Sid Levin Movies

Axel Schill's non-fiction work The Man Who Shot Chinatown: The Life and Work of John A. Alonzo joins Light Keeps Me Company, Tell Them Who You Are, and other recent documentaries in paying homage to one of the world's great cinematographers. Active from the early 1960s until just before his death in early 2001, Alonzo beat the odds as a young man by migrating to the U.S. as a Mexican farmer's son and then working his way up to ultimately qualify as one of the most revered cinematographers in the American film industry. Among other accomplishments, he lit a string of contemporary classics including Harold and Maude (1971), The Bad News Bears (1976), Scarface (1983), and Steel Magnolias (1989). Schill cuts together interviews with such Alonzo collaborators as Richard Dreyfuss, Sally Field, and Michael Crichton, and illustrates many of their observations with clips from the esteemed director of photography's finest work. ~ Nathan Southern, Rovi

Part 2, Sounder was the sequel to the 1973 filmization of William H. Armstrong's novel Sounder, with the same scenarist (Lonnie Elder III) but with a different director (Graham) and releasing company (Gamma III). Still set amongst Depression-era black sharecroppers in Louisiana, Part 2 features Harold Sylvester and Ebony Wright stepping into the roles originated in first film by Paul Winfield and Cicely Tyson. They're still struggling against poverty and prejudice, but have now been given a ray of hope by activist teacher Anzanette Chase (taking over from first film's Janet McLachlan). Her school is closed down by the white landowners, who don't want the "coloreds" to get too "uppity." The sharecroppers band together to build their own school, so that their children can learn to create a better world. Musician Taj Mahal is back from the first film, doubling in a supporting role and providing the musical score. Originally designed as a made-for-TV movie, Part 2: Sounder was redirected to theatres instead. ~ Hal Erickson, Rovi

Letters begins with the crash of a U.S. mail plane. One year later, cheerful postman Henry Jones delivers the long-delayed letters. These overdue missives profoundly affect the lives of (a) a man who's deserted his wife; (b) a woman anxious to break up her daughter's romance; and (c) a pianist who'd sell his soul for success. The guest star roster of this TV movie includes John Forsythe, Jane Powell, Lesley Ann Warren, Ida Lupino, Ben Murphy, Pamela Franklin, and Leslie Nielsen. Both Letters and its sequel Letters From Lost Lovers (1973) were intended as pilot films for a never-sold TV anthology series. ~ Hal Erickson, Rovi

This movie is about Joe Cocker's 1970 U.S. tour which began in Detroit and ended in San Bernardino California. The bulk of the film is concert footage with studies of backstage life, life on the road, and a brief interview with a hard-core groupie. Joe Cocker is also a featured performer in the movie of the concert Woodstock, which came out at about the same time as this movie. His hoarse singing style, especially in rock ballads, closely resembles that of Rod Stewart, but his curious spastic gestures and un-selfconscious earnestness as a performer are uniquely his own. ~ Clarke Fountain, Rovi

A small Arizona town is plagued by violence created from the tension between Anglo and Mexican-American youths. Tony (Tom Nardini) is the idealistic new kid in school who tries to alleviate long-time tensions between the rival factions. The Mexican gang is led by Paco (Zooey Hall), a hot-tempered youth with good reason to resent some of his Caucasian counterparts due to past prejudices. Bruce (David Macklin) is the leader of the white gang. Patty McCormack and Joanna Frank are the female interests who become victims of the gang struggles. Tony, formerly from San Diego, attempts to change the attitudes of the polarized and violent groups. Simms (Russ Bender) is a bigoted educator who fans the flames of hate, and Wilson (Arthur Peterson) is the school principal who is helpless to stop the violence between the two factions. ~ Dan Pavlides, Rovi

In this British thriller, an aristocratic, wealthy and snobbish Englishwoman who is addicted to heroin falls for an American student who tries to help her kick her deadly habit. Meanwhile, narcotics-officer Stringer is determined to find the pusher, who has been sexually involved with her daughter, Sandy. ~ Sandra Brennan, Rovi

