Sam Westwood's Hollywood
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Horror Show (Columbia Pictures, August 1977)
Horror Show (Columbia Pictures, August 1977)
Two short horror stories from George A. Romero and Douglas Trumbull.
The familiar Columbia Torch Lady appears as we cut into:
"Previews of Coming Attractions"
The Groom: A fictitious black and white 1950s horror film trailer involving a man killed on his wedding day (Harris Walker listed in the trailer under the alias "Harvey Walker") coming back from the dead six months later to marry his fiancee (Shelley Hack under the alias "Sandra Hackett"). Sequence directed by Arthur Ericson.
Cut to Snack Bar: A parody of 1950s concession ads. Animation by Ralph Bakshi.
A title comes up saying "Welcome to tonight's HORROR SHOW" (Copyright MCMLXXVII Columbia Pictures Industries, Inc. All Rights Reserved)
Cut to "Feature Presentation"
Story One: Mary Washington
Directed by Douglas Trumbull
Screenplay by Arthur Ericson
Cast
Kimberly Beck as Mary Washington
Mark Hamill as Tim/ Frank
Anissa Jones as Alice
Marc McClure as Stan
Lois Nettleton as Mrs Washington
Roger Perry as Mr Washington
Dick Van Patten as Grown-up Jack, Tim's father. Also revealed to be Frank's brother.
Vincent Van Patten as Young Jack.
Cut to: Also Playing at this Theatre
And The Rains Came: Fake disaster film trailer about a major flood in Chicago. The trailer is a parody of disaster movies but contains some top-notch special effects by Trumbull who also directed this two-minute sequence starring Keir Dullea as a heroic fireman, Dean Stockwell as the Mayor, Lois Nettleton (in her second segment) as his wife, Anissa Jones as their daughter, and Patrick Wayne as the chief of police.
Cut to: Our Second Feature Presentation
Story Two: Sometimes They Come Back
Directed by George A. Romero
Written by Stephen King (Based on King's 1974 short story of the same name, later published in the 1978 collection Night Shift)
Cast
Sam Westwood as Jim Norman
Linda Gillen as Sally Norman
Tim Matheson as Donald Nell
Mike Lookinland as Wayne Norman
Michael Keaton as Vincent "Vinnie" Corey
Scott Reiniger as Robert Lawson
John Amplas as David Garcia
Adam Rich as Jim Norman (age 9)
Plot.
Cut to: Thank You for attending tonight's Horror Show.
*Cue credits*
Notes for Horror Show (1977)
Columbia agreed to distribute the film as Romero, whose first three films (Night Of The Living Dead (1968), Getting Straight (1970), and Jack's Wife (1972) were either distributed or produced by Columbia Pictures owed the studio one more film. [1]
Sam Westwood filmed his scenes in three weeks. Since the credits aren't shown until the end of the film, he is only billed in the end credits. Westwood also said that he was instructed not to mention the film until after the trailer came out.
The "glass" in the Mary Washington segment was fiberglass. This was done to prevent any possible on-set injuries.
Trumbull read through scripts by several writers eventually settling on one by Canadian Arthur Ericson. Ericson had two feature film credits, both starring Harris Walker: 1975's horror film Secret Of The Damned and 1977's False Start, a drama that had opened a month previously in art house cinemas. Ericson also directed one of the teaser trailers shown in the film. He believes that this was contributed to his being hired to helm the James Bond spinoff Mary Goodnight.
Horror Show met with mixed reviews but did decent box office. In later years it was re-evaluated and cited as an influence by directors such as Tarantino. Trumbull's Mary Washington sequence is also cited as a starting point for the teen horror movie craze.
Mark Hamill was cast based on his performance as Tommy Ross in Carrie (1976) [2]
The three actors cast as greasers were all from the Pittsburgh area. Of the three, Keaton would become the biggest star.
The film did well enough that Columbia considered a sequel of three more stories by the same directors.
Linda Gillen was cast as Wendy Torrance in The Shining based on her performance in Romero's segment.
[1] I have a very partially written spin-off about this. Dead is picked up by Columbia rather than falling into the public domain. Romero does two more films for the studio. After that, his films are more or less as IOTL with some slight differences.
[2] Carrie is otherwise the same as IOTL, just Hamill replacing William Katt.
Two short horror stories from George A. Romero and Douglas Trumbull.
The familiar Columbia Torch Lady appears as we cut into:
"Previews of Coming Attractions"
The Groom: A fictitious black and white 1950s horror film trailer involving a man killed on his wedding day (Harris Walker listed in the trailer under the alias "Harvey Walker") coming back from the dead six months later to marry his fiancee (Shelley Hack under the alias "Sandra Hackett"). Sequence directed by Arthur Ericson.
Cut to Snack Bar: A parody of 1950s concession ads. Animation by Ralph Bakshi.
A title comes up saying "Welcome to tonight's HORROR SHOW" (Copyright MCMLXXVII Columbia Pictures Industries, Inc. All Rights Reserved)
Cut to "Feature Presentation"
Story One: Mary Washington
Directed by Douglas Trumbull
Screenplay by Arthur Ericson
Cast
Kimberly Beck as Mary Washington
Mark Hamill as Tim/ Frank
Anissa Jones as Alice
Marc McClure as Stan
Lois Nettleton as Mrs Washington
Roger Perry as Mr Washington
Dick Van Patten as Grown-up Jack, Tim's father. Also revealed to be Frank's brother.
Vincent Van Patten as Young Jack.
1947
Mary Washington (Beck) is a very beautiful popular girl with lots of potential suitors. Shy Frank (Hamill) gets the courage to ask her out. To his shock, Mary agrees to go out with him and they become serious. Both families are tight-knit, Frank in particular being close to his brother Jack (Vincent Van Patten). Mary's parents, however, tend to be protective of their daughter, behaving rather coldly towards Frank.
Eventually, the pair decide to marry after graduation much to Mary's parents' dismay. Unfortunately, after driving home from the movies one night, Frank accidentally crashes his car into a tree, dying on impact and injuring Mary, severely disfiguring her.
When Mary's bandages come off in the hospital, people are horrified by her appearance. Mary becomes reclusive and hardly leaves her room. One morning, Mary's horrified parents find her hanging in her room.
1977
Mary has become something of a myth in her hometown. People who were alive when the incident happened refuse to talk about it. Younger people have something of a morbid curiosity about the girl. There is a game called Mary Washington that is said to summon Mary by yelling her name three times into a mirror. Supposedly there have been murders and even disappearances as a result of this "game". The local teenagers dismiss anyone who believes the legend is crazy.
Tim (Hamill), who happens to have a strong resemblance to his late Uncle Frank, who a now grown-up Jack (Dick Van Patten) refuses to talk about, and a group of his friends decide to have a party while Jack is away for the weekend. The party is rather uneventful and eventually, only two other people remain; Tim's girlfriend Alice (Jones) and his best friend Stan (McClure).
The trio decides to go into the bathroom to play a game of "Mary Washington". After yelling "Mary Washington" into the mirror three times, nothing happens. Tim tells Stan and Alice that it's nothing but a bunch of nonsense.
Just as Tim turns around, the sink starts to run, blood pouring out. Mary Washington, as she looked before her death, bursts out of the bathroom mirror, causing the glass to shatter. Mary notices Tim, who looks exactly like her beloved Frank. Tim begins screaming in terror as he is dragged into the mirror while a horrified Stan and Alice watch. The segment ends as the glass flawlessly falls back into place on the mirror.
End.
Mary Washington (Beck) is a very beautiful popular girl with lots of potential suitors. Shy Frank (Hamill) gets the courage to ask her out. To his shock, Mary agrees to go out with him and they become serious. Both families are tight-knit, Frank in particular being close to his brother Jack (Vincent Van Patten). Mary's parents, however, tend to be protective of their daughter, behaving rather coldly towards Frank.
Eventually, the pair decide to marry after graduation much to Mary's parents' dismay. Unfortunately, after driving home from the movies one night, Frank accidentally crashes his car into a tree, dying on impact and injuring Mary, severely disfiguring her.
When Mary's bandages come off in the hospital, people are horrified by her appearance. Mary becomes reclusive and hardly leaves her room. One morning, Mary's horrified parents find her hanging in her room.
1977
Mary has become something of a myth in her hometown. People who were alive when the incident happened refuse to talk about it. Younger people have something of a morbid curiosity about the girl. There is a game called Mary Washington that is said to summon Mary by yelling her name three times into a mirror. Supposedly there have been murders and even disappearances as a result of this "game". The local teenagers dismiss anyone who believes the legend is crazy.
Tim (Hamill), who happens to have a strong resemblance to his late Uncle Frank, who a now grown-up Jack (Dick Van Patten) refuses to talk about, and a group of his friends decide to have a party while Jack is away for the weekend. The party is rather uneventful and eventually, only two other people remain; Tim's girlfriend Alice (Jones) and his best friend Stan (McClure).
The trio decides to go into the bathroom to play a game of "Mary Washington". After yelling "Mary Washington" into the mirror three times, nothing happens. Tim tells Stan and Alice that it's nothing but a bunch of nonsense.
Just as Tim turns around, the sink starts to run, blood pouring out. Mary Washington, as she looked before her death, bursts out of the bathroom mirror, causing the glass to shatter. Mary notices Tim, who looks exactly like her beloved Frank. Tim begins screaming in terror as he is dragged into the mirror while a horrified Stan and Alice watch. The segment ends as the glass flawlessly falls back into place on the mirror.
End.
Cut to: Also Playing at this Theatre
And The Rains Came: Fake disaster film trailer about a major flood in Chicago. The trailer is a parody of disaster movies but contains some top-notch special effects by Trumbull who also directed this two-minute sequence starring Keir Dullea as a heroic fireman, Dean Stockwell as the Mayor, Lois Nettleton (in her second segment) as his wife, Anissa Jones as their daughter, and Patrick Wayne as the chief of police.
Cut to: Our Second Feature Presentation
Story Two: Sometimes They Come Back
Directed by George A. Romero
Written by Stephen King (Based on King's 1974 short story of the same name, later published in the 1978 collection Night Shift)
Cast
Sam Westwood as Jim Norman
Linda Gillen as Sally Norman
Tim Matheson as Donald Nell
Mike Lookinland as Wayne Norman
Michael Keaton as Vincent "Vinnie" Corey
Scott Reiniger as Robert Lawson
John Amplas as David Garcia
Adam Rich as Jim Norman (age 9)
Plot.
Cut to: Thank You for attending tonight's Horror Show.
*Cue credits*
Notes for Horror Show (1977)
Columbia agreed to distribute the film as Romero, whose first three films (Night Of The Living Dead (1968), Getting Straight (1970), and Jack's Wife (1972) were either distributed or produced by Columbia Pictures owed the studio one more film. [1]
Sam Westwood filmed his scenes in three weeks. Since the credits aren't shown until the end of the film, he is only billed in the end credits. Westwood also said that he was instructed not to mention the film until after the trailer came out.
