John Saxon Movies

A decade of wisecracking sequels have not diminished the power of this striking horror film from the director of Scream. Teenagers in a small town are dropping like flies, apparently in the grip of mass hysteria causing their suicides. A cop's daughter (Heather Langenkamp) traces the cause to child molester Fred Krueger (Robert Englund), who was burned alive by angry parents many years before. Krueger has now come back in the dreams of his killers' children, claiming their lives as his revenge. The teenaged leads are sympathetic and intelligent, unlike the dumb victims presented in most films of the period, and they are ably backed up by veterans like John Saxon and Ronee Blakley. Director Wes Craven creates moments of real dread by examining the line between nightmares and reality, as well as the "sins of the parents" theme, and although the film is quite gory, it never resorts to cheap bloodletting for its effect. A unique and disturbing experience, this film is highly recommended for horror buffs. ~ Robert Firsching, All Movie Guide

The 1954 musical remake of A Star is Born could have been titled A Star is Reborn, in that it represented the triumphal return to the screen of Judy Garland after a four-year absence. The remake adheres closely to the plotline of the 1937 original: An alcoholic film star, on his last professional legs, gives a career boost to a unknown aspiring actress. The two marry, whereupon her fame and fortune rises while his spirals sharply downward. Unable to accept this, the male star crawls deeper into the bottle. The wife tearfully decides to give up her own career to care for her husband. To spare her this fate, the husband chivalrously commits suicide. His wife is inconsolable at first, but is urged to go "on with the show" in memory of her late husband. In the original, Janet Gaynor played Esther Blodgett, who with no training or contacts came to Hollywood hoping for stardom. The remake, scripted by Moss Hart, is a shade more realistic: Garland's Esther, though far removed from fame, is a working professional singer/dancer when first we meet her. Both Gaynor and Garland are transformed from "Esther Blodgett" to "Vicki Lester" after being screen-tested, though Gaynor goes on to star in fluffy costume dramas while Garland more logically headlines big-budget musicals. The 1937 Star is Born costarred Fredric March as Norman Maine, Esther/Vicki's sponsor-cum-spouse. March patterned his performance after the tragic John Barrymore, reining in his emotions in favor of pure technique; James Mason's interpretation is more original, more emotional, and far more effective (who can forget the scene where Norman sobbingly overhears Vicki planning to give up her career for his sake?) As the studio's long-suffering publicist, the 1937 version's Lionel Stander is more abrasive and unpleasant than the 1954 version's introspective, intellectual Jack Carson; on the other hand, Adolphe Menjou and Charles Bickford are fairly evenly matched in the role of the studio head. Several important omissions are made in the remake. The 1937 Star is Born included Esther's indomitable old grandma (May Robson), a helpful assistant director (Andy Devine) and a soft-hearted landlord (Edgar Kennedy); all three characters are missing from the 1954 version, though elements of each can be found in the "best friend/severest critic" character played by Tommy Noonan. Wisely, both versions end with the grieving Vicki Lester coming out of her shell at a public gathering, greeting the audience with a proud, defiant "Good evening, everybody. This is Mrs. Norman Maine". Though directors William Wellman (1937 version) and George Cukor (1954 version) handle this finale in their own distinctive manners, the end result is equally effective emotionally. What truly sets the 1954 A Star is Born apart from other films of its ilk is its magnificent musical score by Harold Arlen and Ira Gershwin. The songs include The Man Who Got Away (brilliantly performed by Garland in one long take, sans dubbing), It's a New World, Somewhere There's a Someone, I Was Born in a Trunk, Lose That Long Face and Gotta Have Me Go With You. When originally previewed in 1954, the film ran well over three hours, thanks to the lengthy-and thoroughly disposable-Born in a Trunk number, added to the film as an afterthought without the approval or participation of director George Cukor. The Warner Bros. executives trimmed the film to 154 minutes, eliminating three top-rank musical numbers and several crucial expository sequences (including Norman's proposal to Vicki). At the instigation of the late film historian Ronald Haver, the full version was painstakingly restored in 1983, with outtakes and still photos bridging the "lost" footage. Though nominated in several categories, A Star is Born was left empty-handed at Academy Award time, an oversight that caused outrage then and still rankles Judy Garland fans to this day (Footnote: Judy Garland had previously played Vicki Lester in a 1942 Lux Radio Theatre adaptation of the original A Star is Born). ~ Hal Erickson, All Movie Guide

Director Mauro Bolognini and Goffredo Parise adapted a skillful Alberto Moravia story into this rather pedestrian drama. An eligible widow (Ingrid Thulin) vacations in Venice with her young son. When Thulin begins a tentative romance with friendly John Saxon, her resentful son runs away from home and gets into trouble, falling in with a gang of hooligans. The rest of the film is bland and predictable, as the harsh realities of street life teach the youngster some valuable lessons, most of which are hammered home with redundant narration. Plot mechanics aside, however, Aldo Tonti's rich cinematography still makes the film worthwhile for those who swoon at the sight of the Lido. ~ Robert Firsching, All Movie Guide

The vanishing chalice is a rare Greek treasure that disappears from a museum. That's not all; the chalice vanishes while in full view of a group of nonplussed witnesses. This sounds like a case for troubleshooting detective Banacek (George Peppard) -- and indeed, it is, in this episode from the Banacek series. John Saxon, Sue Ann Langdon, Cesar Romero, and Eric Braeden are the special guest suspects in this episode, which originally aired January 15, 1974. ~ Hal Erickson, All Movie Guide

