Doctors' Wives


1h 42m 1971

Brief Synopsis

Dyan Cannon, Richard Crenna, Gene Hackman, Carroll O'Connor, Rachel Roberts, Janice Rule, Diana Sands, Cara Williams, Richard Anderson, Ralph Bellamy, John Colicos, Scott Brady. Frank G. Slaughter's best selling novel of infidelity in the hospital ward becomes an enjoyably lurid soap opera sparked by the performances of Cara Williams as an alcoholic, Janice Rule as a drug-addicted housewife, and Dyan Cannon as a sexually voracious maneater

Film Details

MPAA Rating
R
Genre
Drama
Medical
Release Date
Feb 1971
Premiere Information
New York opening: 3 Feb 1971
Production Company
Frankovich Productions, Inc.
Distribution Company
Columbia Pictures
Country
United States
Location
Costa Mesa, California, United States; La C osta, California, United States; La Costa, California, United States; La Jolla--La Costa Resort Hotel and Spa, California, United States; La Jolla--La Costa Resort Hotel and Spa, California, United States
Screenplay Information
Based on the novel Doctors' Wives by Frank G. Slaughter (Garden City, NY, 1967).

Technical Specs

Duration
1h 42m
Sound
Mono
Color
Color (Eastmancolor)

Synopsis

At a country club in Southern California, Lorrie Dellman, the sexually confident wife of surgeon Mort Dellman, plays cards with her friends Amy Brennan, Della Randolph, Maggie Gray and Elaine McGill, who all suspect their physician husbands of straying. Lorrie announces that she plans to sleep with each of their husbands, then promises to report back to the wives why they have been unable to satisfy their mates. Lorrie's plan goes awry, however, when Mort discovers her in bed with Paul McGill, the husband of Elaine, and in a fit of jealous rage, shoots Lorrie in the back and critically wounds Paul. When word of the shooting reaches Lorrie's friends, they all rush to the hospital, unsure of which of their husbands was Lorrie's unfortunate bedmate. After surgeon Pete Brennan performs open heart surgery on Paul to save his life, the women and their husbands begin to reflect on their disastrous marital situations: Amy, whose use of morphine to relieve her migraine headaches has caused her to withdraw from Pete, tries to rekindle her husband's affections but is too late, because he has turned for comfort to widowed, black nurse Helen Straughn. Della's husband, psychiatrist Dave Randolph, then confronts his wife about her frigidity, prompting her to confess that she had a lesbian relationship with the now-deceased Lorrie. Dr. Joe Gray, the estranged husband of the alcoholic Maggie, decides to visit Maggie to try to reconcile with her. Finding her floating face-down in the swimming pool following a suicide attempt, Joe rescues her, after which he fondly recalls the good times they shared. Shaken by her husband's shooting, Elaine breaks off her affair with young intern Mike Traynor, who then begins a romance with student nurse Sybil Carter, who has a penchant for surreptitiously taping recording her trysts. As the doctors and their wives gather for Lorrie's funeral, Helen interrupts the service to announce that her young son needs immediate brain surgery. Because Mort, who has been jailed for his wife's murder, is the only doctor capable of performing the delicate surgery, the district attorney agrees to release him under heavy police guard. Mort refuses to operate, however, unless Lorrie's wealthy father, Jake Porter, will secretly arrange for him to escape across the Mexican border. Porter consents, but after Mort successfully completes the surgery, alerts the police about Mort's planned escape. After Mort's attempted escape is thwarted, the doctors and their respective wives, sobered by the unsettling turn their lives have taken, begin to resolve their problems.

Cast

Dyan Cannon

Lorrie [Dellman]

Richard Crenna

[Dr.] Pete Brennan

Gene Hackman

Dave Randolph

Carroll O'connor

[Dr.] Joe Gray

Rachel Roberts

Della Randolph

Janice Rule

Amy Brennan

Diana Sands

Helen Straughn

Cara Williams

Maggie Gray

Richard Anderson

D. A. Douglas

Ralph Bellamy

Jake Porter

John Colicos

[Dr.] Mort Dellman

George Gaynes

Paul McGill

Marian Mccargo

Elaine McGill

Scott Brady

Sgt. Malloy

Kristina Holland

Sybil Carter

Anthony Costello

Mike Traynor

Mark Jenkins

Lew Saunders

Vincent Van Lynn

Barney Harris

Ernie Barnes

Dr. Penfield

Paul Marin

Dr. Deemster

William Bramley

Dr. Hagstrom

Jon Lormer

Elderly M.D.

Jack Snow

Orderly

Robert Stiles

Orderly

Barry Cahill

Attendant

Richard Winslow

Manuel, the bartender

Tony Clay

Jerry Straughn

Tony Decosta

Medical student

Christopher Shelton

Medical student

Philip Luther

Medical student

James Brewer

Intern

Gordon N. Olinger

Intern

Donn Owens

Pump technician

Gloria A. Carugati R.n.