The "glass" in the Mary Washington segment was fiberglass. This was done to prevent any possible on-set injuries.
Trumbull read through scripts by several writers eventually settling on one by Canadian Arthur Ericson. Ericson had two feature film credits, both starring Harris Walker: 1975's horror film Secret Of The Damned and 1977's False Start, a drama that had opened a month previously in art house cinemas. Ericson also directed one of the teaser trailers shown in the film. He believes that this was contributed to his being hired to helm the James Bond spinoff Mary Goodnight.
Horror Show met with mixed reviews but did decent box office. In later years it was re-evaluated and cited as an influence by directors such as Tarantino. Trumbull's Mary Washington sequence is also cited as a starting point for the teen horror movie craze.
Mark Hamill was cast based on his performance as Tommy Ross in Carrie (1976) [2]
The three actors cast as greasers were all from the Pittsburgh area. Of the three, Keaton would become the biggest star.
The film did well enough that Columbia considered a sequel of three more stories by the same directors.
Linda Gillen was cast as Wendy Torrance in The Shining based on her performance in Romero's segment.
[1] I have a very partially written spin-off about this. Dead is picked up by Columbia rather than falling into the public domain. Romero does two more films for the studio. After that, his films are more or less as IOTL with some slight differences.
[2] Carrie is otherwise the same as IOTL, just Hamill replacing William Katt.
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I honestly never have anything to say about this timeline but I really do enjoy it.
Profile Magazine Presents Patricia Kellerman's Coffee With The Stars: Sam Westwood
From Profile Magazine's first issue, Week of September 5th, 1977. Sam Westwood is the first cover.
Patricia Kellerman's Coffee With The Stars
This Month: Sam Westwood
Sam Westwood recently garnered his second Academy Award nomination for The Reincarnation of Peter Proud. He recently surprised moviegoers by showing up unannounced in the innovative anthology film Horror Show. Profile writer Patricia Kellerman sat down with the actor to discuss Sam's career and his upcoming film projects.
"I prefer no cream or sugar in my coffee" Sam Westwood tells me. The actor, well-known for a string of successful movies over the past decade as well as two Oscar Nominations is no stranger to rumors about his personal life.
"Usually I hate discussing my life, I try to keep it as private as one can in Hollywood, which, let's face it--that's nearly impossible," Sam tells me over coffee at an L.A. diner he likes to frequent.
The actor is his usual dashing self, but more casual in a grey t-shirt and blue jeans with aviator shades covering his face.
When I ask him about Horror Show he grins.
"I was told not to promote the film until after it was released"
Sam can explain from here:
"Well, to cut a long story short, it's an anthology film. The producers didn't want it to be the new Sam Westwood movie. People who saw the trailer knew so it wasn't a total secret. I liked being able to surprise a few fans, though. And I was excited to work on a script by Stephen King"
Work is something Sam is typically eager to discuss. I'd heard about a film he'd shot in Japan and asked him.
"It's a monster movie, a Godzilla-type thing. I play this roving reporter. Actually, I'm going to Japan soon to promote it, but I'm not sure when it's getting released over here". [1]
"I just shot a movie called 'Interlocked'. It's a crime drama. And then 'Trial' is scheduled to come out in the Fall. First Artists wanted to put that out for awards season. I play a real jerk in that one".
Sam tells me that the Sal Mineo-directed film casts him as an abusive husband opposite Carol Lynley.
It's a long way from his beginnings at Disney playing the smaller role of a surfer who woos Hayley Mills in That Darn Cat opposite Dick Van Dyke and Roddy McDowell, or a loan out to AIP for 1966's Fireball 500 opposite Annette, Frankie, and Fabian.
"I played a small role in that, this kid named Joey who died in a racing accident. That was one of the first decent reviews I got and it's technically a beach picture. We all have to start someplace".
I mentioned to Sam that part of what makes him interesting is his ability to play different roles. He's still as fresh as he was ten years ago. Sam explains that he learned what he knows from hanging around film sets and watching the actors work.
"And if you can't be afraid to ask for help if you are starting out in this business. Sometimes actors and directors provide unsolicited advice, but the majority are just genuinely helpful"
Sam tells me more about Interlocked while picking away at a carrot muffin.
"Well, it's from a script by Shaun K. Davis and the Nobels are producing. I play a homicide detective. It should be out sometime next year. I am also scheduled to shoot a film called 'The Driver' which if the script is any indication might be an amazing movie".
Because Sam has a keen interest in films, I asked him if directing is something he would like to pursue in the future.
"If the right script came along, yes!"
It's like when I just did TV. I'd have to find a good script" Sam adds, referring to the positive reviews for his performance as Ol' George Johnson in the widely seen television miniseries Roots earlier this year.
"I was still tied up in Japan until a few days before it aired. I had to rush back for awards season. So, I missed the first episode. But, I feel like LeVar Burton has a great career ahead of him. He is a very talented young actor"
I mentioned to Sam that he hasn't done a lot of TV. He reminds me, that in fact, he has done a fair share.
"I did do some TV for Disney during 1965-1966, and I have done a couple of variety shows and 'Saturday Night Live'. And of course the talk shows. There is a bit of a stigma about doing an actual TV series still like your career is over as soon as you get a series. TV movies like Roots are a little different because they are seen as prestigious".
Sam looks at me and then laughs
"God, that makes me sound pretentious!"
I asked Sam if he would ever do a series. He tells me that while he was thrilled to be a part of something like Roots, right now he's happy in films.
"Maybe in a few years when everything dries up I'll do guest shots or something"
By the looks of things, Sam will be around to prove himself for plenty more years.
[1] The previously mentioned Mothra movie.
Patricia Kellerman's Coffee With The Stars
This Month: Sam Westwood
Sam Westwood recently garnered his second Academy Award nomination for The Reincarnation of Peter Proud. He recently surprised moviegoers by showing up unannounced in the innovative anthology film Horror Show. Profile writer Patricia Kellerman sat down with the actor to discuss Sam's career and his upcoming film projects.
"I prefer no cream or sugar in my coffee" Sam Westwood tells me. The actor, well-known for a string of successful movies over the past decade as well as two Oscar Nominations is no stranger to rumors about his personal life.
"Usually I hate discussing my life, I try to keep it as private as one can in Hollywood, which, let's face it--that's nearly impossible," Sam tells me over coffee at an L.A. diner he likes to frequent.
The actor is his usual dashing self, but more casual in a grey t-shirt and blue jeans with aviator shades covering his face.
When I ask him about Horror Show he grins.
"I was told not to promote the film until after it was released"
Sam can explain from here:
"Well, to cut a long story short, it's an anthology film. The producers didn't want it to be the new Sam Westwood movie. People who saw the trailer knew so it wasn't a total secret. I liked being able to surprise a few fans, though. And I was excited to work on a script by Stephen King"
Work is something Sam is typically eager to discuss. I'd heard about a film he'd shot in Japan and asked him.
"It's a monster movie, a Godzilla-type thing. I play this roving reporter. Actually, I'm going to Japan soon to promote it, but I'm not sure when it's getting released over here". [1]
"I just shot a movie called 'Interlocked'. It's a crime drama. And then 'Trial' is scheduled to come out in the Fall. First Artists wanted to put that out for awards season. I play a real jerk in that one".
Sam tells me that the Sal Mineo-directed film casts him as an abusive husband opposite Carol Lynley.
It's a long way from his beginnings at Disney playing the smaller role of a surfer who woos Hayley Mills in That Darn Cat opposite Dick Van Dyke and Roddy McDowell, or a loan out to AIP for 1966's Fireball 500 opposite Annette, Frankie, and Fabian.
"I played a small role in that, this kid named Joey who died in a racing accident. That was one of the first decent reviews I got and it's technically a beach picture. We all have to start someplace".
I mentioned to Sam that part of what makes him interesting is his ability to play different roles. He's still as fresh as he was ten years ago. Sam explains that he learned what he knows from hanging around film sets and watching the actors work.
"And if you can't be afraid to ask for help if you are starting out in this business. Sometimes actors and directors provide unsolicited advice, but the majority are just genuinely helpful"
Sam tells me more about Interlocked while picking away at a carrot muffin.
"Well, it's from a script by Shaun K. Davis and the Nobels are producing. I play a homicide detective. It should be out sometime next year. I am also scheduled to shoot a film called 'The Driver' which if the script is any indication might be an amazing movie".
Because Sam has a keen interest in films, I asked him if directing is something he would like to pursue in the future.
"If the right script came along, yes!"
It's like when I just did TV. I'd have to find a good script" Sam adds, referring to the positive reviews for his performance as Ol' George Johnson in the widely seen television miniseries Roots earlier this year.
"I was still tied up in Japan until a few days before it aired. I had to rush back for awards season. So, I missed the first episode. But, I feel like LeVar Burton has a great career ahead of him. He is a very talented young actor"
I mentioned to Sam that he hasn't done a lot of TV. He reminds me, that in fact, he has done a fair share.
"I did do some TV for Disney during 1965-1966, and I have done a couple of variety shows and 'Saturday Night Live'. And of course the talk shows. There is a bit of a stigma about doing an actual TV series still like your career is over as soon as you get a series. TV movies like Roots are a little different because they are seen as prestigious".
Sam looks at me and then laughs
"God, that makes me sound pretentious!"
I asked Sam if he would ever do a series. He tells me that while he was thrilled to be a part of something like Roots, right now he's happy in films.
"Maybe in a few years when everything dries up I'll do guest shots or something"
By the looks of things, Sam will be around to prove himself for plenty more years.
[1] The previously mentioned Mothra movie.
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Saturday Night Fever (Paramount, December 14th, 1977)
Saturday Night Fever (Paramount, December 14th, 1977)
A Robert Stigwood Organization Production
Directed by John Badham
Screenplay by Norman Wexler (Based on Tribal Rights of the New Saturday Night by Nik Cohn)
Music by Barry, Robin and Maurice Gibb with additional music by David Shire
Cast
John Travolta as Anthony "Tony" Manero
Annette O'Toole as Stephanie Mangano
Barry Miller as Bobby C.
David Caruso as Joey [1]
Paul Pape as Double J.
Donna Pescow as Annette
Bruce Ornstein as Gus
Val Bisoglio as Frank Manero, Sr.
Julie Bovasso as Flo Manero
Martin Shakar as Father Frank Manero, Jr.
Lisa Peluso as Linda Manero
Sam Coppola as Dan Fusco
Denny Dillon as Doreen
Robert Weil as Becker
Fran Drescher as Connie
Notes from IMDB
John Avildsen, who had directed Rocky, was replaced by John Badham.
