Raymond Stark Movies

This TV movie recounts the true-life story of a corporate takeover in the greed-driven 1980s. James Garner is F. Ross Johnson, CEO of RJR-Nabisco. Having just been burned by an expensive failure of a smokeless cigarette product, Johnson doesn't wish to incur the wrath of the stockholders. He begins drawing up plans to buy RJR-Nabisco outright so he'll have no one to answer to but himself. Unfortunately for Johnson, his company is also being coveted by sharkish "buyout king" Henry Kravis (Jonathan Pryce), who turns out to have $25 billion at his beck and call. Barbarians at the Gate was adapted by Larry Gelbart from the book by Bryan Burrough and John Helyar. Advertised as a "docucomedy", the film premiered March 20, 1993, over the HBO cable service. ~ Hal Erickson, Rovi

Biloxi Blues was the second of playwright Neil Simon's semi-autobiographical trilogy (number one was Brighton Beach Memoirs; number three, Broadway Bound). Matthew Broderick stars as Simon's alter ego Eugene Morris Jerome, who is drafted and shipped off to boot camp in Biloxi, Mississippi in the waning days of World War II. Eugene is at the mercy of near-psychotic drill sergeant Toomey (Christopher Walken), who seems to have a personal vendetta against the poor schlemiel (Toomey also has all the film's best lines). While sweating out basic training, Eugene is indoctrinated into manhood by local prostitute Rowena (Park Overall). The film version of Biloxi Blues retains the wit and poignancy of the theatrical original--except towards the end, which pointlessly emphasizes a showdown between Eugene and Toomey. ~ Hal Erickson, Rovi

Brighton Beach Memoirs is the first of playwright Neil Simon's unofficial "autobiographical trilogy" (it was followed by Biloxi Blues and Broadway Bound). Jonathan Silverman repeats his stage role as Simon's teenaged alter-ego Eugene, who lives in 1937 Brooklyn with his parents (Blythe Danner and Bob Dishy), older brother Stanley (Brian Drillinger), aunt (Judith Ivey) and female cousins (Stacey Glick and Lisa Waltz). Much is made of Eugene's burgeoning sexual self-awareness and his father's efforts to support his huge extended family on his meager salary. ~ Hal Erickson, Rovi

This routine film should have been called the "rock singer's husband" because it is about the life of a baseball player affected by his love for a singer. Darryl Palmer (Michael O'Keefe) plays for the Atlanta Braves, and when he walks into a nightclub and sees an attractive woman singing (Rebecca DeMornay), he pulls up to home plate and is anxious to meet her. From then on, his persistence in courting her is unstoppable in spite of several unhappy setbacks, and finally their romance makes it to first base when she realizes she loves him too, and they are married. From that point onward, his career starts to soar, while her career begins to slide in the opposite direction. In fact, she has given up her job to go live with him on his home turf, and the sacrifice, in the end, proves to be too much. A separation is inevitable, and while he still has his teammates (Randy Quaid, Cleavant Derricks), he would rather have his wife back. ~ Eleanor Mannikka, Rovi

This family classic is adapted from the Broadway musical, which was based on the comic strip Little Orphan Annie. During the Great Depression in New York City, a plucky red-haired scrapper named Annie (Aileen Quinn) is the voice of hope for her fellow orphans who live under the supervision of drunken floozy Miss Hannigan (Carol Burnett). Annie's spirit is fueled by the belief that her real parents dropped her off at the orphanage with a half of a locket, promising to return for her with the other half. One day, the dingy orphanage is visited by the sophisticated Grace Farrell (Ann Reinking), personal secretary to conservative politician Oliver Warbucks (Albert Finney). In order to improve his image, Grace brings Annie to the Warbucks estate for a weeklong visit. Annie quickly wins the hearts of servants and politicians alike, eventually even bringing her song of hope, "Tomorrow," to President Roosevelt in Washington. Warbucks and Grace even go so far as to perform a public search for Annie's parents, creating an opportunity for Miss Hannigan, Rooster (Tim Curry), and Lily (Bernadette Peters) to scam their way to the reward money. ~ Andrea LeVasseur, Rovi

A cowboy-turned-huckster unexpectedly finds love as he tries to regain his self-respect in this romantic comedy drama. Sonny Steele (Robert Redford) is a one-time rodeo star whose career as a cowboy has ground to a halt. He makes a good living as a spokesman for Ranch Breakfast, a sugar-coated cereal for kids, but he's lost most of his self-respect in the process; his boss, corporate mogul Hunt Sears (John Saxon), considers him a property rather than a human being, and Sonny has developed a serious problem with alcohol. Sears' cereal company is negotiating a highly profitable merger with another firm and brings Sonny to Las Vegas for a publicity stunt, in which Sonny, wearing a garish cowboy outfit complete with blinking lights, will ride on-stage at Caesar's Palace aboard prize-winning thoroughbred stallion Rising Star. When Sonny discovers Sears' men have drugged the horse so that it will be able to walk on an injured leg, he's appalled, and he rides Rising Star off the stage at Caesar's and into the Nevada desert, looking for grazing land where he and the horse can heal their wounds. Sears is shocked to discover that Sonny has run off with a 12 million dollars, and he realizes that Sonny knows enough to make his firm look very bad in the press, potentially scotching the merger. Sears files charges against Sonny and posts a reward for Rising Star's safe return, though he implies that it wouldn't bother him if Sonny died in the rescue attempt. Hallie Martin (Jane Fonda), a television journalist covering Sonny's Vegas appearance, is convinced that something is fishy and manages to catch up with him in the desert; as Hallie tries to get Sonny to tell her his story, the has-been cowboy and the city-girl reporter fall in love. The Electric Horseman also stars Valerie Perrine and Willie Nelson; the country & western star made his screen debut in this film and has a very memorable line about tequila and trailer hitches. ~ Mark Deming, Rovi