Scrub nurse

Charles G. Garbaccio

Anesthetist

Casey D. Blitt M.d.

Anesthetist

Martha Wilkes

Cardiac nurse

Cathy Babich

X-ray technician

Daryl M. Reynolds

X-ray technician

Jean Alexander R.n.

Neurological nurse

Mary Adams

Admitting nurse

Jennifer Hays

Nurse

Maria Fabian

Nurse

Bob Golden

Policeman

Frank Matthias

Policeman

Bunny Summers

Chartroom nurse

Sally Mills

Golfer

Tracy Ashton

Receptionist

Leslie Summers

Page operator

Karen Wolfe

Pretty nurse

Sandy Balson

Secretary

Pete Morrow

Cardiologist

Robert Peter Henny M.d.

Conrad Buchmann

Lorrie's relative

Harper Carter

Lorrie's relative

Peggy Miller

Lorrie's relative

Dawne Arden

Lorrie's relative

Bru Mysak

Reporter

Brick Huston

Reporter

Tom Stewart

Reporter

Scott Peters

Radio newsman

Spencer H. Brown Jr., M.d.

Neurologist

Michael St. Angel

Doctor

George Denormand

Doctor

Duke Hobbie

Assistant. D.A. White

John Ragin

Minister

Linda Sutherland

Angry woman

Glenn Dixon

Usher

Crew

Dorothy Aldrin

Script Supervisor

Seth Banks

Wardrobe man

Alan Bergman

Composer

Marilyn Bergman

Composer

Elmer Bernstein

Composer

Elmer Bernstein

Music

Ralph Black

Unit Production Manager

Carl Boles

Gaffer

John Burrill

Best Boy

Larry Butler

Process Camera

Phil Calhoun

Props

Lowell L. Chambers

Set Dresser

J. T. Dean

Grip

Al Ducharme

Dolly grip

Ed Fischer

Unit Publicist

Max Frankel

Props Master

M. J. Frankovich

Producer

Mike Frankovich Jr.

Assistant Director

Peter Frankovich

Prod Associate

Les Fresholtz

Sound

Irving Goldfarb

Props

Dave Haber

Set Design

Gene Harris

Set Design

Dell Haydon

Wardrobe woman

Vern Jacobs

Driver capt

John Jeffries

Set Design

Art Jones

Craft services

Virginia Jones

Hair Styles

Shirley Kirby

Hairstylist

William Klug

Grip

Carl Kress

Film Editor

Paul Kretchmer

Sound Recording

Richard Kuhn

Title seq

Skip Lambert

Production Assistant

Charles B. Lang

Director of Photography

Bob Lawless

Standby painter

Sidney Z. Litwack

Assistant art Director

Adrienne Luraschi

Dial coach

Moss Mabry

Costume Design

Marvin March

Set Decoration

Mike Mekjian

Boom Operator

Clarence Milton

First aid

John Monte

Stills

Pete Morrow

Technical Advisor

John Newman

Sound Effects Editor

Dennis O'sullivan

Assistant Camera

William O'sullivan

Executive prod Manager

Philip L. Parslow

Assistant Director

Arthur Piantadosi

Sound

John M. Poer

Assistant Director

Frank Prehoda

Makeup

Don Schoenfeld

Makeup Artist

Chris Schwiebert

Camera Operator

Ted Sebern

Music film Editor

Paul H. Stewart

Special Effects

Daniel Taradash

Screenwriter

Edna Taylor

Wardrobe woman

Charles Termini

1st Assistant Camera

Ed Ware

Wardrobe man

Lyle R. Wheeler

Production Design

Luke Wolfram

Sound Effects Editor

Film Details

MPAA Rating
R
Genre
Drama
Medical
Release Date
Feb 1971
Premiere Information
New York opening: 3 Feb 1971
Production Company
Frankovich Productions, Inc.
Distribution Company
Columbia Pictures
Country
United States
Location
Costa Mesa, California, United States; La C osta, California, United States; La Costa, California, United States; La Jolla--La Costa Resort Hotel and Spa, California, United States; La Jolla--La Costa Resort Hotel and Spa, California, United States
Screenplay Information
Based on the novel Doctors' Wives by Frank G. Slaughter (Garden City, NY, 1967).

