LAW AND ORDER

Sam Waterston as Jack McCoy

LAW AND ORDER. NBC TV series   1990 - 2010. 

 Jack McCoy: "I don't think he's going to   confess."

 Adam Schiff: "Why should he confess?  You'll probably arrest somebody else tomorrow."

Now that Law and Order is coming back after a ten year absence, it's time to look back at this highly-successful and entertaining series, all twenty years of it. The first executive D.A. was Ben Stone, well-played by Michael Moriarty, who resigned when a terrified witness was shot dead in front of an police escort. Stone was replaced by Jack McCoy, the character most associated with the show (after perhaps the late Jerry Orbach), also well-played by Sam Waterston (although Waterson's perpetual head-shaking got to be annoying after a while). The first D.A. depicted on the show was grumpy Adam Schiff (Steven Hill). His performance couldn't be called great acting perhaps, but he was amusingly effective. 

You had to take Law and Order with a grain of salt. To create suspense, far too many episodes had the police and prosecutors arresting more than one person -- sometimes as many as three members of the same family -- for the same murder, something that in real life would never happen (or the ADA wouldn't last very long). I think the writers even saw the silliness of this, prompting the exchange between McCoy and Schiff you can see above. When cops were dressed down by their higher-ups, the latter always came off like incredibly nasty and suspicious super-villains instead of real people.

Jesse L. Martin and Leslie Hendrix as the M.E.

Although I like Waterson, I can't say I liked the character he played. Too many times McCoy would prosecute people when some of these wrongful deaths should have been adjudicated in civil court -- but it made for a good, if implausible, storyline. McCoy would want to take down defendants for their arrogance, but he could be just as arrogant. And hypocritical. I literally laughed at loud during one episode (the notorious one in which McCoy tries to invalidate gay marriage so that he can successfully convict a gay defendant -- don't ask) when McCoy complains of one person involved in the case that "he was hitting on his subordinate!" What's hilarious about this is that if you listen carefully to the dialogue in many previous episodes, McCoy had affairs with many of his female "subordinates." Even if these women initiated the affairs, it was incredibly inappropriate behavior. Occasionally someone would refer to McCoy's indiscretions, but he was never really called on the carpet for it. He eventually married one of his subordinates, the marriage didn't work, and he had a daughter that he hadn't spoken to in ten years!

Then there's the case of ADA Serena Southerlyn (Elizabeth Rohm, who appeared on the show for several seasons). In "Ain't No Love" in which a rap star is murdered, Serena is fired for being too passionate about a case and supposedly acting on emotion instead of evidence. She asks D.A. Arthur Branch (Fred Thompson) if he's firing her because she's a lesbian (which comes out of nowhere). He says "of course not," but when you consider that she had every good reason to think the man on trial was innocent she probably was fired for being gay. McCoy, who sometimes gets so overly passionate about things you think he's demented or will have a stroke, doesn't go to bat for her. 

Over twenty years the show had a huge cast, most of whom gave notable performances. Jerry Orbach as Detective Lennie Briscoe; Jesse L. Martin as Ed Green; S. Epatha Merkerson as Lt. Van Buren; Linus Roache as ADA Mike Cutter (who told Jack off more than once); Chris Noth as Detective Mike Logan; Leslie Hendrix as the taciturn medical examiner; Angie Harmon as ADA Carmichael; Carey Lowell as ADA Ross. Paul Sorvino and George Dzunda also played detectives in the early seasons and were swell. Dianne Weist only lasted one season as the D.A.; she added nothing to the show.

Some of the best episodes of the series include: 

"Misconception." There are terrific twists in this story of a pregnant woman who is attacked on the street. Season 2.

"Manhood." Cops let a gay colleague down by not responding to his calls for help. Season 3.

"American Dream" features Zeljko Ivanek as a killer who gets a new trial and goes up against Ben as his own lawyer. Season 4.

"Snatched." A wealthy man's son is kidnapped -- or was he? Season 4.

"Censure." A man terrorizing a woman and her child turns out to be a respected judge (David Groh). Season 4.

"Sanctuary." A superb episode with multiple points of view about racism and anti-Semitism as a Jew runs over a black boy and a a black man beats a white man to death. Season 4.

"Corruption." Lennie's old colleague (Kevin Conway) is accused of being on the take, then turns around and accuses Lennie. Season 7. 

"Showtime." The trial of a director who murdered and dismembered his ex-wife. Season 7.

"Burden." A doctor murders a disabled boy, but he may be a serial killer and not a mercy killer." Season 8.

""DNR." A lady judge (Lindsay Crouse) is shot by a man who hired her husband; she wants to die but won't condemn him. Season 10.