Many actresses were considered for the role of Stephanie including Amy Irving, a then-unknown Jessica Lange, and Marilu Henner. All My Children star Karen Lynn Gorney initially landed the part. However, during readings and test shoots, Badham and Stigwood agreed that Gorney wasn't working out. After producers let her go, the actress briefly considered a lawsuit but landed another soap opera role soon after and let the matter slide.
Stigwood and Badham were in a mad rush to recast the role of Stephanie. Irving and Henner were no longer available. Fran Drescher, who played Connie, was briefly considered to take over the female lead. After Kathleen Quinlan was also considered, actress Annette O'Toole (Smile, One On One) was finally cast.
Denny Dillon was later one of a very small handful of cast members kept after Saturday Night Live's doomed 1980-1981 season.
While the film was deemed a success, grossing $20 million against a $3.5 million budget and spawning a mini genre of disco films, the soundtrack album would be a much larger success.
Soundtrack album tracklisting
1) "Stayin' Alive"- The Bee Gees
2) "How Deep Is Your Love"- The Bee Gees
3) "Night Fever"- The Bee Gees
4) "Warm Ride"- Rare Earth [2]
5) "If I Can't Have You"- Yvonne Elliman
6) "A Fifth of Beethoven"- Walter Murphy (Based on Beethoven's Fifth Symphony)
7) "More Than a Woman"- Tavares
8) "Manhattan Skyline"- David Shire
9) "Calypso Breakdown"- Ralph MacDonald
10) "Night on Disco Mountain"- David Shire
11) "Open Sesame"- Kool & the Gang
12) "Emotion"- Samantha Sang
13) "You Should Be Dancing"- The Bee Gees
14) "Boogie Shoes"- KC and the Sunshine Band
15) "Salsation"- David Shire
16) "The Zip"- MFSB
17) "Disco Inferno" - The Trammps
[1] Supposedly he auditioned for this role IOTL.
[2] Used in the dance rehearsal scene rather than David Shire's stock music to replace "Lowdown" by Boz Scaggs.
A Robert Stigwood Organization Production
Directed by John Badham
Screenplay by Norman Wexler (Based on Tribal Rights of the New Saturday Night by Nik Cohn)
Music by Barry, Robin and Maurice Gibb with additional music by David Shire
Cast
John Travolta as Anthony "Tony" Manero
Annette O'Toole as Stephanie Mangano
Barry Miller as Bobby C.
David Caruso as Joey [1]
Paul Pape as Double J.
Donna Pescow as Annette
Bruce Ornstein as Gus
Val Bisoglio as Frank Manero, Sr.
Julie Bovasso as Flo Manero
Martin Shakar as Father Frank Manero, Jr.
Lisa Peluso as Linda Manero
Sam Coppola as Dan Fusco
Denny Dillon as Doreen
Robert Weil as Becker
Fran Drescher as Connie
Notes from IMDB
John Avildsen, who had directed Rocky, was replaced by John Badham.
Many actresses were considered for the role of Stephanie including Amy Irving, a then-unknown Jessica Lange, and Marilu Henner. All My Children star Karen Lynn Gorney initially landed the part. However, during readings and test shoots, Badham and Stigwood agreed that Gorney wasn't working out. After producers let her go, the actress briefly considered a lawsuit but landed another soap opera role soon after and let the matter slide.
Stigwood and Badham were in a mad rush to recast the role of Stephanie. Irving and Henner were no longer available. Fran Drescher, who played Connie, was briefly considered to take over the female lead. After Kathleen Quinlan was also considered, actress Annette O'Toole (Smile, One On One) was finally cast.
Denny Dillon was later one of a very small handful of cast members kept after Saturday Night Live's doomed 1980-1981 season.
While the film was deemed a success, grossing $20 million against a $3.5 million budget and spawning a mini genre of disco films, the soundtrack album would be a much larger success.
Soundtrack album tracklisting
1) "Stayin' Alive"- The Bee Gees
2) "How Deep Is Your Love"- The Bee Gees
3) "Night Fever"- The Bee Gees
4) "Warm Ride"- Rare Earth [2]
5) "If I Can't Have You"- Yvonne Elliman
6) "A Fifth of Beethoven"- Walter Murphy (Based on Beethoven's Fifth Symphony)
7) "More Than a Woman"- Tavares
8) "Manhattan Skyline"- David Shire
9) "Calypso Breakdown"- Ralph MacDonald
10) "Night on Disco Mountain"- David Shire
11) "Open Sesame"- Kool & the Gang
12) "Emotion"- Samantha Sang
13) "You Should Be Dancing"- The Bee Gees
14) "Boogie Shoes"- KC and the Sunshine Band
15) "Salsation"- David Shire
16) "The Zip"- MFSB
17) "Disco Inferno" - The Trammps
[1] Supposedly he auditioned for this role IOTL.
[2] Used in the dance rehearsal scene rather than David Shire's stock music to replace "Lowdown" by Boz Scaggs.
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The Spy Who Loved Me (United Artists, July 1977)
Reached the end of 1977 and forgot about:
The Spy Who Loved Me (United Artists, July, 1977)
An Albert R. Broccoli Production
Directed by Lewis Gilbert
Screenplay by Christopher Wood and Richard Maibaum (Based on James Bond by Ian Fleming)
Music by Marvin Hamlisch. "Nobody Does It Better" performed by Carly Simon
Cast (Top Billed Only)
Ian Ogilvy as James Bond 007
Barbara Bach as Anya Amasova, Soviet KGB agent XXX
James Mason as Karl Stromberg
Richard Kiel as Jaws
Caroline Munro as Naomi
*The plot is the same as IOTL. If you haven't seen the film, a recap is here.*
Notes From IMDB
After the lackluster reception of the previous entry, 1974's The Man With The Golden Gun, it was uncertain whether or not Roger Moore would return after his original three-film contract was up. After a series of legal problems with former co-producer Harry Saltzman that delayed production, the film finally started shooting in the summer of 1976 with Ian Ogilvy as 007.
Ian Ogilvy was cast based on his resemblance at the time to Roger Moore. Because Ogilvy had only moderate success at best and not wanting a negative fan reaction, as with Julian Glover years earlier, Broccoli was worried about the actor not being able to carry the film. Attempts were made to cast a name actress opposite Ogilvy as had been done with Natalie Wood supporting Roger Moore in Diamonds Are Forever (1971). However, four days before principal photography was to begin, the film still did not have a principal Bond Girl. Eventually, Barbara Bach was cast. Bach at that point was mostly known for a string of Italian films.
Broccoli had better luck securing an actor to play the antagonist. Originally, the character of Stromberg was deemed too much like Blofeld who had been killed off several films previously. After extensive rewrites, James Mason was cast in the role. [1]
The end credits simply state "James Bond Will Return..." but not in which movie. Although there was speculation this was about the uncertainty of Ogilvy in the role, Broccoli later confirmed that EoN simply didn't know at the time which title would be the follow-up.
The success of this film convinced Broccoli to keep Ogilvy as Bond. His five film stint would make him the longest-lasting actor in the role up until that point, surpassing Sean Connery's four.
[1] The only real change to the film ITTL is James Mason playing the part diferently than Curd Jurgens did IOTL.
The Spy Who Loved Me (United Artists, July, 1977)
An Albert R. Broccoli Production
Directed by Lewis Gilbert
Screenplay by Christopher Wood and Richard Maibaum (Based on James Bond by Ian Fleming)
Music by Marvin Hamlisch. "Nobody Does It Better" performed by Carly Simon
Cast (Top Billed Only)
Ian Ogilvy as James Bond 007
Barbara Bach as Anya Amasova, Soviet KGB agent XXX
James Mason as Karl Stromberg
Richard Kiel as Jaws
Caroline Munro as Naomi
*The plot is the same as IOTL. If you haven't seen the film, a recap is here.*
Notes From IMDB
After the lackluster reception of the previous entry, 1974's The Man With The Golden Gun, it was uncertain whether or not Roger Moore would return after his original three-film contract was up. After a series of legal problems with former co-producer Harry Saltzman that delayed production, the film finally started shooting in the summer of 1976 with Ian Ogilvy as 007.
Ian Ogilvy was cast based on his resemblance at the time to Roger Moore. Because Ogilvy had only moderate success at best and not wanting a negative fan reaction, as with Julian Glover years earlier, Broccoli was worried about the actor not being able to carry the film. Attempts were made to cast a name actress opposite Ogilvy as had been done with Natalie Wood supporting Roger Moore in Diamonds Are Forever (1971). However, four days before principal photography was to begin, the film still did not have a principal Bond Girl. Eventually, Barbara Bach was cast. Bach at that point was mostly known for a string of Italian films.
Broccoli had better luck securing an actor to play the antagonist. Originally, the character of Stromberg was deemed too much like Blofeld who had been killed off several films previously. After extensive rewrites, James Mason was cast in the role. [1]
The end credits simply state "James Bond Will Return..." but not in which movie. Although there was speculation this was about the uncertainty of Ogilvy in the role, Broccoli later confirmed that EoN simply didn't know at the time which title would be the follow-up.
The success of this film convinced Broccoli to keep Ogilvy as Bond. His five film stint would make him the longest-lasting actor in the role up until that point, surpassing Sean Connery's four.
[1] The only real change to the film ITTL is James Mason playing the part diferently than Curd Jurgens did IOTL.
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Sam's thoughts on the 1977 film Trial
From Sam Westwood's Hollywood:
The footage is in Sam's other home, his Los Angeles apartment, and appears to have been shot before the Arizona trip.
Interviewer: Did you still feel like there were people you wanted to prove wrong?
Sam: About my acting? Oh yeah. Like I said, some people thumbed their noses up at me because of how I'd been discovered or because of my appearance. Or assumed I'd been on the casting couch.
I know the casting couch is real--
Harris: I've already told my story about it.
Interviewer is muffled
Harris: Sam's story is rare. I didn't fight back when it happened to me because I wasn't very old and didn't want to wind up back on the street.
Sam: Yeah. I somehow managed to not be exposed to a lot of shit everyone else was. My story is incredibly rare and when people call it inspiring I correct them.
I: Why?
Sam: Because it's not how things usually work and I don't want some kid getting hurt thinking they're gonna be discovered.
'Trial' had a bit of a history before I wound up in it.
Paul was producing it for First Artists alongside Ian and Cat. He chose Brian DePalma initially. De Palma wanted a John Cazzale or a Harvey Keitel type. Paul thought Harvey might be too New York and he wasn't available anyway. DePalma walked away to do...I think it was 'Carrie'. Paul thought of directing it himself or hiring Robert Redford but Redford was busy.
Interviewer: What was Peter Lupus like to work with?
Sam: I think people expected me to be sour grapes because he replaced me on 'Inferno'. The only time I was sour grapes about being let go was 'Dune' and I had no issue with Sarrazin. Nor did I with Peter. I did the shoot and that was that.