Technical Specs

Duration
1h 42m
Sound
Mono
Color
Color (Eastmancolor)

Articles

TCM Remembers - Carroll O'Connor


Carroll O'Connor - who died June 21st at the age of 76 - will be best remembered for portraying Archie Bunker on TV's All in the Family but his career actually was much more extensive. Born in New York on August 2nd, 1924, O'Connor served in the merchant marine during World War II before attending the University of Montana where he worked on the school newspaper. Before graduating, he followed his brother to another college in Ireland (he would later get a Masters in speech from Montana). It was in Ireland that O'Connor started acting in several local productions. He returned to the U.S. for his Broadway debut in 1958 and shortly after started to appear on numerous TV shows like The Untouchables and Naked City. His first film was Parrish (1961) though he eventually acted in over a dozen films during the Sixties including Cleopatra (1963), Marlowe (1969), Hawaii (1966) and Point Blank (1967). O'Connor even auditioned for the part of the Skipper in the TV series, Gilligan's Island, but it was his role as Archie Bunker in a 1971 sitcom that made him a star. All in the Family was an American version of the British sitcom Till Death Do Us Part that met some initial resistance (ABC rejected the first two pilots) but quickly captivated American audiences and became the country's top-rated TV show. Archie became such an icon that his chair is now preserved in the Smithsonian. The series lasted until 1979 and brought O'Connor four Emmys, even leading to a four-year spinoff Archie Bunker's Place starring O'Connor. (It also produced one of TV's oddest spinoffs in1994's 704 Hauser about a multi-racial family living in Archie Bunker's old house. It had no cast members from the earlier series and only lasted six episodes.) In 1988, O'Connor took the role of a Southern sheriff in a TV series based on the movie In the Heat of the Night and found himself in another hit, this one lasting until 1995. He also occasionally played Helen Hunt's father on Mad About You. By all accounts, O'Connor was nothing like Archie Bunker; in fact, O'Connor was an active anti-drug crusader, partly the result of his son's drug-related suicide.

By Lang Thompson

TCM REMEMBERS JACK LEMMON 1925-2001

Whether playing a cross-dressing jazz bassist or a bickering roommate, Lemmon has kept his fans in stitches for fifty years. But beneath that comedian's facade, the actor had a very serious side, which occasionally surfaced in such films as Days of Wine and Roses (1962) or Costa-Gavras' political thriller Missing (1982). Lemmon was truly a one-of-a-kind actor and his track record for acclaimed performances is truly remarkable: 8 Oscar nominations (he won Best Supporting Actor for Mister Roberts (1955) and Best Actor for Save the Tiger (1973), a Life Achievement Award from the American Film Institute, 8 British Academy Award nominations, 4 Emmy Award nominations, numerous Golden Globe nominations, a two-time Best Actor winner at the Cannes Film Festival, the list goes on and on.

Lemmon entered the world in a completely novel fashion; he was born prematurely in an elevator in Boston in 1925. The son of a doughnut manufacturer, Lemmon later attended Harvard University but was bitten by the acting bug and left the prestigious college for Broadway. Between theatrical gigs, he played piano accompaniment to silent films shown at the Knickerbocker Music Hall in New York. Later, Lemmon claimed that he learned more about comic technique by watching these Chaplin, Keaton and Harold Lloyd two-reelers than acting school could have ever taught him.

From Broadway and early TV appearances to Hollywood, Lemmon moved West to make his screen debut in It Should Happen to You (1954), opposite Judy Holliday in a variation of her 'dumb blonde' persona that had won her an Oscar for Born Yesterday (1952). In It Should Happen to You, Holliday plays a struggling actress who soon wins fast fame as the product of promotion. Lemmon plays her levelheaded boyfriend but finds himself on the sidelines when the suave and sophisticated Peter Lawford appears on the scene. It Should Happen to You, directed by George Cukor, was a popular success and Lemmon and Holliday were quickly teamed again in Phffft! (1954), another lightweight romantic comedy. A year later, Lemmon hit the major leagues when he supported Hollywood heavyweights Henry Fonda, James Cagney and William Powell in Mister Roberts (1955). As Ensign Pulver, a deckhand who avoids work whenever possible, Lemmon won a Best Supporting Actor Oscar®.

Onscreen, Lemmon's characters often found that they were the wrong men for their jobs. In Cowboy (1958), Lemmon plays a city slicker venturing out on the wild frontier. His romantic visions of the West are soon changed by the hard-living, hard-drinking reality. Cowboy is based on the autobiography of Frank Harris, and, like the author, Lemmon found himself adapting to the rough and tumble lifestyle on the trail.

Lemmon brought a new comic persona to Hollywood films. He combined elements of screwball and slapstick comedy with his own self-deprecating humor to create satiric portraits of the contemporary American male. The sometimes cynical comic sense of director Billy Wilder provided Lemmon with the perfect complement. Together they made seven films, but it was their first, Some Like It Hot (1959), that captured the sheer comic genius of their collaborations together.