The third entry in the popular Beverly Hills Cop series finds Detroit cop Axel Foley (Eddie Murphy) returning yet again to Southern California, this time on the trail of two car thieves turned murderers. As he teams up again with L.A. cop Billy Rosewood (Judge Reinhold), Foley's investigation leads him to Wonder World, a theme park that is also the front for a major counterfeiting ring. More action and less wit are the trademarks of this film, which features Murphy dishing out his usual wisecracks, but with less flair and freshness than in the original film. Alan Young plays the old man who runs the amusement park, an interesting setting that still adds little to the tired premise. ~ Don Kaye, All Movie Guide

Although this Canadian production saw its widest U.S. cable TV distribution in the early '80s (primarily under the title Stranger in the House) to capitalize on the phenomenal success of Halloween and its offspring, this effective suspense-thriller actually predates John Carpenter's film by four years. The story involves a dangerous psychopath hiding out in the attic of a sorority house who torments a small group of pretty young sisters (including Olivia Hussey and Margot Kidder) who are staying behind over Christmas break. His tactics range from making obscene phone calls from their house-mother's phone, to stalking the terrified boarders with sharp objects and murderous intent. Director Bob Clark, who mistook dreariness for tension in his previous horror effort Children Shouldn't Play With Dead Things! (1972), here demonstrates a tight, aggressive style that generates some very original shocks -- particularly the surprise ending -- which clearly influenced dozens of similarly-themed slasher films to follow. ~ Cavett Binion, All Movie Guide

In this above-average, exciting Canadian-made action thriller, four psychopaths, led by Christie (Robert Carradine) take over and vandalize a ritzy Manhattan apartment building during the New York power blackout. They move from apartment to apartment, victimizing the occupants until stopped by the police. This low-budget thriller has an exciting, well-written script by John C. Saxton, excellent photography by Jean-Jacques Tarbes and well-acted cameo performances by several well-known actors, including Jean-Pierre Aumont, Ray Milland and June Allyson. While highly derivative and predictable, this film is well worth watching if only to see James Mitchum give an unusually strong performance. ~ Linda Rasmussen, All Movie Guide

Sun-worshiping Californians are disappearing by the droves at a popular beach hangout, and a pair of extremely gruff detectives (John Saxon and Burt Young) grumble their way through the case until the real culprit is discovered... it seems a giant burrowing sand-monster with a taste for well-tanned human flesh has set up house beneath the surface and has been partaking of beach bums and bunnies, sucking them down to a nasty (but mostly unseen) death. The creature is kept completely concealed until the final minutes, but its triumphant arrival reveals the real reason the filmmakers kept it hidden so long: the dreaded beast looks like a giant artichoke! The potential for campy fun in this premise is defeated by a completely straight, plodding detective story, but at least Saxon and Young turned in enjoyably cranky performances before picking up their checks. ~ Cavett Binion, All Movie Guide

John Saxon makes the first of three Bonanza appearances as Steve Friday, a former Ponderosa ranchhand turned gunfighter. Putting his own life on the line, Joe Cartwright tries to save an ailing Friday from a paid assassin, hired by the powerful and revenge-driven Judge Wyllit (Ford Rainey). Featured in the cast are Robert Phillips as Jakes, James Davidson as Cole Berry, and Robert McQueeney as Enos Low. Written by Herbert Kastle and John Hawkins, "Black Friday" was originally seen on Sunday, January 22, 1967. ~ Hal Erickson, All Movie Guide

Joe Cartwright is kidnaped by a band of impoverished Mexicans, who hope to save their rundown village by collecting a $25,000 ransom from Joe's father Ben. Meanwhile, a pair of thieves named Anderson (John Kellogg) and Perkins (Eddie Ryder) prepare to steal the ransom before it can be delivered, and to that end they join a rescue party, ostensibly to "save" the hapless Joe. John Saxon heads the guest cast in the role of Blas. Written by Walter Black, "The Conquistadores" first aired October 1, 1967. ~ Hal Erickson, All Movie Guide

This 1974 TV movie was based upon recent news stories about brainwashing techniques practiced by certain religious communes. Ellen (Kathy Cannon) is a confused teenager who falls in with a group of fanatics, who promise that they'll purge the "Devil" from her soul. Her anguished parents (Leslie Nielsen, Louise Fletcher) hire John Saxon to kidnap Ellen from the commune, and to exorcise the fanatics' influence from her psyche. This film was outdated within a year, but would come back in fashion during the height of the "Moonie" activity in the late 1970s. The original title of Can Ellen Be Saved?, understandably rejected by the network, was Children of God. ~ Hal Erickson, All Movie Guide

Chi Kung is the art of developing one's energy in ways to heighten health, vitality, and spiritual enlightenment. John Saxon's narration adds a calming touch to this unique workout tape. Though students may not break out into a sweat after completing this workout, they are very likely to finish it feeling relaxed and soothed in many ways. Chi Kung: The Healing Workout contains beautiful background scenery that adds to the film's calming influence. Advocates of Chi Kung firmly believe that these exercises can cure illness and improve one's sexual performance. ~ Elizabeth Smith, All Movie Guide