Cajun quarter-horse trainer Lloyd Bourdelle (Walter Matthau) struggles to eke out a decent living for himself and his three sons Buddy, Randy and Casey (Andrew A. Rubin, Stephen Burns and Michael Hershewe). Their prize horse is thoroughbred foal Casey's Shadow, named after the youngest son (Hershewe). The question is whether or not Lloyd, a life-long loser, can take advantage of the opportunity for bettering his lot afforded by Casey's Shadow. Alexis Smith co-stars as Sarah Blue, a wealthy woman who becomes Matthau's strongest ally when she offers to buy the horse rather than allow the vindictive Mike Marsh (Robert Webber) to destroy it. ~ Hal Erickson, Rovi

Spoofing the entire 1940s detective genre, and his own performances as a bumbling private detective, Peter Falk plays Lou Pekinpaugh, a San Francisco private detective accused of murdering his partner at the instigation of his mistress, the partner's wife, Georgia Merkle (Marsha Mason). Police Lieutenant DiMaggio (Vic Tayback) has his eye on Lou and blunders around in a way which complicates Lou's efforts to clear his name. Lou gets a new client when Mrs. Montenegro (Madeline Kahn) and her cronies (John Housman, Paul Williams and Dom DeLuise) hire him to search out a dozen diamond eggs. Marlene DuChard (Louise Fletcher) also comes to him for help of a complicated nature. In this madcap comedy written by Neil Simon, obstacles and complications appear every few minutes, and a great many famous actors show up in hilarious cameos. ~ Clarke Fountain, Rovi

Though the story told in Robin and Marian is unfamiliar to most audiences, it is actually quite faithful to several of the ancient Robin Hood legends. During the Crusades, Robin (Sean Connery) is still loyal to King Richard the Lionheart (Richard Harris), but even he has trouble adjusting to the monarch's ever-increasing paranoia and lunacy. After Richard's death, Robin returns to England, his first visit to his home turf in 20 years. He looks up his beloved Maid Marian (Audrey Hepburn, last seen in 1967's Wait Until Dark), who is now a middle-aged nun. No sooner do Robin and Marian renew their relationship than the aging Merry Men demand Robin's services in thwarting their old foe, the Sheriff of Nottingham (Robert Shaw). Marian is aghast that the long-standing feud between Robin and the sheriff threatens to expand into wholesale bloodshed. The two venerable enemies agree to one last mano a mano battle -- only to watch helplessly as the all-out war they'd tried to avoid commences anyway. Both the tragic climax and Robin's last, defiant arrow shot are drawn directly from authentic Robin Hood ballads of the 14th and 15th centuries. ~ Hal Erickson, Rovi

In this 1975 adaptation of Neil Simon's stage play, director Herbert Ross presents the story of two old-time Vaudvillians played by Walter Matthau and George Burns in his first starring role since 1939's Honolulu. After decades apart, the cantankerous duo is persuaded to reunite for a television special despite the fact that they hate each other. Richard Benjamin co-stars as Matthau's nephew, who has the responsibility of making sure the comedians go through with the show and don't kill each other in the process. Nominated for four Academy Awards, Burns took home the statue for Best Supporting Actor. ~ Matthew Tobey, Rovi

"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, Rovi

The Owl and the Pussycat began life as a two-character Broadway play by Bill Manhoff, about a stuffy author who entered into an explosive relationship with his neighbor, a foulmouthed, freewheeling prostitute. Manhoff wrote the part of the hooker for a black actress, but all that changed when Barbra Streisand was cast in the role for the film version. George Segal portrays the male lead, and the play's two-character austerity was expanded to a cast of 19 speaking parts. Beyond the added characters (including Robert Klein as Segal's swinging roommate), the heart and soul of the film is the Segal-Streisand relationship; he is utterly appalled by her lifestyle, she is turned off by his prudishness, and both are made for each other. The Owl and the Pussycat was adapted for the screen by Buck Henry, who shows up in a cameo role in one of the bookstore scenes. The film represented the last work of cinematographer Harry Stradling, who'd previously photographed Streisand in Funny Girl; Stradling died during production, and was replaced by Ernest Laszlo. ~ Hal Erickson, Rovi