From sexual antics to social critique, Lemmon and Wilder sharpened their comic knives on the hypocrisies they saw in American culture. The Apartment (1960) focused on a working stiff who lends his home to his supervisors for their extramarital affairs. Problems arise when Lemmon falls for his boss's paramour - it gets even more complicated when she tries to kill herself in his pad! Though The Apartment was a comic success, with each passing year the film's serious side seems even more dark and derisive. Illicit love and the corruption of big business might not seem to be the stuff of hit comedies, but Wilder and Lemmon found humor in the most unlikeliest of places. Director and comic star went on to make five more films: Irma la Douce (1963), The Fortune Cookie (1966), Avanti! (1972), The Front Page (1974) and Buddy Buddy (1981).

Billy Wilder and Lemmon's lifelong comic foil Walter Matthau (nine collaborations with Lemmon in 32 years, including their most popular film, The Odd Couple, 1968) brought some of the comedian's finest funny moments to the screen. But there was a serious side too. Lemmon waived his salary to act in Save the Tiger (1973), the 'great American tragedy' of a businessman at the end of his rope. Lemmon won his second Academy Award for the film. In Missing (1982), directed by the uncompromising Costa-Gavras, Lemmon played a patriotic father searching for his kidnapped son in Latin America. The closer he gets to his goal, the clearer it becomes that a government conspiracy is behind his son's disappearance. Missing was inspired by a true story - the production was condemned by the Reagan administration and awarded the Golden Palm at the Cannes film festival.

Very few actors today can match Lemmon's range on the screen. He has acted in everything from lightweight sex farces (How to Murder Your Wife, 1965) to musicals (My Sister Eileen, 1955) to social dramas (Days of Wine and Roses, 1962) to political thrillers (The China Syndrome, 1979). Turner Classic Movies cherishes the memory of this remarkable talent.

By Cino Niles & Jeff Stafford

ANTHONY QUINN, 1915-2001

Not many actors can boast that they've inspired a Bob Dylan song but Anthony Quinn - who passed away June 3rd at the age of 86 - was one of the select few. But that's just one of many incidents in a life that can only be described as colorful. If a novelist had invented a character like Quinn, she would be accused of unbelievable invention. But in Quinn's case, it's all true.

Quinn was born April 21, 1915 in Mexico. His parents were involved in Pancho Villa's revolutionary struggle and must have made a striking couple since the father was half Irish and mother Mexican Indian. The couple were married on a train of rebel soldiers. After Quinn's birth, the family soon moved to East Los Angeles (after a quick Texas detour) where Quinn grew up in the shadow of Hollywood. (A branch of the Los Angeles County Public Library now occupies the site of Quinn's childhood home; in 1981 it was renamed in his honor.) At the age of 11 he won a sculpture award and shortly after began studying architecture under Frank Lloyd Wright. It was Wright in fact who suggested the possibility of acting to Quinn and even paid for an operation to cure a speech impediment. Along the way, Quinn also dabbled in professional boxing (he quit after his 17th match, the first he lost) and street-corner preaching. He continued to sculpt and paint for the rest of his life while also becoming a noted art collector.

Quinn's acting debut was in 1936 initially in a handful of barely noticable spots as an extra until he landed a speaking role in Cecil B. DeMille's The Plainsman, supposedly on the recommendation of the film's star, Gary Cooper. One unanticipated result was that Quinn married DeMille's daughter the following year; they appeared together in Phil Karlson's Black Gold (1947) and had five children. Quinn also appeared on stage in 1936 playing opposite Mae West. Quinn continued in film parts that gathered acclaim: Crazy Horse in They Died With Their Boots On (1941), a gambler in The Ox-Bow Incident (1943), a soldier in Guadalcanal Diary (1943).

But it was the 1950s when Quinn broke out. Viva Zapata!(1952) provided him a wonderful role which he used to win a Best Supporting Actor Academy Award. Oddly enough, in Viva Zapata! Quinn worked with Marlon Brando who he had replaced in the original Broadway production of A Streetcar Named Desire. (Director Elia Kazan tried to start a rivalry between the two actors but they were great admirers of each other.) Quinn again won Best Supporting Actor playing painter Paul Gauguin Lust for Life (1956) which at the time was the shortest on-screen time to win an acting Oscar. The following year came was a Best Actor nomination for George Cukor's Wild Is the Wind (1957). As he did throughout his career, Quinn rarely hesitated to take work whereever he found it, which resulted in dozens of potboilers like Seven Cities of Gold (1955) but also a few cult favorites like Budd Boetticher's The Magnificent Matador (1955). It was a trip to Italy that brought Quinn one of his most acclaimed roles: a simple-minded circus strongman in Federico Fellini's La Strada (1954). Quinn directed his only film in 1958, The Buccaneer, a commercial failure he later attributed to producer Cecil DeMille's interference. Towards the end of that decade he appeared in Nicholas Ray's The Savage Innocents (1959) as an Eskimo, inspiring Bob Dylan to write "Quinn the Eskimo" (a Top Ten hit for Manfred Mann in 1968). In 1965, his relationship with an Italian costumer created a minor scandal when it was revealed that the couple had two children. Quinn divorced DeMille's daughter and married the costumer.

