). When Coburn becomes expendable, he finds a pair of strong allies in the form of likeable political assassin Godfrey Cambridge and gay Soviet spy Severn Darden. The main plot involves an insidious, unnamed concern that wishes to harness Coburn's talents in order to brainwash the president -- and everyone else in America -- into submission. The President's Analyst is a terrific, on-target satire of virtually every sacred cow of the late 1960s; the satire was so potent, in fact, that when the NBC network broadcast the film in the early 1970s, it was compelled to remove the picture's punchline. ~ Hal Erickson, All Movie Guide

The Rat Pack packed it in after this sprightly musical comedy that owes more than it should to Damon Runyon's stories and Frank Loesser and Abe Burrows's classic musical Guys and Dolls. Sammy Cahn and Jimmy Van Heusen's bright and snappy score features such songs as "Style", "Bang-Bang" and the Sinatra standard "My Kind of Town". Set in 1920s Chicago, the tale begins during a birthday party for head mobster Big Jim (Edward G. Robinson) who is shot to death during the celebration. Rival gangster Guy Gisbourne (Peter Falk) immediately declares himself the chief gangster. The northside gang, headed by Robbo (Frank Sinatra) is willing to grant Guy his self-declared title as long as he leaves the northside territory alone. Guy refuses and when small time hood Little John (Dean Martin) joins Robbo's crew, turf warfare breaks out between the two gangs, resulting in the destruction of both Robbo and Guy's nightclubs. Meanwhile, Big Jim's daughter Marian (Barbara Rush) offers Robbo $50,000 to find the man who killed her father. Robbo demurs and gives the money to his henchman Will (Sammy Davis Jr.) to get rid of. Will, hoping to do a good deed, hands the money over to Allen A. Dale (Bing Crosby), who runs an orphanage. Allen, finding out that the money came from Robbo, informs the newspapers of Robbo's philanthropic enterprise and Robbo immediately becomes a local celebrity, referred to as Chicago's Robin Hood. For his part, Robbo is willing to go along with the publicity. On the romantic front, although Robbo is attracted to Marian, he gives her the brush-off when he finds she is using a charitable foundation as a front for a counterfeiting ring being run by herself and Little John. Robbo tells Marian to leave town. Instead, she hooks up with Guy, proposing that he kill both Robbo and Little John. ~ Paul Brenner, All Movie Guide

The 1939 adventure classic Gunga Din is transferred from British India to the American West, courtesy of Frank Sinatra's "Clan." Sinatra, Dean Martin and Peter Lawford play three cavalry officers, always ready for a brawl but willing to die for each other if need be. Sammy Davis Jr. a cavalry bugler who has aspirations of being a combat soldier. The three officers and the bugler take on a Napoleonic Native American chief, who plans to unify all the tribes and kill every white man in sight. Davis does his "Gunga" bit by blowing his bugle and warning the approaching cavalry that they're riding into a trap. About all that isn't pilfered from Gunga Din is the death of the noble bugler; Davis survives being shot up by the Indians with little more than a flesh wound! Sergeants Three also stars another Sinatra crony, Joey Bishop, playing the role originally essayed in Gunga Din by Robert Coote. ~ Hal Erickson, All Movie Guide

In the conclusion of a two-part story, Capone's second-in-command Frank Nitti (Bruce Gordon) steps up his heretofore unsuccessful efforts to eliminate Anton Cermak (Robert Middleton), the incorruptable mayor of Chicago. Scheduled to appear at a public event in Miami with president-elect Franklin Delano Roosevelt, Cermak would seem to be a sitting duck for Nitti's torpedoes, but Elliot Ness and the Untouchables aren't about to let that happen. Meanwhile, a deranged anarchist named Giuseppe Zangara (Joe Mantell) may well succeed where Nitti has failed--assuming that Cermak is Zangara's intended target. Though historically inaccurate in many respects, this episode paints a vibrant picture of the euphoria surrounding the election of the first anti-Prohibition president in 14 years. Parts One and Two of "The Unhired Assassin" were later combined and released theatrically as the feature film Guns of Zangara. ~ Hal Erickson, All Movie Guide