Anyway, Sal Mineo wound up directing when Paul got tied up, so he handed it off to Sal. Sal liked looking at Peter--
Harris: I thought Sal was into young twinks. And Bobby Sherman. [1]
Sam: Well, he liked Pete--
Sam: Anyway, Sal kept him and told me to give him a chance which made me realize people thought I was still angry over the 'Inferno' situation. And I realize going in that Peter Lupus is prepared to work with this guy he thinks hates him. I wasn't even thinking about that going in, I was more nervous about working with Carol Lynley.
Anyway, once that was cleared up and I reminded Peter that I was the actor he rescued me from Joey Heatherton's unwanted advances at The Daisy we were fine.
Interviewer: Were you comfortable playing such a dark role in 'Trial'?
Sam: I felt that it was a story that needed to be told from the perspective of Carol's character who finally snaps. There were people close to me who weren't comfortable with me doing it. Which I understood. I was nervous about working with Carol because--this is someone who I respected for their acting ability and here I am playing an aggressor.
Harris: It was horrifying to see you play someone who was physically abusive. I had survived physical and sexual abuse myself growing up and seeing the man I loved and trusted playing this...monster triggered me.
Sam: It hit too close to home for Harris, he was going through therapy at the time--
Harris: Look, I'm not going to tell Sam what he can or can't do. But like I said--that movie was unwatchable for me.
Sam: I sort of had a thing where if I thought my folks might be upset by me in certain roles, I'd warn them. They'd raised me to be a gentleman. Trial was a movie they didn't want to see, it perplexed them that I would want to play a role like that. My mother asked me why I didn't do more comedies.
*****************************************************************************************************************************************************************
Paul Newman, People, 1977: "Shannon Gibbs was a 'script girl' on some films Joanne and I did. I'd offered the film to a few directors and nobody clicked. Sal was about the fourth person I had asked".
"People were gathering around debating the ambiguous ending. I have little doubt that she got off with self-defense"
-Shannon Gibbs, when asked about the ending to Trial at a Q&A session, 2008
"Trial is as hard to watch as it is to look away from..."
-Roger Ebert, 1977
"I had sold about ten TV scripts by 1975 or so. I had written another film script for First Artists with Joanne Woodward in mind when Paul Newman--he had a private screening room--showed me both Rashomon and The Outrage and told me he'd like a script for something like that..."
-Shannon Gibbs, Profile Magazine, 1977
Sal Mineo attended the premiere with his ex Jill Haworth, who he insisted have a small role in the film. Haworth's career had nosedived by late 1975 when pre-production began and Mineo had promised the actress a film project once he could get one going at First Artists.
The film ran into some snags during production. Early in the shoot, Mineo was stabbed in a routine mugging. Actor Don Johnson, a longtime friend of Mineo's, happened to be with Mineo and helped get the actor-director medical help. Mineo cast Johnson in a small part that appeared in the opening scene once production resumed.
Filming on Trial was completed by Mid-1976. However, First Artists saw potential in the project and decided to prolong release to garner Academy Award attention. By this point, the film had been on the shelf for a year and a half.
[1] Supposedly on both accounts.
The footage is in Sam's other home, his Los Angeles apartment, and appears to have been shot before the Arizona trip.
Interviewer: Did you still feel like there were people you wanted to prove wrong?
Sam: About my acting? Oh yeah. Like I said, some people thumbed their noses up at me because of how I'd been discovered or because of my appearance. Or assumed I'd been on the casting couch.
I know the casting couch is real--
Harris: I've already told my story about it.
Interviewer is muffled
Harris: Sam's story is rare. I didn't fight back when it happened to me because I wasn't very old and didn't want to wind up back on the street.
Sam: Yeah. I somehow managed to not be exposed to a lot of shit everyone else was. My story is incredibly rare and when people call it inspiring I correct them.
I: Why?
Sam: Because it's not how things usually work and I don't want some kid getting hurt thinking they're gonna be discovered.
'Trial' had a bit of a history before I wound up in it.
Paul was producing it for First Artists alongside Ian and Cat. He chose Brian DePalma initially. De Palma wanted a John Cazzale or a Harvey Keitel type. Paul thought Harvey might be too New York and he wasn't available anyway. DePalma walked away to do...I think it was 'Carrie'. Paul thought of directing it himself or hiring Robert Redford but Redford was busy.
Interviewer: What was Peter Lupus like to work with?
Sam: I think people expected me to be sour grapes because he replaced me on 'Inferno'. The only time I was sour grapes about being let go was 'Dune' and I had no issue with Sarrazin. Nor did I with Peter. I did the shoot and that was that.
Anyway, Sal Mineo wound up directing when Paul got tied up, so he handed it off to Sal. Sal liked looking at Peter--
Harris: I thought Sal was into young twinks. And Bobby Sherman. [1]
Sam: Well, he liked Pete--
Sam: Anyway, Sal kept him and told me to give him a chance which made me realize people thought I was still angry over the 'Inferno' situation. And I realize going in that Peter Lupus is prepared to work with this guy he thinks hates him. I wasn't even thinking about that going in, I was more nervous about working with Carol Lynley.
Anyway, once that was cleared up and I reminded Peter that I was the actor he rescued me from Joey Heatherton's unwanted advances at The Daisy we were fine.
Interviewer: Were you comfortable playing such a dark role in 'Trial'?
Sam: I felt that it was a story that needed to be told from the perspective of Carol's character who finally snaps. There were people close to me who weren't comfortable with me doing it. Which I understood. I was nervous about working with Carol because--this is someone who I respected for their acting ability and here I am playing an aggressor.
Harris: It was horrifying to see you play someone who was physically abusive. I had survived physical and sexual abuse myself growing up and seeing the man I loved and trusted playing this...monster triggered me.
Sam: It hit too close to home for Harris, he was going through therapy at the time--
Harris: Look, I'm not going to tell Sam what he can or can't do. But like I said--that movie was unwatchable for me.
Sam: I sort of had a thing where if I thought my folks might be upset by me in certain roles, I'd warn them. They'd raised me to be a gentleman. Trial was a movie they didn't want to see, it perplexed them that I would want to play a role like that. My mother asked me why I didn't do more comedies.
*****************************************************************************************************************************************************************
Paul Newman, People, 1977: "Shannon Gibbs was a 'script girl' on some films Joanne and I did. I'd offered the film to a few directors and nobody clicked. Sal was about the fourth person I had asked".
"People were gathering around debating the ambiguous ending. I have little doubt that she got off with self-defense"
-Shannon Gibbs, when asked about the ending to Trial at a Q&A session, 2008
"Trial is as hard to watch as it is to look away from..."
-Roger Ebert, 1977
"I had sold about ten TV scripts by 1975 or so. I had written another film script for First Artists with Joanne Woodward in mind when Paul Newman--he had a private screening room--showed me both Rashomon and The Outrage and told me he'd like a script for something like that..."
-Shannon Gibbs, Profile Magazine, 1977
Sal Mineo attended the premiere with his ex Jill Haworth, who he insisted have a small role in the film. Haworth's career had nosedived by late 1975 when pre-production began and Mineo had promised the actress a film project once he could get one going at First Artists.
The film ran into some snags during production. Early in the shoot, Mineo was stabbed in a routine mugging. Actor Don Johnson, a longtime friend of Mineo's, happened to be with Mineo and helped get the actor-director medical help. Mineo cast Johnson in a small part that appeared in the opening scene once production resumed.
Filming on Trial was completed by Mid-1976. However, First Artists saw potential in the project and decided to prolong release to garner Academy Award attention. By this point, the film had been on the shelf for a year and a half.
[1] Supposedly on both accounts.
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50th Academy Awards, a list of winners and nominees (Main categories only)
50th Academy Awards, a list of winners and nominees (Main categories only)
Best Picture
The Goodbye Girl
Annie Hall
Julia
Close Encounters Of The Third Kind
The Turning Point
Best Director
The Goodbye Girl- Herbert Ross
Steven Spielberg – Close Encounters of the Third Kind
Woody Allen – Annie Hall
Fred Zinnemann – Julia
Herbert Ross – The Turning Point
Best Actor
Richard Dreyfuss – The Goodbye Girl as Elliot Garfield
Woody Allen – Annie Hall as Alvy "Max" Singer
John Travolta – Saturday Night Fever as Anthony "Tony" Manero
Marcello Mastroianni – A Special Day as Gabriele
Richard Burton- Equus as Doctor Martin Dysart
Best Actress
Audrey Hepburn- The Turning Point as Emma Jacklin [1]
Marsha Mason- The Goodbye Girl as Paula McFadden
Carol Lynley- Trial as Cynthia Wakefield
Jean Seberg– Julia as Lillian Hellman
Shirley MacLaine– The Turning Point as DeeDee Rodgers
Best Supporting Actor
Jason Robards – Julia as Dashiell Hammett
Roger Moore- A Bridge Too Far as Brian Horrocks
Mikhail Baryshnikov – The Turning Point as Yuri Kopeikine
Richard Gere- Looking For Mr. Goodbar as Tony
Alec Guinness – Star Wars as Obi-Wan Kenobi
Best Supporting Actress
Quinn Cummings – The Goodbye Girl as Lucy McFadden [2]
Vanessa Redgrave- Julia as Julia
Tuesday Weld – Looking for Mr. Goodbar as Katherine Dunn
Donna Pescow- Saturday Night Fever as Annette
Melinda Dillon – Close Encounters of the Third Kind as Jillian Guiler
Best Screenplay Written Directly for the Screen
The Goodbye Girl – Neil Simon
Annie Hall – Woody Allen and Marshall Brickman
The Late Show – Robert Benton
Trial- Shannon Gibbs
The Turning Point – Arthur Laurents
Best Screenplay Based on Material from Another Medium
Julia – Alvin Sargent based on the novel Pentimento by Lillian Hellman
A Little Night Music- Hugh Wheeler based on the Broadway play of the same name by Wheeler and Smiles Of A Summer Night by Ingmar Bergman
I Never Promised You a Rose Garden – Gavin Lambert and Lewis John Carlino based on the novel by Hannah Greene
Oh, God! – Larry Gelbart based on the novel by Avery Corman
That Obscure Object of Desire – Luis Buñuel and Jean-Claude Carrière based on the novel La Femme et le Pantin by Pierre Louÿs
Best Original Score
Close Encounters of the Third Kind – John Williams
The Spy Who Loved Me – Marvin Hamlisch
Julia – Georges Delerue
Star Wars- John Williams
Mohammad, Messenger of God – Maurice Jarre
Best Original Song Score or Adaptation Score
A Little Night Music – Jonathan Tunick
Pete's Dragon – Songs: Al Kasha and Joel Hirschhorn; Adaptation: Irwin Kostal
The Slipper and the Rose: The Story of Cinderella – Songs: Richard M. Sherman and Robert B. Sherman; Adaptation: Angela Morley
Best Original Song
"The Goodbye Girl" from The Goodbye Girl- Music and Lyrics by David Gates
"Candle on the Water" from Pete's Dragon – Music and Lyrics by Al Kasha and Joel Hirschhorn
"Nobody Does It Better" from The Spy Who Loved Me – Music by Marvin Hamlisch; Lyrics by Carole Bayer Sager
"Down Deep Inside" from The Deep- Music and Lyrics by John Barry and Donna Summer
"You Light Up My Life" from You Light Up My Life – Music and Lyrics by Joseph Brooks [3]
[1] Her follow-up film to Robin and Marian ITTL.