"Marathon" A woman is shot in broad daylight, but Lennie Briscoe's allegedly hearing the confession of the killer is called into question. Good character development, especially concerning Briscoe. Season 10. 

"Sundown." A man (George Martin) with Alzheimer's is accused of murdering his wife. Season 10. 

"Identity." An elderly man's identity is stolen as well as his home; murder results. Season 14.

"Red Ball." Jack McCoy is forced to make a deal with a loathsome man in order to save a child's life. Season 16.

"Charity case." When a movie star adopts an African baby more than one murder results. Season 17.

"Captive." Sad (if somewhat contrived) episode in which McCoy actually prosecutes a boy for the murder of a child even though he had been kidnapped and molested. Season 17.

"Misbegotten." Interesting if imperfect, twisty episode about a bombing, the gay gene, and a brother-in-law accused of murder. Season 18.

"Quit Claim" Fascinating look at an illegal real estate scheme, who the real mastermind behind it is, and the manipulations of a mysterious female suspect. Season 18.

"Rumble." Jack charges a group of men who had a fight in a park -- with the resulting deaths of innocents -- as terrorists. Season 19.

"By Perjury." Mike (Linus Roache) matches wits with a lawyer (Dallas Roberts) who is representing relatives of victims of an airliner disaster.

"Anchors Away." A Bernie Madoff-inspired episode involving murders, a Ponzi scheme, and television reporters. Season 19.

"Shotgun." A storeowner (Elliot Gould) shoots men robbing his store but there are serious complications. Season 20.

"Innocence." Mike challenges the Innocence Project when they claim he wrongfully convicted a gay-basher. Season 20.

The last two episodes of the series beautifully illustrate the two main types of stories that appeared on the show. "Love Eternal" is an amusing, strange tale with a tacky woman arrested for murdering her masochistic, comics-collecting husband. The final episode, "Rubber Room," is a tense and suspenseful story of everyone trying to track down a boy planning to bomb a high school, while Lt. Anita Van Buren (S. Epatha Merkerson) waits for the results of her MRI regarding her cancer. 

Verdict: Whatever its flaws, this was a compelling and intriguing series "ripped from the headlines." ***1/2. 

HEARTBURN

Jack Nicholson and Meryl Streep

HEARTBURN   (1986). Director: Mike Nichols. 

Food writer Rachel (Meryl Streep of Postcards from the Edge) and political columnist Mark (Jack Nicholson of Carnal Knowledge) get married, buy a house that needs a great deal of work, and eventually have a cute little daughter (played winningly by Streep's own daughter). Gossip at parties tends to revolve around which spouse is cheating, but Rachel -- who is pregnant again -- is shocked to discover that Mark is fooling around with a notorious Washington hostess. She is importuned to come back to Mark -- but do they really have a chance or should she face the fact that she may have married the wrong person?

Kevin Spacey 

Based on Nora Ephron's autobiographical novel, Heartburn has its amusing and poignant moments, and the acting is adequate -- Nicholson had already entered the familiar "Nicholson mode" by this time -- but director Mike Nichols favors overly long takes that throw off the pacing and actually make the film kind of tedious at times. Because this is based on Ephron's book -- she also wrote the screenplay -- we don't learn that much about husband Mark (the real-life Carl Bernstein) or whatever reasons he may have had for embarking upon affairs (not that some husbands necessarily need reasons). Steven Hill, Maureen Stapleton, and Stockard Channing have solid featured roles, but the supporting cast member who really stands out is a very young Kevin Spacey [Beyond the Sea] as a subway rider who later on robs Rachel's therapy group at gunpoint! 

Verdict: Carly Simon's music may be the best thing about the movie. **1/2. 

A LADY WITHOUT PASSPORT

Hedy Lamarr

A LADY WITHOUT PASSPORT (1950). Director: Joseph H. Lewis.

Peter Karczag (John Hodiak of Lifeboat) is an immigration officer assigned to Havana, where he pretends to be a man named Josef Gombush. Peter is hoping to get the goods on Palinov (George Macready), who illegally gets people out of Cuba. One of the hopefuls is Marianne Loress (Hedy Lamarr), who is desperate to get back to the United States. Things are complicated when Peter and Marianne meet and fall for one another. Palinov takes Marianne and others on a flight to Florida and Peter follows ...

John Hodiak and Hedy Lamarr

A Lady Without Passport cobbles together elements from other and better movies and comes up with ... nothing. The movie proceeds without ever engaging our sympathies or even much interest for the cardboard characters on display. Although the actors do the best they can, none of them -- not even the formidable George Macready of Gilda -- can bring them to life. There is little if any action until the final minute or so, and it isn't worth waiting for. The movie is short, but not short enough. James Craig is a colleague of Peter's and Steven Hill of Mission: Impossible fame plays another fed.

