Frank Perry Movies

Jeffrey (Ryan Reynolds) grew up with heady ideals of social activism as part of his everyday life. His parents spent the better part of their lives fighting for social justice in India. Now they are dead, and he is only fifteen year old. He has been sent to a small town in Ontario to live with his aunt Charlotte (Glynne Headly). It takes considerable effort, but he manages to make friends and fit into this new, much smaller world of his. However, when his aunt receives an unfair eviction notice from her sleazy landlord (Paul Anka), every bit of his background and training comes to play, and he works with her to put on a well-publicized hunger strike which wins them the admiration of the local citizens and more. ~ Clarke Fountain, Rovi

Writer Susan Isaacs and director Frank Perry of Compromising Positions re-team for this resurrection fantasy comedy. Shelley Long plays Lucy Chadman, the accident-prone wife of plastic surgeon Jason Chadman (Corbin Bernsen). When she chokes to death after eating a South Korean chicken ball, a funeral is held and she is mourned, but then everyone goes on with their lives and forgets about her. Everyone, that is, except her sister Zelda (Judith Ivey). Zelda runs an occult bookstore and as she peruses one of her books of incantations, she discovers a magical chant that can raise the dead. Obeying the rules of the incantation -- it has to be performed a year after the person dies and the resurrected person must find love within 30 days or the person will die again -- she brings back Lucy to life. Lucy immediately proceeds to her husband's home and finds that he is married to her best friend Kim (Sela Ward). She now has to deal with the changed circumstances of her husband, along with a burgeoning love affair with Kevin Scanlon (Gabriel Byrne), the emergency-room doctor who had tried to save her life. ~ Paul Brenner, Rovi

The innocent routine of small town is disrupted when the combined weight of ice and snow upon a local arena causes the roof to come crashing down--in the middle of a hockey game. ~ Rovi

When her adoptive mother Joan Crawford died in 1977, erstwhile actress/author Christina Crawford and her brother Christopher were left out of Joan Crawford's will, "for reasons which are well known to them." Industryites have suggested that it may have been this posthumous act of rejection rather than an alleged lifetime of parental abuse that inspired Christina Crawford to pen her scathing autobiography Mommie Dearest. The 1981 film version of this tome was evidently meant to be taken seriously, but the operatic direction by Frank Perry and the over-the-top portrayal of Joan Crawford by Faye Dunaway (whose makeup is remarkable) has always seemed to inspire loud laughter whenever and where-ever the film is shown. According to the film (and the book that preceded it), Joan Crawford was a licentious, child-beating behemoth, who stalked and postured through life as though it was one of her own pictures-more Strait-jacket than Mildred Pierce. This is the film with the notorious "wire coat hanger" scene, just in case you need a reminder. Surprisingly, one emerges from Mommie Dearest with more sympathy for the monstrous but intensely vulnerable Crawford than for her whining daughter (played as an adult by Diana Scarwid, and as a child by Mara Hobel). Our favorite scene: Joan Crawford dazedly replacing her ailing daughter in the cast of a daytime TV soap opera. ~ Hal Erickson, Rovi

Based on a true story, Dummy stars LeVar Burton as Donald Lang, a deaf-mute teenager accused of killing a prostitute. Paul Sorvino co-stars as Lowell Myers, the hearing-impaired public defender who takes Burton's case. The court, deciding that Lang is incompetent to stand trial, orders the boy to be shunted away to a mental institution. Doggedly following the evidence trail, Myers argues for "due process" in the treatment of his client. While the film's ending is upbeat, real life does not always turn out so well, as the ironic closing title (which details what has happened to Burton's character since this case was resolved) demonstrates. Initially telecast May 27, 1979, Dummy was adapted by Ernest Tidyman from his own book. ~ Hal Erickson, Rovi

Man on a Swing, purportedly based on a true case, is a puzzling crime thriller concerning a clairvoyant who helps find a murderer. After a murder is committed, supposed clairvoyant Franklin Wills goes to police Chief Lee Tucker (Cliff Robertson) and gives him details of the crime that he has seen in visions. The details are startlingly correct and could only have been known to the killer. Tucker, not convinced that Wills is indeed clairvoyant, begins to suspect him of the murder. Man on a Swing, directed by Frank Perry, over-complicates its central theme, distracting the viewer from the film's strong central theme, the ambiguity of Wills. Joel Grey gives an outstanding, scene-stealing performance in that role, giving Wills both menace and a surprising vulnerability. Cliff Robertson is far-less successful in his portrayal of the no-nonsense police chief. The film's ambiguous ending should increase the suspense of the film but instead further confuses the viewer. However, because of the superb performance of Grey, Man on a Swing is worth a view. ~ Linda Rasmussen, Rovi

Coproduced by Canada's Rankin-Bass and Japan's Mushi Studios, this 30-minute cartoon special is essentially a remake of the classic 1940 film The Thief of Baghdad (which would itself provide inspiration for the 1991 animated feature Aladdin. It's the story of Pindar, a dauntless teenager in love with Fatha, the daughter of the Thief of Baghdad, Omar (no, he's not a tentmaker here). In order to win Fatha's hand, Pindar must outwit the evil Caliph and steal his slippers--and, oh yes, he's got to work his way around a fearsome genie who is guarding the largest treasure in the world. First telecast as one of the eighteen episodes of the syndicated Festival of Family Classics anthology, The Arabian Knights began making the TV syndication rounds in early 1973. ~ Hal Erickson, Rovi