[2] Tatum O'Neal lost for Paper Moon ITTL, making Cummings the youngest Best Supporting Actress winner.
[3] 'You Light Up My Life' by Debby Boone was the highest new Hot 100 entry the week of 9/3/1977 at #71. Unfortunately, in it's second and third weeks, 'You Light Up My Life' slipped to #78 and #86, respectively. After struggling at #88 the week of 9/24/1977, the record fell off the Hot 100 completely.
Best Picture
The Goodbye Girl
Annie Hall
Julia
Close Encounters Of The Third Kind
The Turning Point
Best Director
The Goodbye Girl- Herbert Ross
Steven Spielberg – Close Encounters of the Third Kind
Woody Allen – Annie Hall
Fred Zinnemann – Julia
Herbert Ross – The Turning Point
Best Actor
Richard Dreyfuss – The Goodbye Girl as Elliot Garfield
Woody Allen – Annie Hall as Alvy "Max" Singer
John Travolta – Saturday Night Fever as Anthony "Tony" Manero
Marcello Mastroianni – A Special Day as Gabriele
Richard Burton- Equus as Doctor Martin Dysart
Best Actress
Audrey Hepburn- The Turning Point as Emma Jacklin [1]
Marsha Mason- The Goodbye Girl as Paula McFadden
Carol Lynley- Trial as Cynthia Wakefield
Jean Seberg– Julia as Lillian Hellman
Shirley MacLaine– The Turning Point as DeeDee Rodgers
Best Supporting Actor
Jason Robards – Julia as Dashiell Hammett
Roger Moore- A Bridge Too Far as Brian Horrocks
Mikhail Baryshnikov – The Turning Point as Yuri Kopeikine
Richard Gere- Looking For Mr. Goodbar as Tony
Alec Guinness – Star Wars as Obi-Wan Kenobi
Best Supporting Actress
Quinn Cummings – The Goodbye Girl as Lucy McFadden [2]
Vanessa Redgrave- Julia as Julia
Tuesday Weld – Looking for Mr. Goodbar as Katherine Dunn
Donna Pescow- Saturday Night Fever as Annette
Melinda Dillon – Close Encounters of the Third Kind as Jillian Guiler
Best Screenplay Written Directly for the Screen
The Goodbye Girl – Neil Simon
Annie Hall – Woody Allen and Marshall Brickman
The Late Show – Robert Benton
Trial- Shannon Gibbs
The Turning Point – Arthur Laurents
Best Screenplay Based on Material from Another Medium
Julia – Alvin Sargent based on the novel Pentimento by Lillian Hellman
A Little Night Music- Hugh Wheeler based on the Broadway play of the same name by Wheeler and Smiles Of A Summer Night by Ingmar Bergman
I Never Promised You a Rose Garden – Gavin Lambert and Lewis John Carlino based on the novel by Hannah Greene
Oh, God! – Larry Gelbart based on the novel by Avery Corman
That Obscure Object of Desire – Luis Buñuel and Jean-Claude Carrière based on the novel La Femme et le Pantin by Pierre Louÿs
Best Original Score
Close Encounters of the Third Kind – John Williams
The Spy Who Loved Me – Marvin Hamlisch
Julia – Georges Delerue
Star Wars- John Williams
Mohammad, Messenger of God – Maurice Jarre
Best Original Song Score or Adaptation Score
A Little Night Music – Jonathan Tunick
Pete's Dragon – Songs: Al Kasha and Joel Hirschhorn; Adaptation: Irwin Kostal
The Slipper and the Rose: The Story of Cinderella – Songs: Richard M. Sherman and Robert B. Sherman; Adaptation: Angela Morley
Best Original Song
"The Goodbye Girl" from The Goodbye Girl- Music and Lyrics by David Gates
"Candle on the Water" from Pete's Dragon – Music and Lyrics by Al Kasha and Joel Hirschhorn
"Nobody Does It Better" from The Spy Who Loved Me – Music by Marvin Hamlisch; Lyrics by Carole Bayer Sager
"Down Deep Inside" from The Deep- Music and Lyrics by John Barry and Donna Summer
"You Light Up My Life" from You Light Up My Life – Music and Lyrics by Joseph Brooks [3]
[1] Her follow-up film to Robin and Marian ITTL.
[2] Tatum O'Neal lost for Paper Moon ITTL, making Cummings the youngest Best Supporting Actress winner.
[3] 'You Light Up My Life' by Debby Boone was the highest new Hot 100 entry the week of 9/3/1977 at #71. Unfortunately, in it's second and third weeks, 'You Light Up My Life' slipped to #78 and #86, respectively. After struggling at #88 the week of 9/24/1977, the record fell off the Hot 100 completely.
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Grease (Paramount, June 16th, 1978)
Grease (Paramount, June 16th, 1978)
Directed by Randall Kleiser
Produced by Robert Stigwood & Allan Carr
Screenplay by Bronte Woodard (Based on Grease by Jim Jacobs and Warren Casey)
Music by Michael Gibson
Cast
John Travolta as Danny Zuko
Olivia Newton-John as Sandra Dee "Sandy" Olsson
Carrie Fisher as Betty Rizzo
Jeff Conaway as Kenickie
Michael Keaton as Doody
Michael Tucci as Sonny La Tierri
Kelly Ward as Putzie
Didi Conn as Frenchie
Lorna Luft as Jan
Dinah Manoff as Marty Maraschino
Eve Arden as Principal Greta McGee
Dody Goodman as Vice Principal Blanche Hodel
Sid Caesar as Coach Calhoun
Eddie Deezen as Eugene Felsnick, the class nerd
Susan Buckner as Patty Simcox
Michael Biehn as Tom Chisum
Dennis C. Stewart as Leo "Craterface" Balmudo
Annette Charles as Charlene "Cha-Cha" DiGregorio
Joan Blondell as Vi
Ellen Travolta as Waitress
Frankie Avalon as Teen Angel
Edd Byrnes as Vince Fontaine, on-air personality at KZAZ radio and television
Sha-Na-Na as Johnny Casino and the Gamblers, a rock and roll band
Alice Ghostley as Mrs. Murdock, a rogue shop teacher who helps build Greased Lightnin' for the T-Birds
Darrell Zwerling as Mr. Lynch
Dick Patterson as Mr. Rudie
Fannie Flagg as Nurse Wilkins
Steven Ford as Mike, School athlete (Uncredited extra)
Notes
Nancy Kyes was considered for Rizzo. Other actresses considered were Lucie Arnaz and Stockard Channing. While Channing allegedly gave a good reading, it was determined that the actress at 33 was too old for the part. Eventually, Carrie Fisher, the daughter of Debbie Reynolds was cast. Fisher was mostly known for TV roles and small parts in films.
Linda Blair was considered for the role of Sandy. Director George Lucas showed Kleiser some dailies from Star Wars when there were problems trying to cast Sandy.
The song "Look At Me I'm Sandra Dee" references Sal Mineo. [1]
Carr talked Newton-John into taking the role of Sandy while at a party at the home of singer Helen Reddy. Newton-John had made several other films by this point but was unsure about taking the role due to fears that she might look too old playing a high school student. The singer asked for a screentest before she would accept the role. At one point, Newton-John tried to talk Carr into using her friend Karen Carpenter. Carpenter, who had no wish to start a film career, responded to Carr by recommending Newton-John.
Carr swapped Michael Biehn and Steven Ford's roles after Ford developed stage fright.
Michael Keaton was cast based on his performance as a ghostly greaser in 1977's Horror Show.
Carrie Fisher, Lorna Luft and Dinah Manoff all came from successful showbiz families. Steven Ford was the son of former President Gerald Ford.
Lorna Luft showed up at the LA premiere at the Chinese Theatre with her mother Judy Garland. The press made a high number of coverage about Garland's shocking appearance. Despite rumours about ill health, Garland continued to do TV and magazine interviews. Luft denied at the time that anything was wrong with her mother.
From Sam Westwood's Hollywood:
Sam: I was at the premiere in LA, not the New York one. So I didn't go to the Studio 54 party. Dick Clayton had decided to just manage Burt Reynolds and nobody else, so I signed up with someone at CAA.
The downside to being at CAA was that I wasn't able to get away with doing double dates with Harris--
Harris: Me living with Sam was a huge bone of contention.
Sam: People hated being my publicist. The publicist I had at that time went all out and had me going to the 'Grease' premiere with Cher. Cher had been friendly with Sal Mineo at one time so I knew of her--
The interviewer is muffled yet again
Sam: Oh yeah she is still fabulous. I never knew her well, but we crossed paths at parties and whatnot. At the time it was a weird pairing. Harris knew her sister Georgeanne--
Harris: Helen Benson managed Georgeanne for a while. I didn't know Cher.
Sam: Anyway, to answer your other question, nobody knew how sick Judy was and her family was downplaying it. But I saw her that night and it was devastating.
As for Allan Carr, you had to put up with that guy in really small doses--
Harris: Microscopic doses.
Sam: A month or two later, we went to this basement disco he had installed in his home--
Interviewer: Your publicist wasn't around for that?
The guys both laugh
Sam: No.
Anyway, Allan had this monstrosity of a house. In the basement was what he called The AC/DC disco and the Bella Darvi Lounge and upstairs he'd had this replica made of the bedroom from Grease. It was just really...campy.
Allan had a reputation for being bitchy. Ian told me later he was aware of Allan being like that, so he kept his distance. He said some stuff about myself and Harris within earshot.
Harris: He said that someone should probably lock the bar before I raid it and that I used to be homeless. I'm not sure how he'd found out about that. It was like being around a catty high school girl. Sam had to hold me back and he had us both go mingle with a couple of people we knew as if nothing had happened--
The funny thing is, I ran into him later when I was at something with Elizabeth Taylor and he majorly sucked up to me. I had to mentally count to ten.
"Oh, Harris! I just loved that movie you did, blah blah blah"
That was Allan Carr for you. Bruce Villanch knew him well and told me all sorts of anecdotes years later, but this is about Sam, not Allan Carr.
Sam: There were a lot of important people at his parties and I didn't want Harris being the guy who lost roles because he punched Allan Carr. So we got the Hell out.
It was one of the biggest movies of the year so people kissed his ass. After he had a few flops and burned more bridges, it humbled him.