Verdict: You can hardly wait until it's over. *.

PERRY MASON: THE CASE OF THE NOTORIOUS NUN

Michele Greene and William Katt

PERRY MASON: THE CASE OF THE NOTORIOUS NUN (1986). Director: Ron Satlof.

In a story line you probably wouldn't have seen back in the fifties and sixties, Sister Margaret (Michele Greene) is not only suspected of having an affair with Father O'Neal (Timothy Bottoms) but of murdering him! Perry Mason (Raymond Burr) goes undercover at a hospital, pretending to be sick, because O'Neal was investigating possible financial improprieties in the archdiocese, including at St. Martin's hospital. A bogus priest has actually murdered O'Neal, but as in Perry Mason Returns Perry has to ferret out who hired him. Suspects include Dr. Lattimore (Jon Cypher of Cinderella ); his associate and paramour, Ellen Cartwright (Barbara Parkins of Asylum); shifty-eyed Monsignor Kyser (Gerald S. O'Loughlin); and businessmen Jonathan Eastman (Edward Winter) and Thomas Shea (Steven Hill); among others. Barbara Hale returns as Della Street and William Katt as Paul Drake Jr. This is an average "episode" of Perry Mason, below the level of the TV series, but it does boast an excellent performance from Michele Greene as the embattled nun.

Verdict: Fun to watch Perry accuse a Monsignor of wrong-doing! **1/2.

THE FIRM

Gene Hackman and Tom Cruise

THE FIRM (1993), Director: Sydney Pollack.

Mitch McDeere (Tom Cruise) is signed up with the law firm of Bendini, Lambert and Locke at a six figure salary with lots of percs. He and his wife, Abby (Jeanne Tripplehorn), are ecstatic, but there's a serpent in paradise. Partners in the firm seem to die on a regular basis, and Mitch realizes there's something not quite kosher about the outfit. Before long he finds himself between a rock and a hard place where his employers and interested agents of the FBI are concerned. Can he manage to help the agents without getting himself killed? Years ago there used to be thrillers that lasted maybe 80 or 90 minutes, included lots of plot twists and turns, and even at times a bit of characterization. The Firm clocks in at over two and a half hours, doesn't really have enough plot to sustain it, doesn't retain a grip on the suspense, and doesn't even include that much characterization. One problem is that the vastly overrated Sydney Pollack couldn't direct a true thriller if his life depended on it, and his attempts in that area always fail. The movie starts off quite well and sets up an interesting situation, but then it just plods along its dreary course until you lose interest in the proceedings. Cruise isn't bad, although he sort of just walks through it looking "concerned." Tripplehorn is better, and Gene Hackman [The French Connection] really steals the picture as a conflicted associate of Mitch's as well as his mentor. There are also nice turns by Gary Busey [A Star is Born] as a private eye, Holly Hunter as his secretary-lover (the murder scene involving both of these characters is one of the best things in the movie); Hal Holbrook as a law partner; Ed Harris as an FBI agent; David Strathairn as Mitch's convict brother; Steven Hill as another agent; and John Beal [The Vampire] as another of the partners.

Verdict: Too many characters and detours eventually add up to tedium. **1/2.

MISSION: IMPOSSIBLE Season 1

The original cast minus Peter Lupus

MISSION: IMPOSSIBLE Season 1.1966. CBS. 28 color episodes.

Daniel Briggs (Steven Hill) returns from somewhere [it is never revealed] to again head up a covert "Impossible Missions" task force that tackles dangerous undercover operations apparently assigned by the "secretary" [of state?] in the U.S. government, although why the CIA wouldn't handle these assignments is never made clear. Briggs has a large number of agents but he always seems to pick the same group: Cinnamon Carter (Barbara Bain), strongman Willy Armitage (Peter Lupus), electronics expert Barney Collier (Greg Morris), and master of disguise Rollin Hand ("guest star" Martin Landau). While Mission: Impossible was a bit more "serious" than, say, The Man from U.N.C.L.E., there were times when the show should have been called "Mission: Highly Improbable." Suspension of disbelief is required on the vast majority of episodes. A supposedly impregnable prison that has no security cameras? No one ever recognizes famous former model Cinnamon Carter or actor/celebrity Rollin Hand? And in one episode without any explanation a gangster is not only familiar with the Impossible Missions team, but knows Briggs is the head of it and where Briggs lives! And you have to wonder what is the point of those super-secret openings where Briggs gets general info about the mission when somewhere and somehow he'll have to get the details before he can assemble his team or come up with a plan. But what the hell, the fans of this very popular program didn't care as long as the show was entertaining, which it was. The pilot episode, with its cheap wobbling sets, seemed a little unreal, but it held the attention and that's what mattered.