He continued the same mix of classics and best-forgotten quickies throughout the 1960s and '70s. A key role in Lawrence of Arabia (1962) only confirmed his talents while he again earned a Best Actor nomination for the unforgettable lead role in Zorba the Greek (1964). The gritty crime drama Across 110th Street (1972) is one of the best American movies of its decade, enhanced by Quinn's turn as an embattled police captain. Quinn was a pope in The Shoes of the Fisherman (1968), an Islamic leader in The Message (1976), a thinly disguised Aristotle Onassis in The Greek Tycoon (1978) and an assortment of gangsters, con men, military leaders and what have you. The rest of his career might be summed up by the year 1991 when he gathered critical acclaim for his appearance in Spike Lee's Jungle Fever, was nominated for a Razzie as Worst Actor in Mobsters, co-starred with Bo Derek in Ghosts Can't Do It, worked beside John Candy and Macaulay Culkin in Chris Columbus' Only the Lonely and made a film so obscure it appears to have never appeared on video. Quinn married his third wife in 1997; they had one son. He had just completed the title role in Avenging Angelo (with Sylvester Stallone) at the time of his death.

By Lang Thompson

Tcm Remembers - Carroll O'connor

TCM Remembers - Carroll O'Connor

Carroll O'Connor - who died June 21st at the age of 76 - will be best remembered for portraying Archie Bunker on TV's All in the Family but his career actually was much more extensive. Born in New York on August 2nd, 1924, O'Connor served in the merchant marine during World War II before attending the University of Montana where he worked on the school newspaper. Before graduating, he followed his brother to another college in Ireland (he would later get a Masters in speech from Montana). It was in Ireland that O'Connor started acting in several local productions. He returned to the U.S. for his Broadway debut in 1958 and shortly after started to appear on numerous TV shows like The Untouchables and Naked City. His first film was Parrish (1961) though he eventually acted in over a dozen films during the Sixties including Cleopatra (1963), Marlowe (1969), Hawaii (1966) and Point Blank (1967). O'Connor even auditioned for the part of the Skipper in the TV series, Gilligan's Island, but it was his role as Archie Bunker in a 1971 sitcom that made him a star. All in the Family was an American version of the British sitcom Till Death Do Us Part that met some initial resistance (ABC rejected the first two pilots) but quickly captivated American audiences and became the country's top-rated TV show. Archie became such an icon that his chair is now preserved in the Smithsonian. The series lasted until 1979 and brought O'Connor four Emmys, even leading to a four-year spinoff Archie Bunker's Place starring O'Connor. (It also produced one of TV's oddest spinoffs in1994's 704 Hauser about a multi-racial family living in Archie Bunker's old house. It had no cast members from the earlier series and only lasted six episodes.) In 1988, O'Connor took the role of a Southern sheriff in a TV series based on the movie In the Heat of the Night and found himself in another hit, this one lasting until 1995. He also occasionally played Helen Hunt's father on Mad About You. By all accounts, O'Connor was nothing like Archie Bunker; in fact, O'Connor was an active anti-drug crusader, partly the result of his son's drug-related suicide. By Lang Thompson TCM REMEMBERS JACK LEMMON 1925-2001 Whether playing a cross-dressing jazz bassist or a bickering roommate, Lemmon has kept his fans in stitches for fifty years. But beneath that comedian's facade, the actor had a very serious side, which occasionally surfaced in such films as Days of Wine and Roses (1962) or Costa-Gavras' political thriller Missing (1982). Lemmon was truly a one-of-a-kind actor and his track record for acclaimed performances is truly remarkable: 8 Oscar nominations (he won Best Supporting Actor for Mister Roberts (1955) and Best Actor for Save the Tiger (1973), a Life Achievement Award from the American Film Institute, 8 British Academy Award nominations, 4 Emmy Award nominations, numerous Golden Globe nominations, a two-time Best Actor winner at the Cannes Film Festival, the list goes on and on. Lemmon entered the world in a completely novel fashion; he was born prematurely in an elevator in Boston in 1925. The son of a doughnut manufacturer, Lemmon later attended Harvard University but was bitten by the acting bug and left the prestigious college for Broadway. Between theatrical gigs, he played piano accompaniment to silent films shown at the Knickerbocker Music Hall in New York. Later, Lemmon claimed that he learned more about comic technique by watching these Chaplin, Keaton and Harold Lloyd two-reelers than acting school could have ever taught him. From Broadway and early TV appearances to Hollywood, Lemmon moved West to make his screen debut in It Should Happen to You (1954), opposite Judy Holliday in a variation of her 'dumb blonde' persona that had won her an Oscar for Born Yesterday (1952). In It Should Happen to You, Holliday plays a struggling actress who soon wins fast fame as the product of promotion. Lemmon plays her levelheaded boyfriend but finds himself on the sidelines when the suave and sophisticated Peter Lawford appears on the scene. It Should Happen to You, directed by George Cukor, was a popular success and Lemmon and Holliday were quickly teamed again in Phffft! (1954), another lightweight romantic comedy. A year later, Lemmon hit the major leagues when he supported Hollywood heavyweights Henry Fonda, James Cagney and William Powell in Mister Roberts (1955). As Ensign Pulver, a deckhand who avoids work whenever possible, Lemmon won a Best Supporting Actor Oscar®. Onscreen, Lemmon's characters often found that they were the wrong men for their jobs. In Cowboy (1958), Lemmon plays a city slicker venturing out on the wild frontier. His romantic visions of the West are soon changed by the hard-living, hard-drinking reality. Cowboy is based on the autobiography of Frank Harris, and, like the author, Lemmon found himself adapting to the rough and tumble lifestyle on the trail. Lemmon brought a new comic persona to Hollywood films. He combined elements of screwball and slapstick comedy with his own self-deprecating humor to create satiric portraits of the contemporary American male. The sometimes cynical comic sense of director Billy Wilder provided Lemmon with the perfect complement. Together they made seven films, but it was their first, Some Like It Hot (1959), that captured the sheer comic genius of their collaborations together. From sexual antics to social critique, Lemmon and Wilder sharpened their comic knives on the hypocrisies they saw in American culture. The Apartment (1960) focused on a working stiff who lends his home to his supervisors for their extramarital affairs. Problems arise when Lemmon falls for his boss's paramour - it gets even more complicated when she tries to kill herself in his pad! Though The Apartment was a comic success, with each passing year the film's serious side seems even more dark and derisive. Illicit love and the corruption of big business might not seem to be the stuff of hit comedies, but Wilder and Lemmon found humor in the most unlikeliest of places. Director and comic star went on to make five more films: Irma la Douce (1963), The Fortune Cookie (1966), Avanti! (1972), The Front Page (1974) and Buddy Buddy (1981). Billy Wilder and Lemmon's lifelong comic foil Walter Matthau (nine collaborations with Lemmon in 32 years, including their most popular film, The Odd Couple, 1968) brought some of the comedian's finest funny moments to the screen. But there was a serious side too. Lemmon waived his salary to act in Save the Tiger (1973), the 'great American tragedy' of a businessman at the end of his rope. Lemmon won his second Academy Award for the film. In Missing (1982), directed by the uncompromising Costa-Gavras, Lemmon played a patriotic father searching for his kidnapped son in Latin America. The closer he gets to his goal, the clearer it becomes that a government conspiracy is behind his son's disappearance. Missing was inspired by a true story - the production was condemned by the Reagan administration and awarded the Golden Palm at the Cannes film festival. Very few actors today can match Lemmon's range on the screen. He has acted in everything from lightweight sex farces (How to Murder Your Wife, 1965) to musicals (My Sister Eileen, 1955) to social dramas (Days of Wine and Roses, 1962) to political thrillers (The China Syndrome, 1979). Turner Classic Movies cherishes the memory of this remarkable talent. By Cino Niles & Jeff Stafford ANTHONY QUINN, 1915-2001 Not many actors can boast that they've inspired a Bob Dylan song but Anthony Quinn - who passed away June 3rd at the age of 86 - was one of the select few. But that's just one of many incidents in a life that can only be described as colorful. If a novelist had invented a character like Quinn, she would be accused of unbelievable invention. But in Quinn's case, it's all true. Quinn was born April 21, 1915 in Mexico. His parents were involved in Pancho Villa's revolutionary struggle and must have made a striking couple since the father was half Irish and mother Mexican Indian. The couple were married on a train of rebel soldiers. After Quinn's birth, the family soon moved to East Los Angeles (after a quick Texas detour) where Quinn grew up in the shadow of Hollywood. (A branch of the Los Angeles County Public Library now occupies the site of Quinn's childhood home; in 1981 it was renamed in his honor.) At the age of 11 he won a sculpture award and shortly after began studying architecture under Frank Lloyd Wright. It was Wright in fact who suggested the possibility of acting to Quinn and even paid for an operation to cure a speech impediment. Along the way, Quinn also dabbled in professional boxing (he quit after his 17th match, the first he lost) and street-corner preaching. He continued to sculpt and paint for the rest of his life while also becoming a noted art collector. Quinn's acting debut was in 1936 initially in a handful of barely noticable spots as an extra until he landed a speaking role in Cecil B. DeMille's The Plainsman, supposedly on the recommendation of the film's star, Gary Cooper. One unanticipated result was that Quinn married DeMille's daughter the following year; they appeared together in Phil Karlson's Black Gold (1947) and had five children. Quinn also appeared on stage in 1936 playing opposite Mae West. Quinn continued in film parts that gathered acclaim: Crazy Horse in They Died With Their Boots On (1941), a gambler in The Ox-Bow Incident (1943), a soldier in Guadalcanal Diary (1943). But it was the 1950s when Quinn broke out. Viva Zapata!(1952) provided him a wonderful role which he used to win a Best Supporting Actor Academy Award. Oddly enough, in Viva Zapata! Quinn worked with Marlon Brando who he had replaced in the original Broadway production of A Streetcar Named Desire. (Director Elia Kazan tried to start a rivalry between the two actors but they were great admirers of each other.) Quinn again won Best Supporting Actor playing painter Paul Gauguin Lust for Life (1956) which at the time was the shortest on-screen time to win an acting Oscar. The following year came was a Best Actor nomination for George Cukor's Wild Is the Wind (1957). As he did throughout his career, Quinn rarely hesitated to take work whereever he found it, which resulted in dozens of potboilers like Seven Cities of Gold (1955) but also a few cult favorites like Budd Boetticher's The Magnificent Matador (1955). It was a trip to Italy that brought Quinn one of his most acclaimed roles: a simple-minded circus strongman in Federico Fellini's La Strada (1954). Quinn directed his only film in 1958, The Buccaneer, a commercial failure he later attributed to producer Cecil DeMille's interference. Towards the end of that decade he appeared in Nicholas Ray's The Savage Innocents (1959) as an Eskimo, inspiring Bob Dylan to write "Quinn the Eskimo" (a Top Ten hit for Manfred Mann in 1968). In 1965, his relationship with an Italian costumer created a minor scandal when it was revealed that the couple had two children. Quinn divorced DeMille's daughter and married the costumer. He continued the same mix of classics and best-forgotten quickies throughout the 1960s and '70s. A key role in Lawrence of Arabia (1962) only confirmed his talents while he again earned a Best Actor nomination for the unforgettable lead role in Zorba the Greek (1964). The gritty crime drama Across 110th Street (1972) is one of the best American movies of its decade, enhanced by Quinn's turn as an embattled police captain. Quinn was a pope in The Shoes of the Fisherman (1968), an Islamic leader in The Message (1976), a thinly disguised Aristotle Onassis in The Greek Tycoon (1978) and an assortment of gangsters, con men, military leaders and what have you. The rest of his career might be summed up by the year 1991 when he gathered critical acclaim for his appearance in Spike Lee's Jungle Fever, was nominated for a Razzie as Worst Actor in Mobsters, co-starred with Bo Derek in Ghosts Can't Do It, worked beside John Candy and Macaulay Culkin in Chris Columbus' Only the Lonely and made a film so obscure it appears to have never appeared on video. Quinn married his third wife in 1997; they had one son. He had just completed the title role in Avenging Angelo (with Sylvester Stallone) at the time of his death. By Lang Thompson