This two-part cartoon adaptation of Jules Verne's fanciful adventure novel Around the World in 80 Days was a coproduction of Canada's Rankin-Bass and Japan's Mushi Productions. The familiar story of how Phileas Fogg and his manservant Passepartout undertake to circle the globe in 80 days is retold with remarkable fidelity, even though the scenes in which the two protagonists are seen flying in a balloon cannot be found in the Verne original, but were invented for the 1956 movie version of the same property. Not to be confused with the concurrently produced TV cartoon series of the same name, Around the World in 80 Days was first syndicated in November of 1972, as part of the 18-episode Festival of Family Classics anthology. ~ Hal Erickson, Rovi

Superstardom was predicted for Carrie Snodgress on the basis of her spectacular film debut in Diary of a Mad Housewife. Snodgress plays the long-suffering wife of pushy, insensitive attorney Richard Benjamin. Unable to withstand being treated as a trophy (and a tarnished one at that), Snodgress has a brief affair with sexy Frank Langella. Alas, Langella, like virtually every other male character in the film, is just as selfish and self-involved as Benjamin. Even when she enters group therapy, Snodgress is disenchanted by the obtuseness and chauvinism of her male psychiatrist. Nominated for an Academy Award for her performance in Diary of a Mad Housewife, Carrie Snodgress dropped out of films shortly afterward to move in with rock star Neil Young - with whom she raised a child. She returned to cinema with a pivotal role in Brian de Palma's bloody thriller The Fury. ~ Hal Erickson, Rovi

Thirteen-year old Teddy Eccles is a devotee of Thoreau, as most everybody else was in 1969. Eccles decides to spend a one-year sabbatical in the Canadian woods. His immediate companion is his pet raccoon; his spiritual companion is idealistic librarian Chris Wiggins, who supplies Eccles with books on survival. Reality intrudes when another of Eccles' kindred spirits, a falcon, is killed by insensitive hunters. But the boy survives this disillusionment with the help of Wiggins and wandering-troubadour Theodore Bikel. My Side of the Mountain is a refreshingly non-condescending adaptation of the novel by Jean Craighead George. ~ Hal Erickson, Rovi

John Cheever's "misery in suburbia" short stories, brief and to the point, have always proven excellent TV fodder. Director Frank Perry's The Swimmer, adapted for the screen by Perry's wife Eleanor, is a rare, and for the most part successful, attempt at offering a Cheever story in feature-length form. Dressed only in swimming trunks throughout the film, Burt Lancaster plays a wealthy, middle-aged advertising man, embarked on a long and revelatory journey through suburban Connecticut. Lancaster slowly makes his way to his split-level home by travelling from house to house, and from swimming pool to swimming pool. At each stop, Lancaster comes face to face with an incident in his past. Informing Kim Hunter that he once harbored a secret love for her, Lancaster is mildly upset by Hunter's indifference. Elderly Cornelia Otis Skinner is incensed at Lancaster's intrusion in her backyard and orders him to leave. At the next home, Lancaster tries to seduce the nubile Janet Landgard, who'd once baby-sat for his daughters, but she runs away in horror. And so it goes: as each subsequent suburbanite peels off his self-protective veneer, Lancaster grows more and more disillusioned with what he thought was his ideal lifestyle. The more intensely painful episode is the confrontation between Lancaster and ex-mistress Janice Rule (this scene was directed, without credit, by Sydney Pollack). Thoroughly defeated, the all-but-naked Lancaster laboriously makes his way through the Connecticut woods in a blinding rainstorm, desperately seeking out his own home where he fully expects his "loving" wife and daughters to greet him. Not this time. Dismissed as too self-consciously "arty" at the time of its release, The Swimmer's reputation increased over the decades following its release thanks to constant late-night TV exposure. The film represents the first movie work of 22-year-old composer Marvin Hamlisch. ~ Hal Erickson, Rovi

Narrated by the author himself, this heart-warming made-for-television drama takes place in his childhood and recalls the time he helped bake a truckload of fruitcakes for friends and family with his ancient cousin. ~ Sandra Brennan, Rovi

This stark and spare look at the world of the mentally disturbed was one of the beacons of the new American independent film movement. Keir Dullea and Janet Margolin star as two adolescents who make contact with each other in a home for disturbed youngsters. Dullea is David Clemens, who is placed in the home by his mother because of his constant fear of being touched. Margolin is Lisa, a 15-year-old schizophrenic who speaks only in rhyme, when she speaks at all. David rejects the help of psychiatrist Alan Swinford (Howard Da Silva) but makes an emotional connection with Lisa. Because of his contact with Lisa, David eventually opens up to Swinford and his mother. But his mother is dissatisfied with his progress and takes him back home. Home life, however, consists of his mother's domineering ways and parental quarrels, so David runs away and returns to the home for disturbed youngsters. But then an argument with Lisa leads to a climactic confrontation. ~ Paul Brenner, Rovi