Barry Levinson Movies
One of the more versatile American filmmakers of his generation, Barry Levinson's movies showcased subjects as diverse as the immigrant experience, mob intrigue, and political satire. He earned particular acclaim for his semi-autobiographical portraits of life in 1950s Baltimore, a topic that he explored to great effect in Diner, his 1982 directorial debut.Born in Baltimore on June 2, 1942, Levinson was the son of a warehouse manager. Initially intent on a career in the media, he studied Broadcast Journalism in college but didn't remain there long enough to earn a degree. He instead switched his interests to acting and standup comedy, and, after serving a stint as a staff writer on The Carol Burnett Show, he was hired by producer Mel Brooks. The first film to carry a screenwriter credit for Levinson (in the company of several other writers) was Silent Movie (1976); this was followed by Brooks' High Anxiety (1977), which also featured Levinson as a vengeful bellboy in the film's celebrated Psycho-parody scene.
Levinson's first directorial job was the low-budget Diner (1982), the first installment of his "Baltimore trilogy" (the others were Tin Men (1987) and Avalon (1990)); Diner served to showcase several stars-to-be, among them Mickey Rourke, Ellen Barkin, Daniel Stern, Paul Reiser, and Michael Tucker. A poignant, critically acclaimed, coming-of-age story, the film helped to establish Levinson as a bankable director; this status was further solidified with such purely commercial projects as The Natural (1984) and Young Sherlock Holmes (1985). In 1988, Levinson tackled one of his most ambitious projects in Rain Man, the remarkable saga of a disaffected yuppie's deepening relationship with his autistic savant brother. An all-around success, the film won numerous Oscars, including Best Picture, Best Director, and Best Actor (Dustin Hoffman).
Levinson had little difficulty imposing his own personal stamp on such star-oriented films as Good Morning, Vietnam (1987), starring Robin Williams, and Bugsy (1991), starring Warren Beatty. Although he has made few missteps in his career, Levinson suffered an intensely personal defeat with Toys (1992), a morality tale acted out in a toy manufacturing company. The film had been a pet project of Levinson's for nearly 20 years, and, when finally completed, it proved to be a complete turkey. Similarly disappointing was the director's Jimmy Hollywood (1994); a comedy starring Joe Pesci as a struggling actor, it sank at the box office. He had greater luck with Sleepers (1996), the disturbing tale of four lifelong friends seeking retribution for torture and sexual abuse they suffered as young boys at a reform school. The following year proved to be a banner one, as Levinson had two critically acclaimed hits, one as the producer of Donnie Brasco, starring Johnny Depp as an undercover cop who develops a dangerous friendship with mobster Al Pacino, and the other as the producer/director of the sharp political satire Wag the Dog, starring Dustin Hoffman and Robert De Niro. Following a semi-disastrous foray into science fiction with Sphere (1998), Levinson literally and figuratively returned to his home turf in 1999 with Liberty Heights. The story of two Jewish boys growing up in Baltimore in the '50s, it featured the familiar Levinson themes of family ties, ethnic tension, Cold War anxiety, and the growing pains of a changing society.
The 21st century started off in a less than stellar way for Levinson as his comedy An Everlasting Piece struggled to get a release in the United States. He oversaw the end of his highly respected television series Homicide by executive producing a TV-movie in 2000 that helped bring some major storylines to a close.
The next year he made the quirky comedy Bandits featuring a love triangle between Bruce Willis, Billy Bob Thornton, and Cate Blanchett. That film was a mild success, but the same could not be said of his next feature, Envy. The Ben Stiller/Jack Black comedy, with a script originally conceived by Larry David, failed to find support from the studio that funded it as well as from audiences. To steady himself, Levinson teamed yet again with Robin Williams for the political satire Man of the Year, about a political comic who ends up running for the Presidnecy.