Richard Crenna, 1927-2002


Actor Richard Crenna, the versatile, highly respected character actor of television and film, died on December 17 of pancreatic cancer in Los Angeles. He was 75.

Born on November 30, 1927 in Los Angeles, California, Crenna was the son of a pharmacist father and a mother who managed a number of small hotels in the Los Angles area the family owned, where Crenna was raised. At the tender age of 11, he was encouraged by a teacher to audition for a radio show, "Boy Scout Jamboree" at the nearby KFI-AM radio studio. Little did he realize that it would be the start of a very long and prosperous career.

Crenna found steady radio work for the next several years, culminating in 1948 with his breakthrough role of the goofy, squeaky-voiced Walter Denton in the hit radio series Our Miss Brooks. Crenna carried the momentum of his success to television when he spent four more seasons as Walter on Our Miss Brooks (1952-1956). Almost immediately after the run of that show, Crenna scored another hit series as Luke McCoy in the rustic comedy The Real McCoys (1957-1963) co-starring Walter Brennan.

Although he had been acting in films since the early '50s Crenna roles didn't come to critical notice until the mid '60s, appearing in Robert Wise's acclaimed The Sand Pebbles (1966) as the stalwart gunboat captain co-starring Steve McQueen; Terence Young's intense thriller, Wait Until Dark (1967), as a criminal who terrorizes a blind Audrey Hepburn; and another Robert Wise film, the Gertrude Lawrence biopic Star! (1968) playing the high profile role of Richard Aldrich opposite Julie Andrews.