High-priced hooker Claudia Draper (Barbra Streisand) has been arrested for the murder of one of her clients. The attorney engaged by Claudia's parents hopes to cop an insanity plea so that she can avoid a trial and manslaughter conviction. But she refuses this, citing a proviso in New York law that may result in her spending the rest of her life in an institution. Against all odds, struggling lawyer Aaron Levinsky (Richard Dreyfuss) tries to prove that Claudia is not crazy and is capable of standing trial. He certainly has his work cut out for him; from what we've seen in the film thus far, the violently impulsive Claudia is not only "nuts," but certifiably so. Though she has plenty of opportunity in Nuts to give out with her usual bravura Streisandisms, Streisand (who also produced the film and wrote the songs) is surprisingly restrained through most of the proceedings. And then there's that extended-monologue climax. Nuts was adapted by Tom Topor, Darryl Ponicsan, and Alvin Sargent from Topor's stage play. ~ Hal Erickson, Rovi

T.T. (Dennis Christopher), a Midwesterner, has traveled to the beaches of California for a dose of the surfin' life. He believes that the people he finds there are glamorous and knowledgeable. They reject his Midwestern nerdiness, make fun of him, and generally give him a hard time for not fitting in and wanting to. However, eventually he figures out that they are no wiser than he is, and that their lives are surprisingly empty. ~ Clarke Fountain, Rovi

"You don't make up for your sins in church; you do it in the streets; you do it at home. The rest is bulls--t, and you know it." Returning to the autobiographical milieu of his 1968 debut Who's That Knocking at My Door? for his third feature, Martin Scorsese examined the daily struggles of a wannabe hood to keep his morals straight on the streets of Little Italy. Driven equally by his wish to become a respectable gangster like his uncle (Cesare Danova) and his desire to live his life like St. Francis, Charlie (Harvey Keitel) takes on his energetically unhinged friend Johnny Boy (Robert De Niro) as his own personal penance, intervening to get Johnny Boy to pay off a debt to the local loan shark Michael (Richard Romanus). Despite his promises to his epileptic girlfriend Teresa (Amy Robinson) that they will move out of Little Italy once he strengthens his position in his uncle's world, Charlie's involvement with Johnny Boy further ensnares him in the neighborhood. When Johnny Boy decides to mouth off to Michael rather than pay him, Charlie, Johnny Boy, and Teresa try to flee Michael's murderous anger (and an assassin played by Scorsese), forcing Charlie to realize that the rules of the streets do not mesh with absolution. Whereas fellow "film school generation" director Francis Ford Coppola transformed the Hollywood gangster movie into metaphorical epics about the Mafia and capitalism in The Godfather (1972) and The Godfather Part II (1974), Scorsese revised the genre in the opposite direction, focusing on the gritty minutiae of daily life and drawing from personal memory. Combining documentary-style realism (even though most of the film was shot in L.A.); kinetic editing and camera movement; and expressionistic lighting, angles, and film speed, Scorsese presents an intimate picture of the trivial incidents and latent violence of Charlie's and Johnny Boy's world, naturalistically unfolding their experiences rather than simply explaining what motivates them. They lead a claustrophobic, petty existence that Scorsese and screenwriter Mardik Martin witnessed growing up in Little Italy, complete with a soundtrack of hit songs like "Be My Baby" and "Jumping Jack Flash" that had poured out of neighborhood radios. Mean Streets opened at the New York Film Festival to excellent notices and played strongly in New York but failed to duplicate that level of business elsewhere. Even so, Mean Streets established Scorsese and De Niro as formidable young talents and marked the beginning of a long-running and fertile collaboration that continued in such films as Taxi Driver (1976), Raging Bull (1980), The King of Comedy (1983), and Goodfellas (1990). Scorsese's exceptional grasp of the texture of day-to-day life, the rhythm and cadences of street talk, and cinema's visual and aural possibilities makes Mean Streets one of the pivotal films of the 1970s, as well as of Scorsese's career, and an influence on such future filmmakers as Spike Lee and Quentin Tarantino, among many others. ~ Lucia Bozzola, Rovi