~ Hal Erickson, All Movie Guide
The film version of The Natural pulls off the neat trick of conveying the spirit of the Bernard Malamud novel upon which it is based, even while changing both the outcome and the meaning of Malamud's closing chapters. In his first film appearance in four years, Robert Redford plays Roy Hobbs, a farm boy with a hankering to be a great baseball player. With his faithful homemade bat "Wonderboy" in hand, Roy heads to the big city. En route, he arouses the fascination of the mysterious Harriet Bird (Barbara Hershey). Luring the boy to a hotel room, Harriet asks Roy what he wants out of life. Roy brashly responds he wants to be "the best there is," whereupon Harriet whips out a gun and shoots Roy down. Sixteen years later, a humbler Roy Hobbs emerges from the bush leagues to become a 35-year-old "rookie" on the 1939 lineup of the New York Knights. He soon becomes the team's star player, and in so doing once more attracts enigmatic woman Memo Paris (Kim Basinger), the glamorous niece of the Knights' manager Pop Fisher (Wilford Brimley) and the mistress of Rothstein-like gambler Gus Sands (a curiously unbilled Darren McGavin). Roy's fascination with Memo compromises his ability to play, but this time he finds salvation in the form the angelic Iris Gaines (Glenn Close), his childhood sweetheart. From this point forward, the script for The Natural bears very little resemblance to the Malamud original. Without giving anything away, it can be said that Roy Hobbs is given a once-in-a-lifetime opportunity to compensate for the mistakes of his youth, despite the demonic intrusion of inexplicably spiteful sports writer Max Mercy (Robert Duvall). The Natural elevates the art of slow-motion photography to new heights; while this technique would become precious and boring in later baseball films, it works beautifully here, as does the decision by director Barry Levinson and cinematographer Caleb Deschanel to convey the symbolism inherent in the story in purely visual rather than blatantly verbal terms. (If the characters told you that the story was a retelling of the Camelot legend in baseball terms, would you have watched?) Another plus is the pastoral theme music by Randy Newman, which has been well utilized on sports broadcasts and "human interest" TV documentaries ever since. The baseball scenes in The Natural were staged at War Memorial Stadium in Buffalo, New York. ~ Hal Erickson, All Movie Guide
- Starring:
- Robert Redford, Robert Duvall, (more)
This remake of the 1948 Preston Sturges classic stars Dudley Moore as the symphony conductor who imagines ways to get back at the wife he believes is unfaithful to him. Moore plays Claude Eastman, the conductor of a prestigious sympathy, who suspects that his actress wife Daniella (Nastassja Kinski) is fooling around behind his back with the orchestra's handsome soloist, Maxmillian Stein (Armand Assante). The tip comes courtesy of Norman Robbins (Albert Brooks), Daniella's brother. As Claude is conducting a symphony, an elaborate plot plays out in his head -- he will murder his unfaithful wife to get revenge on her. The plot is simpler and more straightforward than the original version, in which the conductor harbored three separate elaborate fantasies. ~ Michael Betzold, All Movie Guide
- Starring:
- Dudley Moore, Nastassja Kinski, (more)
Writer-director Barry Levinson's autobiographical first feature fondly remembers his Baltimore youth. It's late 1959, and six guys in their early twenties are stumbling into adulthood, alternating responsibility with carefree time at their local diner. The story centers on the return from college of Billy (Tim Daly) to serve as best man at the wedding of his pal Eddie (Steve Guttenberg). Billy is consumed by a confusing relationship with a close female friend, while Eddie still lives at home, preparing a football trivia test for his fiancée and vowing to cancel the wedding if she fails. Other characters woven into the narrative include Boogie (Mickey Rourke), a womanizer with a gambling problem, and Shrevie (Daniel Stern), a music addict with a troubled marriage. Diner became known for its bittersweet comic screenplay and its remarkable cast, which also included Paul Reiser, Kevin Bacon, and Ellen Barkin. In order to capture the loose, laid-back dialogue of the diner scenes, Levinson directed them last, so that the actors would be more comfortable with each other. Diner was the first part of Levinson's "Baltimore Trilogy," followed by Tin Men (1987) and Avalon (1990). ~ Norm Schrager, All Movie Guide
- Starring:
- Tim Daly, Steve Guttenberg, (more)
We'd rather not speculate over how much of Best Friends is autobiographical. We'll just note that this story of a male-female screenwriting team was written by real-life married scenarists Barry Levinson and Valerie Curtin. Lovers as well as collaborators, scriveners Richard Babson (Burt Reynolds) and Paula McCullen (Goldie Hawn) decide to make their union legal. Predictably enough, they discover that their relationship goes straight downhill after they say "I do." The stars are far less interesting than the supporting cast, including Jessica Tandy and Barnard Hughes as Hawn's parents, Audra Lindley and Keenan Wynn as Reynolds' folks, Ron Silver as an avaricious producer (no names, please!), and Richard Libertini as a Mexican justice of the peace. ~ Hal Erickson, All Movie Guide