Behind his respectable veneer as owner of the posh Jockey Club, Dink Conway (David Brian) is actually in charge of all organized crime in St. Louis. Backed up by his top gun Whitey Deering (Leo Gordon), Conway forces all the other hoods in town to play ball with him--and systematically bumps off those with whom he can't see eye-to-eye. When a minor mobster pulls off a mail truck heist without permission, Conway has the man killed, then goes to great lengths to get his own grubby hands on the stolen loot. It is up to Elliot Ness (Robert Stack) to put an end to Conway's operation before every potential witness is rubbed out. This episode marks the last appearance of Jerry Paris as "Untouchable" Martin Flaherty, and the first appearance of Anthony George as new team member Cam Allison--who turns out to have a personal reason for putting Conway behind bars. ~ Hal Erickson, All Movie Guide

A late '50s upgrade of the 1931 film by the same title, this version of trouble on death row by Howard Koch is more violent than its predecessor -- a hint of the trend toward shock for its own sake that would one day dominate action films and thrillers. The setting is a cell block of nine inmates scheduled for execution and the first half of the drama focuses on the horror of that last walk. A grim death in the electric chair is in no way glossed over. All nine prisoners are more appealing than any single guard, giving rise to the question of whether or not the men should exchange places. Then "Killer" John Mears (Mickey Rooney) comes along. His vicious attitude infects the environment and his plans to break out of prison are the catalyst for tragedy. ~ Eleanor Mannikka, All Movie Guide

In this drama, six daring truckers must transport unstable, highly explosive rocket fuel through a dangerously bumpy, rugged country. The film centers on their individual reasons for making the trip. These are presented via flashback. Though most of them need the money, one of the truck drivers is actually the fuel's inventor. During the fuel's development, a freak accident caused the death of his family. All but one of the drivers safely make it to their destination. ~ Sandra Brennan, All Movie Guide

With Andy Hardy Comes Home, Mickey Rooney hoped to revive the character -- and the movie series -- that had brought him fame and fortune back in the 1930s and 1940s. Returning to his home town of Carvel after several years absence, lawyer Andy Hardy (Rooney) brings his wife Jane (Patricia Breslin) and two children Andy Jr. (played by Rooney's real-life son Teddy) and Jimmy (Johnny Weissmuller Jr.) along on his sentimental journey. Andy's dad Judge Hardy is long gone (though the late Lewis Stone appears in flashbacks), but his mom (Fay Holden), sister Marian (Cecilia Parker), and Aunt Milly (Sara Haden) welcome him with open arms. After a while, Andy reveals the real reason for his return: now in the employ of an aircraft company, he hopes to convince his bosses to build a plant in Carvel. The fly in the ointment is crooked businessman Chandler (Frank Ferguson), who, when Andy refuses to purchese Chandler's land at a ridiculously exorbitant price, mounts a campaign to discredit the Hardy family. A pleasant enough diversion, Andy Hardy Comes Home failed to spark interest in a new Hardy Family series. ~ Hal Erickson, All Movie Guide

It's called The Dalton Girls because there aren't any Dalton Boys left. After all the members of the notorious Dalton outlaw gang have been killed or arrested, their sisters decide to pick up where the boys left off. Led by Holly Dalton (Merry Anders), who since killing a man in self-defense has been outside the law, the girls terrorize Colorado territory with their criminal raids. The other members of the gang are Rose, Columbine and Marigold Dalton, played by B-picture perennials Lisa Davis, Penny Edwards, Sue George. In true Hollywood Chauvinist fashion, the Dalton girls are trailed by a bunch of matrimony-minded men; refreshingly, however, the ladies remain true to their heritage to the last. ~ Hal Erickson, All Movie Guide