Richard A. Roth Movies

A cynical gambler reluctantly comes to the aid of a mysterious beauty in this interpolation of Casablanca and the real-life Cuban revolution. Big-stakes American gambler Jack Weil (Robert Redford) is comfortable in the anything-goes Havana of 1958. But with Fidel Castro out in the wilderness broadcasting revolutionary messages, it seems the good times may be on the way out. On a boat back to the island nation from the U.S. mainland, Weil agrees to help beautiful Bobby Duran (Lena Olin) smuggle in some contraband by trading vehicles with her on their way through the checkpoint. He's amused to discover not jewelry, but radio transmitters squirreled away in her car. Eventually, he learns that she's the European wife of monied Cuban communist Arturo Duran (Raul Julia), who believes his class and status will protect him from the ruling party. When that assumption turns out to be false, Jack finds himself sucked in by the plight of the suddenly widowed Bobby, who remains committed to her dangerous ideals. Risking his cushy lifestyle to protect Bobby from the coming tumult -- and from herself -- Jack must grapple with the dictates of his newfound conscience. With a supporting cast that includes Alan Arkin and Tomas Milian, Havana reunited director Sydney Pollack with Redford and David Rayfiel, star and co-screenwriter of The Way We Were. Rayfiel has also worked on a number of Pollack pictures, stretching from 1969's Castle Keep to 1995's remake of Sabrina. ~ Brian J. Dillard, All Movie Guide

Director David Lynch crafted this hallucinogenic mystery-thriller that probes beneath the cheerful surface of suburban America to discover sadomasochistic violence, corruption, drug abuse, crime and perversion. Kyle Maclachlan stars as Jeffrey Beaumont, a square-jawed young man who returns to his picture-perfect small town when his father suffers a stroke. Walking through a field near his home, Jeff discovers a severed human ear, which he immediately brings to the police. Their disinterest sparks Jeff's curiosity, and he is soon drawn into a dangerous drama that's being played out by a lounge singer, Dorothy Vallens (Isabella Rossellini) and the ether-addicted Frank Booth (Dennis Hopper). The sociopathic Booth has kidnapped Dorothy's young son and is using the child as a bargaining chip to repeatedly beat, humiliate and rape Dorothy. Though he's drawn to the virginal, wholesome Sandy Williams (Laura Dern), Jeff is also aroused by Dorothy and in trying to aid her, he discovers his dark side. As the film nears its conclusion, our hero learns that many more indivduals are tacitly involved with Frank, including a suave, lip-synching singer, Ben (Dean Stockwell), who is minding the kidnapped boy. Director Lynch explored many similar themes of the "disease" lying just under the surface of the small town, all-American façade in his later television series Twin Peaks (1990-91). ~ Karl Williams, All Movie Guide

For Marshal O'Neil (Sean Connery), the Jupiter moon Io is just another dingy mining town on the final frontier. When his wife leaves him and takes their son with them, it merely confirms that though he's traveled millions of miles, his life is going nowhere. Then he notices that miners are dying in strangely psychotic ways -- walking in space without spacesuits, carving up prostitutes. With the help of Dr. Lazarus (Frances Sternhagen), his investigation reveals that the miners are ingesting a lethal drug that speeds their work efforts. He learns that the company that runs the town is behind the drug. He confronts the town boss Sheppard Peter Boyle and soon has two hit men heading toward Io with a plan to kill him. As the seconds tick down to the next space shuttle's arrival, O'Neil plots to meet them and faces the biggest challenge of his life. ~ Nick Sambides, Jr., All Movie Guide

Comic actor Gene Wilder made his debut as a writer and director in this period comedy in which he plays Sigerson Holmes, the older bother of famous detective Sherlock Holmes. For years, Sigerson has been living in his little brother's shadow, and he is convinced that he must constantly prove his superiority to his brother in all things at all times. Of course, he often fails, but one can't argue with his determination. In this story, Sherlock (Douglas Wilmer) and his faithful assistant, Watson (Thorley Walters), are called away from England on an assignment, and Sherlock asks Sigerson if he wouldn't mind looking into a case for him. With typically misguided enthusiasm, Sigerson is hot on the trail of a cache of missing government documents, whose theft may be the dirty work of the wicked Moriarty (Leo McKern). Sigerson is assisted in his investigation by Olville Sacker (Marty Feldman), a bumbling Scotland Yard detective who claims to have photographic hearing, and the mysterious and seductive Jenny Hill (Madeline Kahn). Gene Wilder rose to fame in the offbeat comedies of director Mel Brooks, so it was fitting that, for his first film as a director, Wilder cast Brooks in a cameo role (he's heard but not seen after discovering that the door he chose had the tiger, not the lady). ~ Mark Deming, All Movie Guide

"Gorgeous goyish guy" meets Jewish radical girl in Sydney Pollack's glossy romance. In 1937, frizzy-haired Red co-ed Katie Morosky (Barbra Streisand) briefly captures the attention of preppy jock Hubbell Gardiner (Robert Redford) with her passionate pacifism, while the writing talent beneath his privileged exterior entrances her. Almost eight years later, the two are reunited in New York, when well-coiffed leftist radio worker Katie spies military officer Hubbell snoozing in a nightclub. Through her force of will, and in spite of his smug rich friends, the two opposites fall in love, sparring over Katie's activist zeal and Hubbell's writerly ambivalence after a failed first novel. They head to Hollywood so that Hubbell can write a screenplay for his buddy-turned-producer J.J. (Bradford Dillman). But the House Committee on Un-American Activities' Communist witch hunt in 1947 tears the pair apart, as a pregnant Katie refuses to keep silent about the jailing of the Hollywood Ten, while a faithless Hubbell decides to save his career. When the two meet again at the dawn of the '60s, TV hack Hubbell and A-bomb protestor Katie feel the old pull, but they have to decide if it's worth the grief. Although blacklisted writers had returned to Hollywood -- and won Oscars -- by the early 1970s, the HUAC sections of Arthur Laurents's screenplay were still considered dicey, resulting in substantial cuts; Laurents reportedly blamed star Redford for not fighting them hard enough. Regardless of the edits, and critics' complaints about the film's schlockiness, 1973 audiences went for the well-executed and still politically tinged weepie, turning The Way We Were into one of the most popular films of 1973 and Redford into a major heartthrob. Streisand won an Oscar nomination for Best Actress and the Streisand-sung title tune won for Best Song. Despite the eviscerated politics, The Way We Were poignantly captures the insoluble dilemma of reconciling private desires with public awareness. ~ Lucia Bozzola, All Movie Guide