Crenna's profile slowed down in the '70s, despite a brief return to television comedy in Norman Lear's political satire All's Fair (1976-1977) with Bernadette Peters. That show may not have lasted long, but Crenna bounced back with a resurgence in the '80s with a string of hit character parts: Lawrence Kasden's stylish film noir Body Heat (1981), as Kathleen Turner's ill-fated husband; Ted Kotchoff's hit Rambo: First Blood (1982), as Colonel Samuel Trautman, Sylvester Stallone's former Commander; Gary Marshall's excellent coming-of-age tale The Flamingo Kid (1984), one of his best performances (for which he received a Golden Globe nomination) as a smooth, charismatic gin-rummy champ who takes Matt Dillon under his tutelage; and many other quality roles in theatrical and made for television movies.

At the time of his death, Crenna was a member of the Screen Actors Guild board of directors and had a recurring role in the hit CBS dramatic series Judging Amy. In addition to Penni, his wife of 47 years, Crenna is survived by a son, Richard, two daughters, Seana and Maria, and three granddaughters.

by Michael T. Toole

Richard Crenna, 1927-2002

Actor Richard Crenna, the versatile, highly respected character actor of television and film, died on December 17 of pancreatic cancer in Los Angeles. He was 75. Born on November 30, 1927 in Los Angeles, California, Crenna was the son of a pharmacist father and a mother who managed a number of small hotels in the Los Angles area the family owned, where Crenna was raised. At the tender age of 11, he was encouraged by a teacher to audition for a radio show, "Boy Scout Jamboree" at the nearby KFI-AM radio studio. Little did he realize that it would be the start of a very long and prosperous career. Crenna found steady radio work for the next several years, culminating in 1948 with his breakthrough role of the goofy, squeaky-voiced Walter Denton in the hit radio series Our Miss Brooks. Crenna carried the momentum of his success to television when he spent four more seasons as Walter on Our Miss Brooks (1952-1956). Almost immediately after the run of that show, Crenna scored another hit series as Luke McCoy in the rustic comedy The Real McCoys (1957-1963) co-starring Walter Brennan. Although he had been acting in films since the early '50s Crenna roles didn't come to critical notice until the mid '60s, appearing in Robert Wise's acclaimed The Sand Pebbles (1966) as the stalwart gunboat captain co-starring Steve McQueen; Terence Young's intense thriller, Wait Until Dark (1967), as a criminal who terrorizes a blind Audrey Hepburn; and another Robert Wise film, the Gertrude Lawrence biopic Star! (1968) playing the high profile role of Richard Aldrich opposite Julie Andrews. Crenna's profile slowed down in the '70s, despite a brief return to television comedy in Norman Lear's political satire All's Fair (1976-1977) with Bernadette Peters. That show may not have lasted long, but Crenna bounced back with a resurgence in the '80s with a string of hit character parts: Lawrence Kasden's stylish film noir Body Heat (1981), as Kathleen Turner's ill-fated husband; Ted Kotchoff's hit Rambo: First Blood (1982), as Colonel Samuel Trautman, Sylvester Stallone's former Commander; Gary Marshall's excellent coming-of-age tale The Flamingo Kid (1984), one of his best performances (for which he received a Golden Globe nomination) as a smooth, charismatic gin-rummy champ who takes Matt Dillon under his tutelage; and many other quality roles in theatrical and made for television movies. At the time of his death, Crenna was a member of the Screen Actors Guild board of directors and had a recurring role in the hit CBS dramatic series Judging Amy. In addition to Penni, his wife of 47 years, Crenna is survived by a son, Richard, two daughters, Seana and Maria, and three granddaughters. by Michael T. Toole

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Notes

Although the print was not viewed, screen credits were taken from a cutting continuity contained in the copyright files. Although the film was registered for copyright by Columbia Pictures Industries, Inc. on February 1, 1971, onscreen credits contain a 1970 copyright statement for Frankovich Productions, Inc. According to an October 1967 Hollywood Reporter news item, Columbia Pictures bought the screen rights to Frank G. Slaughter's novel when it was still in galley proofs.
       A September 1969 Daily Variety news item noted that Barbara Eden was being considered for a role in the film. According to the Variety review, Dyan Cannon, who received first billing in the film, only appeared in the first eight minutes of the picture. Filmfacts added that location filming was done around Costa Mesa and La Costa, California. Studio publicity contained in the film's files at the AMPAS Library adds that the country club scenes were filmed at La Costa Resort Hotel and Spa near La Jolla, California. Modern sources add Paul Bradley and June Foray to the cast.

Miscellaneous Notes

Released in United States on Video April 28, 1988

Released in United States Winter January 1, 1971

Released in United States Winter January 1, 1971

Released in United States on Video April 28, 1988