Interviewer: You knew Randall Kleiser--
Sam: I had a role in a movie for him called 'It's My Party' later on. I didn't know we'd met years before until he mentioned it on set. He'd been an extra on 'Fireball 500' and I must have said hi to him or something when Frankie Avalon didn't. (chuckles)
[1] The original stage version mentioned him. For the movie, it was changed to Elvis. That scene was filmed on 8/16/1977. With Sal Mineo alive until the 80's ITTL, I'm assuming it wouldn't have been changed.
Directed by Randall Kleiser
Produced by Robert Stigwood & Allan Carr
Screenplay by Bronte Woodard (Based on Grease by Jim Jacobs and Warren Casey)
Music by Michael Gibson
Cast
John Travolta as Danny Zuko
Olivia Newton-John as Sandra Dee "Sandy" Olsson
Carrie Fisher as Betty Rizzo
Jeff Conaway as Kenickie
Michael Keaton as Doody
Michael Tucci as Sonny La Tierri
Kelly Ward as Putzie
Didi Conn as Frenchie
Lorna Luft as Jan
Dinah Manoff as Marty Maraschino
Eve Arden as Principal Greta McGee
Dody Goodman as Vice Principal Blanche Hodel
Sid Caesar as Coach Calhoun
Eddie Deezen as Eugene Felsnick, the class nerd
Susan Buckner as Patty Simcox
Michael Biehn as Tom Chisum
Dennis C. Stewart as Leo "Craterface" Balmudo
Annette Charles as Charlene "Cha-Cha" DiGregorio
Joan Blondell as Vi
Ellen Travolta as Waitress
Frankie Avalon as Teen Angel
Edd Byrnes as Vince Fontaine, on-air personality at KZAZ radio and television
Sha-Na-Na as Johnny Casino and the Gamblers, a rock and roll band
Alice Ghostley as Mrs. Murdock, a rogue shop teacher who helps build Greased Lightnin' for the T-Birds
Darrell Zwerling as Mr. Lynch
Dick Patterson as Mr. Rudie
Fannie Flagg as Nurse Wilkins
Steven Ford as Mike, School athlete (Uncredited extra)
Notes
Nancy Kyes was considered for Rizzo. Other actresses considered were Lucie Arnaz and Stockard Channing. While Channing allegedly gave a good reading, it was determined that the actress at 33 was too old for the part. Eventually, Carrie Fisher, the daughter of Debbie Reynolds was cast. Fisher was mostly known for TV roles and small parts in films.
Linda Blair was considered for the role of Sandy. Director George Lucas showed Kleiser some dailies from Star Wars when there were problems trying to cast Sandy.
The song "Look At Me I'm Sandra Dee" references Sal Mineo. [1]
Carr talked Newton-John into taking the role of Sandy while at a party at the home of singer Helen Reddy. Newton-John had made several other films by this point but was unsure about taking the role due to fears that she might look too old playing a high school student. The singer asked for a screentest before she would accept the role. At one point, Newton-John tried to talk Carr into using her friend Karen Carpenter. Carpenter, who had no wish to start a film career, responded to Carr by recommending Newton-John.
Carr swapped Michael Biehn and Steven Ford's roles after Ford developed stage fright.
Michael Keaton was cast based on his performance as a ghostly greaser in 1977's Horror Show.
Carrie Fisher, Lorna Luft and Dinah Manoff all came from successful showbiz families. Steven Ford was the son of former President Gerald Ford.
Lorna Luft showed up at the LA premiere at the Chinese Theatre with her mother Judy Garland. The press made a high number of coverage about Garland's shocking appearance. Despite rumours about ill health, Garland continued to do TV and magazine interviews. Luft denied at the time that anything was wrong with her mother.
From Sam Westwood's Hollywood:
Sam: I was at the premiere in LA, not the New York one. So I didn't go to the Studio 54 party. Dick Clayton had decided to just manage Burt Reynolds and nobody else, so I signed up with someone at CAA.
The downside to being at CAA was that I wasn't able to get away with doing double dates with Harris--
Harris: Me living with Sam was a huge bone of contention.
Sam: People hated being my publicist. The publicist I had at that time went all out and had me going to the 'Grease' premiere with Cher. Cher had been friendly with Sal Mineo at one time so I knew of her--
The interviewer is muffled yet again
Sam: Oh yeah she is still fabulous. I never knew her well, but we crossed paths at parties and whatnot. At the time it was a weird pairing. Harris knew her sister Georgeanne--
Harris: Helen Benson managed Georgeanne for a while. I didn't know Cher.
Sam: Anyway, to answer your other question, nobody knew how sick Judy was and her family was downplaying it. But I saw her that night and it was devastating.
As for Allan Carr, you had to put up with that guy in really small doses--
Harris: Microscopic doses.
Sam: A month or two later, we went to this basement disco he had installed in his home--
Interviewer: Your publicist wasn't around for that?
The guys both laugh
Sam: No.
Anyway, Allan had this monstrosity of a house. In the basement was what he called The AC/DC disco and the Bella Darvi Lounge and upstairs he'd had this replica made of the bedroom from Grease. It was just really...campy.
Allan had a reputation for being bitchy. Ian told me later he was aware of Allan being like that, so he kept his distance. He said some stuff about myself and Harris within earshot.
Harris: He said that someone should probably lock the bar before I raid it and that I used to be homeless. I'm not sure how he'd found out about that. It was like being around a catty high school girl. Sam had to hold me back and he had us both go mingle with a couple of people we knew as if nothing had happened--
The funny thing is, I ran into him later when I was at something with Elizabeth Taylor and he majorly sucked up to me. I had to mentally count to ten.
"Oh, Harris! I just loved that movie you did, blah blah blah"
That was Allan Carr for you. Bruce Villanch knew him well and told me all sorts of anecdotes years later, but this is about Sam, not Allan Carr.
Sam: There were a lot of important people at his parties and I didn't want Harris being the guy who lost roles because he punched Allan Carr. So we got the Hell out.
It was one of the biggest movies of the year so people kissed his ass. After he had a few flops and burned more bridges, it humbled him.
Interviewer: You knew Randall Kleiser--
Sam: I had a role in a movie for him called 'It's My Party' later on. I didn't know we'd met years before until he mentioned it on set. He'd been an extra on 'Fireball 500' and I must have said hi to him or something when Frankie Avalon didn't. (chuckles)
[1] The original stage version mentioned him. For the movie, it was changed to Elvis. That scene was filmed on 8/16/1977. With Sal Mineo alive until the 80's ITTL, I'm assuming it wouldn't have been changed.
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Although, because people are picking up on this thread (which makes me happy btw) here is a brief synopsis I came up with from a thread when I was nominated for a Turtledove ages ago.
The year: 1965
An unknown young man named Sam Westwood is plucked from obscurity and becomes a major star. During the last half of the 1960s, all through the '70s, and into the dawn of the '80s, Sam's star shines brightly.
It all comes to a screeching halt when Sam is outed as gay not long after starring in a Paul Newman-directed adaptation of Patricia Nell Warren's The Front Runner.
Sam Westwood's Hollywood is also peppered with subplots. For example:
-What happens when Alfred Hitchcock insists on casting Sharon Tate for his dream project, an adaptation of J.M. Barrie's Mary Rose?
-What happens when a proposed Elizabeth Taylor film project entitled Reflections In A Golden Eye falls through at Warner Brothers and a quickie comedy starring a popular British singer/actress and faltering actor Jeffrey Hunter as her leading man is made instead?
-Or what happens when the up-and-coming daughter of a legendary actor is smeared instead of Jean Seberg? Or a promising Hollywood "It Girl" is found dead? Was the famous crooner she recently divorced involved?
The year: 1965
An unknown young man named Sam Westwood is plucked from obscurity and becomes a major star. During the last half of the 1960s, all through the '70s, and into the dawn of the '80s, Sam's star shines brightly.
It all comes to a screeching halt when Sam is outed as gay not long after starring in a Paul Newman-directed adaptation of Patricia Nell Warren's The Front Runner.
Sam Westwood's Hollywood is also peppered with subplots. For example:
-What happens when Alfred Hitchcock insists on casting Sharon Tate for his dream project, an adaptation of J.M. Barrie's Mary Rose?
-What happens when a proposed Elizabeth Taylor film project entitled Reflections In A Golden Eye falls through at Warner Brothers and a quickie comedy starring a popular British singer/actress and faltering actor Jeffrey Hunter as her leading man is made instead?
-Or what happens when the up-and-coming daughter of a legendary actor is smeared instead of Jean Seberg? Or a promising Hollywood "It Girl" is found dead? Was the famous crooner she recently divorced involved?
The Films of Carol Lynley: 1973-1977
(A spin-off from this post).
The Films of Carol Lynley: 1973-1977
The Man Who Loved Cat Dancing (6/1973) [1]
Chinatown (7/1974)
Race With The Devil (6/1975)
Hearts Of The West (10/1975)
The Four Deuces (1/1976)
Family Plot (4/1976)
Two-Minute Warning (11/1976)
Orca (7/1977)
Trial (11/1977)
From Forgotten Films, Volume 2: The New Hollywood Era by Nolan Hendricks (2001)
Follow Me! led to Lynley getting cast opposite Burt Reynolds in The Man Who Loved Cat Dancing. While the film was successful, reviews were mixed. Burt Reynolds himself was quoted as saying "It's not as good as the book". Lynley later went on record as not being happy with the final product due to script changes made before shooting.
Next up was Chinatown, the Jack Nicholson helmed classic which won Lynley a surprise win for Best Actress. Lynley next appeared in a trio of films to mixed results.
First, Lynley returned to familiar territory by appearing in the Peter Fonda-Warren Oates occult horror Race With The Devil, another success. [2]
Looking for a change of pace, she next appeared in two 1930s period pieces, both of which underperformed at the box office. The first, Hearts Of The West which had Lynley appearing opposite Jeff Bridges, Andy Griffith, and Alan Arkin, was a critically acclaimed remake of the 1932 film Make Me A Star. The second was the critical and box-office flop The Four Deuces (Early 1976) opposite Jack Palance. Family Plot (1976), Alfred Hitchcock's final film, pulled Lynley's career back up and brought her back into a contemporary setting rather than the 1930s of her previous two films.
Before Family Plot was released, Lynley had signed up to star in the film Trial. The film, Sal Mineo's debut as a director, had Lynley portray a victim of spousal abuse who retaliates and murders her husband (Sam Westwood). The film had a delay in production when Mineo was stabbed in a routine mugging. The film was shelved for a year and a half before finally being released, at which point Lynley had made and appeared in two more films. Two-Minute Warning was an all-star action thriller film with toes firmly dipped in the disaster sub-genre. The Charlton Heston headlined film concerned a sniper at the Superbowl, called Championship X in the film, presumably to avoid a lawsuit. [3]
Wanting to distance herself from typecasting, Lynley turned down a further occult/supernatural horror role with Audrey Rose instead opting to appear in the Jaws rip-off Orca opposite Richard Harris and an early appearance from Bo Derek. The production was tumultuous, with Harris drinking heavily after seeing a photo of his current wife, B-Movie actress Ann Turkel, on a beach with a younger man. Producer Luciano Vincenzoni reportedly had to stop the actor from leaving the set and flying to Malibu to kill them. Harris finally relented, but only after a brawl in which Vincenzoni wound up with a black eye. Harris also insisted on performing his own stunts in the film and was nearly killed more than once. [4]
While the film was a critical punching bag, it did do decent box office.