- Starring:
- Burt Reynolds, Goldie Hawn, (more)
- 1981
- R
- Add History of the World -- Part I to QueueAdd History of the World -- Part I to top of Queue
Mel Brooks produced, directed, wrote, and starred in this episodic comedy in the spirit of Monty Python and the 1957 studio travesty The Story of Mankind. The film is divided into five sequences that play like blue-toned Eddie Cantor vaudeville sketches -- "The Dawn of Man," "The Stone Age," The Spanish Inquisition," "The Bible," and "The Future." Also included is a Brooksian depiction of The Last Supper and a long-winded sequence about the French Revolution. The film starts with a 2001: A Space Odyssey parody, narrated by Orson Welles, in which a collection of ape-men learn to stand erect (in more ways than one). The Stone Age reveals the origins of both the first homo sapien and homosexual marriages. Brooks then appears in an Old Testament sequence as Moses, descending from Mount Sinai with three heavy stone tablets bearing the 15 Commandments; after he drops one of these tablets, the laws of God become 10 Commandments. The Roman period picks up with Brooks as Comicus, attempting to get a gig as a "stand-up philosopher" at Caesar's Palace. The Spanish Inquisition is a musical production number with monks torturing Jews to lively Broadway musical strains. The final French revolution section is a broad parody of The Man in the Iron Mask story. The film closes with coming attractions of "History of the World, Part II" that features a rousing Star Wars parody (anticipating Space Balls) called "Jews in Space" that includes a jaunty theme song. ~ Paul Brenner, All Movie Guide
- Starring:
- Mel Brooks, Dom DeLuise, (more)
Richard Donner directed this compassionate tale concerning the daily struggles of handicapped citizens. The film deals with the volatile relationship between Roary (John Savage), who has unsuccessfully tried to kill himself, and the hair-trigger Jerry (David Morse), a basketball player who has no money to pay for an operation to repair his knee. Roary, who has been permanently crippled after jumping off a building, travels an emotional route from being deeply disturbed and embittered to slowly regaining confidence in himself. Helping him along the road to emotional recovery is Louise (Diana Scarwid), a young woman dealing with the handicapped who, in the process, comes to terms with her own limitations. ~ Paul Brenner, All Movie Guide
- Starring:
- John Savage, David Morse, (more)
Norman Jewison's blackly satirical look at the American justice system has gained in stature as one of the more incisive social commentaries of its time. Al Pacino plays Arthur Kirkland, an incorruptible attorney who attempts to initiate reforms in the Maryland justice system. Kirkland is haunted by the fates of two past clients, one of whom committed suicide in jail; the other is still alive but is locked up on a trumped-up traffic violation. The ability of power and money to distort the pursuit of justice becomes all too clear as Kirkland finds out how deeply the rot has spread. He finally retaliates by representing a repulsive judge (John Forsythe) accused of rape. Pacino's and Forsythe's performances are intense and powerful. Many critics found the film biting and almost painful in its razor-sharp indictment of the justice system, while others declared the script too outrageous. ~ Don Kaye, All Movie Guide
- Starring:
- Al Pacino, Jack Warden, (more)
- 1977
- PG
This is Mel Brooks' spoof of over ten Alfred Hitchcock classics, including Psycho, Vertigo, and The Birds (Brooks actually used the bird trainer from that classic suspense movie in making his film). Brooks plays Dr. Richard H. Thorndyke, a renowned Harvard psychiatrist with a concealed fear of heights, or High Anxiety. Thorndyke takes over as the newest director of the PsychoNeurotic Institute for the Very, Very Nervous after the last director dies under suspicious circumstances. He soon finds himself to be in the company of some very strange colleagues, including longtime Brooks collaborators Cloris Leachman and Harvey Korman, with Madeline Kahn as Victoria Brisbane, the eccentric daughter of a patient at the institute and Thorndyke's love interest. Korman takes on the role of Dr. Charles Montague, a psychiatrist with a closeted habit of his own. Leachman plays Charlotte Diesel, a charge nurse with a dark sneer and tendency towards domination. As Thorndyke heads to a psychiatry conference, he is faced with saving the Institute, his reputation, and his own sanity. Although the film was not well-received by critics, it picked up a 1978 Golden Globe nomination for best picture (musical or comedy) and landed Brooks a nomination for best actor. The movie has a number of cameos, from a young Barry Levinson's spot as an unstable bellboy to a small part by Hitchcock's right-hand special effects man, Albert J. Whitlock, who plays Kahn's father. ~ Rachel Koetje, All Movie Guide