A man trained for a life of excitement and danger is given a new and unexpected challenge -- minding a grouchy old woman -- in this comedy. Doug Chesnic (Nicolas Cage) is a Secret Service agent who takes great pride in his job, performing his duties with the utmost professionalism and always minding the details. However, his assignment for the last three years has been a severe test of his patience; Tess Carlisle (Shirley MacLaine) is the widow of a former U.S. president who is well-known for her diplomatic and philanthropic work, and Doug has been in charge of her security force. But Tess tends to regard Doug less as a security officer and more as a domestic servant, like her chauffeur Earl (Austin Pendleton) or her nurse Frederick (Richard Griffiths). While Doug regards it as beneath his professional dignity to perform little chores around the house or bring Tess her breakfast in bed, she orders him to do so, and he's in no position to say, "no." Sometimes, Tess even refuses to obey Doug's security instructions, and should he argue his point too strongly, Tess will contact her close friend, the President of the United States, and ask him to give Doug a severe dressing down. So when Doug's three year hitch with Tess comes to an end, he asks to be given a more exciting and challenging assignment. However, Tess has other ideas; she's decided that she likes working with Doug, and she demands that his assignment be made permanent. Director Hugh Wilson also provides the voice of the President. ~ Mark Deming, Rovi

In this socially conscious drama with romantic overtones, Iris (Jane Fonda) is a working mother with a job at a large commercial bakery who is still getting over the death of her husband, though her circumstances don't give her much time to grieve. She's sharing her house with her two children, Kelly (Martha Plimpton) and Richard (Harley Cross); her unemployed sister, Sharon (Swoosie Kurtz); and her thuggish brother-in-law. The tensions at home become even greater when the teenaged Kelly announces that she's pregnant. One of the few bright spots in Iris' life is her blossoming friendship with Stanley (Robert De Niro), a nice guy who works in the bakery's cafeteria. However, Iris starts noticing a few odd things about Stanley and it slowly dawns on her that he can't read. When the boss figures this out, Stanley loses his job -- an especially troubling development, as Stanley has just had to put his father in a retirement home. Homeless and out of work, Stanley turns to Iris with a special request -- he'd like her to teach him how to read. ~ Mark Deming, Rovi

This socially conscious family farm drama from director Mark Rydell was his follow up to the Oscar-winning On Golden Pond (1981). Mel Gibson and Sissy Spacek star as Tom and Mae Garvey, struggling Tennessee farmers constantly one step away from foreclosing. Their farm sits next to a river that both nourishes their land and constantly threatens to overflow its banks and destroy their crops. The Garveys sell some of their equipment for obscenely low prices at a foreclosure auction, at which some of their neighbors are forced to give up everything they own. The stoic Tom takes a job as a scab at a mill where the union workers are striking. Meanwhile, Mae has a platonic flirtation with local bank manager Joe (Scott Glenn), who saves her life when she's trapped under a heavy piece of farm equipment. Tom's homecoming is cut short by a flood, but the raging waters allow him to become a hero to his family again. The River was the third in a trio of dramas depicting the plight of the American family farmer released that same year. ~ Karl Williams, Rovi

Based on the novel by Truman Capote, this often-witty coming-of-age drama looks at a young man growing up with an unusual family in the Deep South in the 1940s. After the death of his parents, Collin Fenwick (Edward Furlong) finds himself living in a small town with two of his aunts, Dolly (Piper Laurie) and Verena (Sissy Spacek). Verena is the more stable of the two, an entrepreneur who controls a number of local businesses and rules the roost with a firm hand. Dolly, on the other hand, is a gentle eccentric who claims to hear the voices of the dead as the wind whistles through the grass, and has developed a homemade concoction that supposedly cures dropsy. Dolly's potion attracts the attention of Morris Ritz (Jack Lemmon), a smooth-talking con man from Chicago who wants to snatch the formula away from her. Along the way, Collin also gets to know Catherine (Nell Carter), Verena and Dolly's quick-witted house maid; Amos (Roddy McDowall), a barber who is also the town's one-man rumor mill; Charlie Cool (Walter Matthau), a charmingly cynical retired judge with an opinion about everything; and Sister Ida (Mary Steenburgen), an accordion-toting traveling evangelist who has had a heroic brood of 13 children without benefit of marriage. The Grass Harp was directed by Charles Matthau, the son of Walter Matthau. ~ Mark Deming, Rovi