Upon release, Trial generated a great deal of Oscar buzz for Lynley. It's debated that she would have likely won had Audrey Hepburn not decided on The Turning Point as her follow-up to 1976's Robin and Marian. Whatever the truth is, the race was tight that year. Lynley's other competition was impressive: Hepburn's Turning Point co-lead Shirley MacLaine, Jean Seberg (Julia), and Marsha Mason (The Goodbye Girl). Aside from Lynley and Mason who had been working regularly, MacLaine, Hepburn and Seberg had largely been away for a few years before their nominations. Hepburn had the aforementioned Robin And Marian, but Seberg's only films following the massive success of The Exorcist had been 1975's End Of The Game opposite Exorcist co-star Jason Miller, which didn't see release in North America until May, 1976 and the German Ibsen adaptation The Wild Duck (1976, released in North America 1977). In any case, whether it be tough competition or actresses out of the spotlight, Hepburn walked away that night as the second person, following Paul Newman, to win three Oscars. [5]
[1] This doesn't happen as a result of Sarah Miles not being cast in the film here. Lynley was considered IOTL.
[2] Loretta Swit's role.
[3] Pamela Bellwood's role as the wife of Beau Bridges character.
[4] Allegedly. I can't find much to back it up that doesn't require a paywall.
[5] See this post.
The Films of Carol Lynley: 1973-1977
The Man Who Loved Cat Dancing (6/1973) [1]
Chinatown (7/1974)
Race With The Devil (6/1975)
Hearts Of The West (10/1975)
The Four Deuces (1/1976)
Family Plot (4/1976)
Two-Minute Warning (11/1976)
Orca (7/1977)
Trial (11/1977)
From Forgotten Films, Volume 2: The New Hollywood Era by Nolan Hendricks (2001)
Follow Me! led to Lynley getting cast opposite Burt Reynolds in The Man Who Loved Cat Dancing. While the film was successful, reviews were mixed. Burt Reynolds himself was quoted as saying "It's not as good as the book". Lynley later went on record as not being happy with the final product due to script changes made before shooting.
Next up was Chinatown, the Jack Nicholson helmed classic which won Lynley a surprise win for Best Actress. Lynley next appeared in a trio of films to mixed results.
First, Lynley returned to familiar territory by appearing in the Peter Fonda-Warren Oates occult horror Race With The Devil, another success. [2]
Looking for a change of pace, she next appeared in two 1930s period pieces, both of which underperformed at the box office. The first, Hearts Of The West which had Lynley appearing opposite Jeff Bridges, Andy Griffith, and Alan Arkin, was a critically acclaimed remake of the 1932 film Make Me A Star. The second was the critical and box-office flop The Four Deuces (Early 1976) opposite Jack Palance. Family Plot (1976), Alfred Hitchcock's final film, pulled Lynley's career back up and brought her back into a contemporary setting rather than the 1930s of her previous two films.
Before Family Plot was released, Lynley had signed up to star in the film Trial. The film, Sal Mineo's debut as a director, had Lynley portray a victim of spousal abuse who retaliates and murders her husband (Sam Westwood). The film had a delay in production when Mineo was stabbed in a routine mugging. The film was shelved for a year and a half before finally being released, at which point Lynley had made and appeared in two more films. Two-Minute Warning was an all-star action thriller film with toes firmly dipped in the disaster sub-genre. The Charlton Heston headlined film concerned a sniper at the Superbowl, called Championship X in the film, presumably to avoid a lawsuit. [3]
Wanting to distance herself from typecasting, Lynley turned down a further occult/supernatural horror role with Audrey Rose instead opting to appear in the Jaws rip-off Orca opposite Richard Harris and an early appearance from Bo Derek. The production was tumultuous, with Harris drinking heavily after seeing a photo of his current wife, B-Movie actress Ann Turkel, on a beach with a younger man. Producer Luciano Vincenzoni reportedly had to stop the actor from leaving the set and flying to Malibu to kill them. Harris finally relented, but only after a brawl in which Vincenzoni wound up with a black eye. Harris also insisted on performing his own stunts in the film and was nearly killed more than once. [4]
While the film was a critical punching bag, it did do decent box office.
Upon release, Trial generated a great deal of Oscar buzz for Lynley. It's debated that she would have likely won had Audrey Hepburn not decided on The Turning Point as her follow-up to 1976's Robin and Marian. Whatever the truth is, the race was tight that year. Lynley's other competition was impressive: Hepburn's Turning Point co-lead Shirley MacLaine, Jean Seberg (Julia), and Marsha Mason (The Goodbye Girl). Aside from Lynley and Mason who had been working regularly, MacLaine, Hepburn and Seberg had largely been away for a few years before their nominations. Hepburn had the aforementioned Robin And Marian, but Seberg's only films following the massive success of The Exorcist had been 1975's End Of The Game opposite Exorcist co-star Jason Miller, which didn't see release in North America until May, 1976 and the German Ibsen adaptation The Wild Duck (1976, released in North America 1977). In any case, whether it be tough competition or actresses out of the spotlight, Hepburn walked away that night as the second person, following Paul Newman, to win three Oscars. [5]
[1] This doesn't happen as a result of Sarah Miles not being cast in the film here. Lynley was considered IOTL.
[2] Loretta Swit's role.
[3] Pamela Bellwood's role as the wife of Beau Bridges character.
[4] Allegedly. I can't find much to back it up that doesn't require a paywall.
[5] See this post.
The Films Of Jeffrey Hunter 1970-1977
The Films Of Jeffrey Hunter 1970-1977
The Bold Ones: The Protectors ("A Thing Not Of God") TV Episode 2/1/1970
Come Hell, Come Sundown (3/1970)
All That Glitters (11/1970)
Bracken's World ("Infinity") TV Episode (11/20/1970)
Night Gallery ("The Housekeeper") TV Episode (12/16/1970)
Red Sky At Morning (5/1971)
Desperate Characters (9/1971)
Traffic Jam (5/1972)
They Only Kill Their Masters (11/1972)
Ace Eli and Rodger of the Skies (4/1973)
Sagebrush Steele (11/1973)
Bad Luck (2/1974)
The Girl From Petrovka (8/1974)
The Towering Inferno (12/1974)
The Yakuza (3/1975)
Midway (6/1976) [1]
Scalpel (3/1977)
Rollercoaster (6/1977)
High Speed (10/1977)
Excerpts From Forgotten Films, Volume 2: The New Hollywood Era by Nolan Hendricks (2001)
(Hendricks is writing about Jeffrey Hunter's career following 1967's Don't Sleep In The Subway. We pick up right as Hendricks gets into the 1970's)
His next film was an unexpected change of pace when he appeared second billed as the antagonist in Edward O'Malleys second Nigel Turner film, the lavish All That Glitters opposite longtime friend Roger Moore. The film was another hit for Hunter and opened the door to him appearing in 1972's Traffic Jam.
Despite Come Hell Come Sundown and All That Glitters being hits, Hunter continued to appear on episodic television into 1970 with guest stints on The Protectors, Bracken's World, and Night Gallery.
He next popped up as the father of future Walton's star Richard Thomas' character in the acclaimed 1940's set drama film Red Sky At Night which also starred Catherine Burns, Desi Arnas Jr. and Claire Bloom. This was followed by another critically acclaimed role in Desperate Characters opposite Shirley MacLaine.
Later...
Following the success of Traffic Jam, Hunter next appeared in the mystery film They Only Kill Their Masters. The film, which revolved around a Doberman Pinscher being a suspect in a woman's murder was one Hunter generally disliked talking about. The film was mostly notable for being the last production shot on MGM's backlot and also featured several former stars from the studio's heyday including June Allyson and Peter Lawford.
Hunter's next film, Ace Eli and Rodger of the Skies was another film the actor felt let down by. Ace Eli boasted an early script by Steven Spielberg. The up-and-coming filmmaker had also hoped to direct the film, at which point Hunter signed up. Richard D. Zanuck, who was at the time president of 20th Century Fox, was against hiring Spielberg. Hunter planned to quit the picture in protest, but out of fear of a lawsuit with the studio he'd been under contract to in the 1950's stayed with the production.
Due to issues with the final edit of the film, Ace Eli met with mixed reviews. Most critics praised the aerial photography and Hunter's performance.
Hunter next signed a three-picture deal with Universal where he appeared in Sagebrush Steele, a low budget Western opposite James Brolin. He turned down Clint Eastwood's offer to star in his directorial effort Breezy, which the actor eventually starred in himself after William Holden fell through. For his second film, Hunter made a car chase film called Bad Luck which did decent box office. His third film for the studio eventually became The Girl From Petrovka, one of Goldie Hawn's less-remembered efforts. The film was panned as were Hawn and Hunter's performances. Critics also commented on the obvious age gap between the pair as well as their lack of chemistry. Hunter later regarded it as one of his worst movies. However, the actor did strike up an unlikely longtime friendship with his other costar, a young British actor named Anthony Hopkins. Hunter had little time to convalesce however, as his next film was a massive hit that changed his personal life as well--
And later...
Hunter was cast in Sydney Pollack's The Yakuza as a last-minute replacement for Robert Mitchum who had pulled out. The film boasted a screenplay by Paul Schrader and Robert Towne and was based on a story by Schrader's brother Leonard. Though a cult classic now after being championed by the likes of Quentin Tarantino, the film was a critical and box office disappointment upon it's March 1975 release. The Yakuza would also be Hunter's only film released that year.
More...
Following the enormous success of Midway, Hunter took a small break when his son with Wood, actor Nate Hunter was born. He reappeared in the cult classic Scalpel and the hit film Rollercoaster (both 1977). Scalpel had actually been shot at the end of 1975. There was a delay in release until it was finally picked up by Avco Embassy. [2]
Scalpel saw Hunter playing an antagonist role once again. This time a sociopathic Southern plastic surgeon named Dr. Phillip Reynolds has convinced everyone around him that his daughter Heather (future soap opera star Judith Chapman) has run away from home (the audience knows what really happened). His father-in-law dies and leaves nothing to him or his brother-in-law. $5 million dollars, however, is to go to Heather. That is if anyone can find her. While they are driving home one night, a badly beaten up exotic dancer whose face has been beaten to a pulp runs in front of the car. Reynolds rushes her to the hospital to perform surgery on her, only to come up with a devious scheme to make Jane Doe (Chapman in a double role) into the likeness of his daughter and pass her off as Heather. Of course, none of this goes according to plan and the entire film is a wild ride full of plot twists.