- Starring:
- Mel Brooks, Madeline Kahn, (more)
- 1976
- PG
Silent Movie is just that: a totally nonverbal comedy, save for one single line. Director Mel Brooks stars as a once-famous comedy director, who with his faithful assistants Dom DeLuise and Marty Feldman return to Hollywood with plans for a comeback. Brooks wants to return to the good old days by producing a silent movie (he explains this via subtitle). Producer Sid Caesar is agreeable, provided Brooks can line up top stars. In a series of vignettes better seen than described, Brooks persuades Burt Reynolds, Liza Minelli, Paul Newman, James Caan and Anne Bancroft (Brooks' real-life wife) to star in his project. The only holdout is mime Marcel Marceau, who after a few moments of walking against the wind shouts the film's solitary line: "No!" Meanwhile, the crooked executives of the Engulf and Devour conglomerate want to take over Caesar's studio and are worried that Brooks' film might be so huge a hit that Caesar won't be interested in selling. To prevent this, the conglomerate dispatches sexy Bernadette Peters to lure Brooks into drink and ruination. The film's climax is lifted from the 1943 Olsen and Johnson film Crazy House). Featured in brief comic cameos are Harry Ritz as the man with half a suit, Charlie Callas as the blind man, Dom DeLuise's wife, Carol Arthur, as the incredibly pregnant woman, Fritz Feld as the headwaiter (whose trademarked "Pop" is conveyed on a subtitle) and Henny Youngman as the diner with a fly in his soup. Co-writers Ron Clark, Rudy DeLuca and Barry Levinson also show up on screen as three of the Engulf & Devour minions. ~ Hal Erickson, All Movie Guide
- Starring:
- Mel Brooks, Marty Feldman, (more)
- 1975
- R
In this drama, a determined father hits the sleaziest streets in the city in hopes of finding his troubled daughter before it is too late. ~ Sandra Brennan, All Movie Guide
- 1975
- PG
In 1970, Elliot Gould was the hottest male star in Hollywood; by 1975, he was making do with indifferent projects like Who?. This interesting British/German sci-fier, also known as Man Without a Face, Prisoner of the Skull and The Man With the Steel Mask, and also under the title Robo Man. Gould's role as an American government official is secondary to the character played by Joseph Bova. While visiting the Soviet Union, scientist Bova is involved in a serious car accident. The Russian surgeons perform emergency life-saving surgery by replacing most of Bova's body parts with electronic devices. Thus when he returns home, Bova is to all intents and purposes a cyborg. It is up to Gould to find out if our reconstituted hero has been transformed into a Soviet spy. After several rondelay dialogue scenes and silly car chases, Who? ends on a quiet, pensive note-perhaps the most effective scene in the whole picture. Adapted from the well-regarded novel by Algis Budrys. ~ Hal Erickson, All Movie Guide
- Starring:
- Elliott Gould, Trevor Howard, (more)
- 1973
- PG
James Coburn stars as Robert Eliot, an opportunistic entrepreneur destined to become a key Presidential advisor -- if his murky past isn't brought to light first. ~ Jason Ankeny, All Movie Guide
- 1973
In this drama, a conservative Catholic priest representing the Pope is sent to Ireland to settle down a few influential radical priests whose doctrine is contrary to standard church guidelines. AKA The Conflict. ~ Sandra Brennan, All Movie Guide
- Starring:
- Martin Sheen, Trevor Howard, (more)
- 1972
The title character is a ghost, doomed to roam his mansion until an age-old mystery is solved. A widow Dorothy Alison and her two children are "hired" by the wraith-like Blunden to aid him in his sleuthing. Also joining in on the investigation are two ghostly kids, who'd been mistreated in life. ~ Hal Erickson, All Movie Guide
- Starring:
- Laurence Naismith, Lynne Frederick, (more)
- 1970
This low-key wartime drama concentrates on the plight of Danish Jews upon the Nazi takeover. The world now knows that Denmark behaved honorably and courageously in refusing to automatically turn over its Jews to the death camps, but the film's hero, played by Ove Sprogoe, at first vacillates in his commitment to protect his Jewish neighbors. Happily, Sprogoe joins his fellow Danes in smuggling 7000 Jews to the safety of Sweden. The Only Way covers its familiar ground with nuance and spontaneity. ~ Hal Erickson, All Movie Guide
- Starring:
- Martin Potter, Jane Seymour, (more)
- 1970
- R
Producer/director Maximillian Schell adapted the screenplay of First Love from a story by Ivan Turgenev. John Moulder Brown plays Alexander, a 16-year-old boy who falls in love with 21-year-old Sinaida (Dominique Sanda). Despite a great deal of emotional turmoil, exacerbated by the fact that Sinaida has been sleeping with Alexander's father, Alexander insists upon pursuing the relationship. His sexual coming-of-age is played out against the ominous backdrop of pre-World War II Europe. The film was originally released as Ein Leibe. ~ Hal Erickson, All Movie Guide
- Starring:
- John Moulder-Brown, Dominique Sanda, (more)