Although advertised as a horror film, Scalpel is more in the Southern Gothic vein with some heavy Hitchcokian elements thrown in. Some also compared it to Hunter's 1965 film Brainstorm. Scalpel had mixed reviews but did decent box office and much later became beloved as a cult classic.
Rollercoaster had Hunter in a protagonist role opposite Richard Widmark, Timothy Bottoms (giving Hunter a break from playing the psychopath), Harry Guardino, Susan Strasberg, Henry Fonda and 14th Street Records hitmakers The Hollywood Stars who had a cameo as themselves performing their at the time current hit "All The Kids On The Street" and album track/ B-Side "Make It To The Party" [3]
Hunter's next film, the forgettable car chase adventure High Speed, which saw Hunter as a cop on a high-speed car chase, would round out 1977. After several years in film with a few huge hits, some misfires, and a lot of interesting curiosities, Jeffrey Hunter considered moving back into television--
*******************************************************************************************************
BONUS: This movie was missing from the Timeline. May I present...
All That Glitters (20th Century Fox, November, 1970)
An Edward O'Malley Film
Music by Burt Bacharach "All That Glitters (Isn't Gold)" performed by Dionne Warwick [4]
Cast
Roger Moore as Nigel Turner, Private Detective
Jeffrey Hunter as Reginald Bartholomew, billionaire and main antagonist. Turner is solving a murder that happened at a gold and silver-themed fancy dress ball hosted by Bartholomew. Hence the title.
Diana Rigg as Rita, Turner's first established love interest in the series.
Terrence Stamp as Roger Grey, Turner's newly hired assistant [5]
Diana Dors as Enid, Nigel's now-Ex wife and mother to his son (who is off-screen in both films)
These films are known for all tying into each other. After the fancy dress sequence and main titles, the film cuts to Turner in a cab. Playing on the radio is Nina's version of "We Have All The Time In The World". Moore mentions her character, Ruby, to the cab driver.
As with the prior film, "All That Glitters..." was a critical and box office success.
[1] Robert Wagner's role
[2] IOTL, the film was released first as False Face. It had a wider release in 1979 by Avco as Scalpel. Here they pick the film up in the first place. Whatever version Avco releases ITTL is the one currently surfacing on streaming sites.
[3] 14th Street Records is a story for another day. The Hollywood Stars replaced Sparks who got a better deal IOTL by appearing in their dream project, Confusion, alongside Jaques Tati instead.
[4] It's a big ballad with slight psychedelic undertones. Step up from the previous film recruiting folk singer Nina (who is probably better as an actress from The Long Goodbye and American Gigolo)
[5] Moore had confided in O'Malley before filming that Eon might be interested in him for the next James Bond film. O'Malley decided to write a quick sidekick character and hired Stamp, who had some name recognition for the 1966 thriller The Collector. If Moore was unavailable for the next Turner film, O'Malley planned to make a standalone movie revolving around Grey. This never came to fruition.
The Bold Ones: The Protectors ("A Thing Not Of God") TV Episode 2/1/1970
Come Hell, Come Sundown (3/1970)
All That Glitters (11/1970)
Bracken's World ("Infinity") TV Episode (11/20/1970)
Night Gallery ("The Housekeeper") TV Episode (12/16/1970)
Red Sky At Morning (5/1971)
Desperate Characters (9/1971)
Traffic Jam (5/1972)
They Only Kill Their Masters (11/1972)
Ace Eli and Rodger of the Skies (4/1973)
Sagebrush Steele (11/1973)
Bad Luck (2/1974)
The Girl From Petrovka (8/1974)
The Towering Inferno (12/1974)
The Yakuza (3/1975)
Midway (6/1976) [1]
Scalpel (3/1977)
Rollercoaster (6/1977)
High Speed (10/1977)
Excerpts From Forgotten Films, Volume 2: The New Hollywood Era by Nolan Hendricks (2001)
(Hendricks is writing about Jeffrey Hunter's career following 1967's Don't Sleep In The Subway. We pick up right as Hendricks gets into the 1970's)
His next film was an unexpected change of pace when he appeared second billed as the antagonist in Edward O'Malleys second Nigel Turner film, the lavish All That Glitters opposite longtime friend Roger Moore. The film was another hit for Hunter and opened the door to him appearing in 1972's Traffic Jam.
Despite Come Hell Come Sundown and All That Glitters being hits, Hunter continued to appear on episodic television into 1970 with guest stints on The Protectors, Bracken's World, and Night Gallery.
He next popped up as the father of future Walton's star Richard Thomas' character in the acclaimed 1940's set drama film Red Sky At Night which also starred Catherine Burns, Desi Arnas Jr. and Claire Bloom. This was followed by another critically acclaimed role in Desperate Characters opposite Shirley MacLaine.
Later...
Following the success of Traffic Jam, Hunter next appeared in the mystery film They Only Kill Their Masters. The film, which revolved around a Doberman Pinscher being a suspect in a woman's murder was one Hunter generally disliked talking about. The film was mostly notable for being the last production shot on MGM's backlot and also featured several former stars from the studio's heyday including June Allyson and Peter Lawford.
Hunter's next film, Ace Eli and Rodger of the Skies was another film the actor felt let down by. Ace Eli boasted an early script by Steven Spielberg. The up-and-coming filmmaker had also hoped to direct the film, at which point Hunter signed up. Richard D. Zanuck, who was at the time president of 20th Century Fox, was against hiring Spielberg. Hunter planned to quit the picture in protest, but out of fear of a lawsuit with the studio he'd been under contract to in the 1950's stayed with the production.
Due to issues with the final edit of the film, Ace Eli met with mixed reviews. Most critics praised the aerial photography and Hunter's performance.
Hunter next signed a three-picture deal with Universal where he appeared in Sagebrush Steele, a low budget Western opposite James Brolin. He turned down Clint Eastwood's offer to star in his directorial effort Breezy, which the actor eventually starred in himself after William Holden fell through. For his second film, Hunter made a car chase film called Bad Luck which did decent box office. His third film for the studio eventually became The Girl From Petrovka, one of Goldie Hawn's less-remembered efforts. The film was panned as were Hawn and Hunter's performances. Critics also commented on the obvious age gap between the pair as well as their lack of chemistry. Hunter later regarded it as one of his worst movies. However, the actor did strike up an unlikely longtime friendship with his other costar, a young British actor named Anthony Hopkins. Hunter had little time to convalesce however, as his next film was a massive hit that changed his personal life as well--
And later...
Hunter was cast in Sydney Pollack's The Yakuza as a last-minute replacement for Robert Mitchum who had pulled out. The film boasted a screenplay by Paul Schrader and Robert Towne and was based on a story by Schrader's brother Leonard. Though a cult classic now after being championed by the likes of Quentin Tarantino, the film was a critical and box office disappointment upon it's March 1975 release. The Yakuza would also be Hunter's only film released that year.
More...
Following the enormous success of Midway, Hunter took a small break when his son with Wood, actor Nate Hunter was born. He reappeared in the cult classic Scalpel and the hit film Rollercoaster (both 1977). Scalpel had actually been shot at the end of 1975. There was a delay in release until it was finally picked up by Avco Embassy. [2]
Scalpel saw Hunter playing an antagonist role once again. This time a sociopathic Southern plastic surgeon named Dr. Phillip Reynolds has convinced everyone around him that his daughter Heather (future soap opera star Judith Chapman) has run away from home (the audience knows what really happened). His father-in-law dies and leaves nothing to him or his brother-in-law. $5 million dollars, however, is to go to Heather. That is if anyone can find her. While they are driving home one night, a badly beaten up exotic dancer whose face has been beaten to a pulp runs in front of the car. Reynolds rushes her to the hospital to perform surgery on her, only to come up with a devious scheme to make Jane Doe (Chapman in a double role) into the likeness of his daughter and pass her off as Heather. Of course, none of this goes according to plan and the entire film is a wild ride full of plot twists.
Although advertised as a horror film, Scalpel is more in the Southern Gothic vein with some heavy Hitchcokian elements thrown in. Some also compared it to Hunter's 1965 film Brainstorm. Scalpel had mixed reviews but did decent box office and much later became beloved as a cult classic.
Rollercoaster had Hunter in a protagonist role opposite Richard Widmark, Timothy Bottoms (giving Hunter a break from playing the psychopath), Harry Guardino, Susan Strasberg, Henry Fonda and 14th Street Records hitmakers The Hollywood Stars who had a cameo as themselves performing their at the time current hit "All The Kids On The Street" and album track/ B-Side "Make It To The Party" [3]
Hunter's next film, the forgettable car chase adventure High Speed, which saw Hunter as a cop on a high-speed car chase, would round out 1977. After several years in film with a few huge hits, some misfires, and a lot of interesting curiosities, Jeffrey Hunter considered moving back into television--
*******************************************************************************************************
BONUS: This movie was missing from the Timeline. May I present...
All That Glitters (20th Century Fox, November, 1970)
An Edward O'Malley Film
Music by Burt Bacharach "All That Glitters (Isn't Gold)" performed by Dionne Warwick [4]
Cast
Roger Moore as Nigel Turner, Private Detective
Jeffrey Hunter as Reginald Bartholomew, billionaire and main antagonist. Turner is solving a murder that happened at a gold and silver-themed fancy dress ball hosted by Bartholomew. Hence the title.
Diana Rigg as Rita, Turner's first established love interest in the series.
Terrence Stamp as Roger Grey, Turner's newly hired assistant [5]
Diana Dors as Enid, Nigel's now-Ex wife and mother to his son (who is off-screen in both films)
These films are known for all tying into each other. After the fancy dress sequence and main titles, the film cuts to Turner in a cab. Playing on the radio is Nina's version of "We Have All The Time In The World". Moore mentions her character, Ruby, to the cab driver.
As with the prior film, "All That Glitters..." was a critical and box office success.
[1] Robert Wagner's role
[2] IOTL, the film was released first as False Face. It had a wider release in 1979 by Avco as Scalpel. Here they pick the film up in the first place. Whatever version Avco releases ITTL is the one currently surfacing on streaming sites.
[3] 14th Street Records is a story for another day. The Hollywood Stars replaced Sparks who got a better deal IOTL by appearing in their dream project, Confusion, alongside Jaques Tati instead.
[4] It's a big ballad with slight psychedelic undertones. Step up from the previous film recruiting folk singer Nina (who is probably better as an actress from The Long Goodbye and American Gigolo)
[5] Moore had confided in O'Malley before filming that Eon might be interested in him for the next James Bond film. O'Malley decided to write a quick sidekick character and hired Stamp, who had some name recognition for the 1966 thriller The Collector. If Moore was unavailable for the next Turner film, O'Malley planned to make a standalone movie revolving around Grey. This never came to fruition.
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