Most of the first season episodes were "B+" in quality, and there were a few "A"s as well. "A Spool There Was" has Cinnamon and Rollin working alone in a hostile country to find a wire that has information about bacteriological warfare on it. The team pretends to have a machine that can perfectly duplicate diamonds in "The Diamond," which features a very suspenseful sequence concerning an exchange of gems. A fascinating fake train ride figures in "The Train," in which the team must eliminate a prime minister's dangerous successor. "The Traitor" concerns a U.S. defector with an important cryptic message. Other memorable episodes concerned a training center for foreign spies, a race to acquire Nazi gold, and the rescue of an imprisoned cardinal in a jail located across from a carnival. The actors are all competent, if unspectacular, with the exception of Martin Landau, who easily walks off with the acting honors.

In one episode Cinnamon gets the assignment info at the opening, because apparently it was decided that a difficult Steven Hill would have to be replaced, which he was in the second season. Lalo Schifrin's sexy and exciting theme music is just wonderful. NOTE: The remastered DVDs of this series looks stunning.

Verdict: Far-fetched but intriguing and entertaining suspense show. ***.

A CHILD IS WAITING

A CHILD IS WAITING (1963). Director: John Cassavetes.

Jean Hansen (Judy Garland) gets a job as music teacher at an institution for mentally-disabled youngsters, hoping to find some meaning in her life. Dr. Ben Clark (Burt Lancaster), the head of the school, clashes with her, warning her that if she gets too close to one child the other children will get jealous. Lancaster feels the children shouldn't be coddled too much if they are to be helped. Still, when Jean learns that one small boy, Reuben (Bruce Ritchie, pictured), waits every Wednesday in his best clothes for his parents to come -- and they never do -- she decides to take it upon herself to get in touch with them, leading to complications. This is a beautiful -- and absolutely heart-breaking -- movie that tugs at your emotions practically from the first frame to the last. While attitudes toward the mentally-disabled and teaching methods for same may have changed since the film was made -- it doesn't seem as if every child, especially the mildly-retarded, must be institutionalized, for one thing -- and despite the fact that producer Stanley Kramer and director John Cassavetes reportedly clashed while filming and during post-production, A Child is Waiting does get across that these young people [most of the children are mentally-disabled in real life] are just people deserving of love and support and a fighting chance to make a place in society, or at least to come to peace with themselves. So while the movie is undeniably a powerful tearjerker -- I'm not ashamed to confess that I blubbered all the way through it -- it also has a message of hope and is therefore uplifting. Call it manipulative at times if you will, but it is certainly effective and poignant.

Burt Lancaster gives one of his best performances as Dr. Clark. He is not lacking in compassion but you also suspect he thinks of his little charges in part as experiments. Judy Garland gives an excellent, restrained performance (and if ever there were a movie where she could have been forgiven for going over the top, this is it) and is so loving and kind to a new little boy at the ending that it's readily apparent that she was deeply moved to be among these children. She also has a nice scene leading the children in a singalong where it's clear -- that while she's supposed to be reacting to the disappointment in the little boy sitting beside her -- that she's holding back tears because of her general feelings for the children. This is more Lancaster's film than Garland's, however, as she's given no big scenes (just well-done smaller moments) and her character is never explored in any depth. Gena Rowlands and Steven Hill score as the confused and tortured parents of young Reuben -- Hill is certainly much better than he was in The Goddess. There are also fine supporting performances from Elizabeth Wilson, Paul Stewart, and others. Child actor Bruce Ritchie certainly makes an impression as the lonely little Reuben. He appeared in one other movie, The Silencers, in 1966.

Verdict: If this one doesn't give you a lump in the throat, check your pulse -- you're dead! ****.

THE GODDESS

THE GODDESS (1958). Director: John Cromwell.

Uneven but absorbing film written by Paddy Chayefsky is a fictionalization of the Marilyn Monroe story. While an almost-middle-aged Kim Stanley is an odd choice to play the Marilyn part – she isn't photographed particularly well and never creates the sexy, alluring aura of a Monroe – the producers probably figured a little subterfuge was in order (Monroe was still alive when the film was released) and Stanley's performance is generally splendid. Lloyd Bridges is fine as her second husband, an ex-boxer who only wants to go back home where he's still admired, but Steven Hill's off-kilter thesping as husband number one only shows why he never became a major player. Betty Lou Holland almost runs off with the movie as Stanley's mother, who in youth is a pathetic woman desperate for a better life, and in old age becomes a withered withdrawn bible-thumper. While the film has its slack and cliched moments, there are also moments that are trenchant and powerful. Elizabeth Wilson offers her usual finely-honed performance as Stanley's devoted companion in her later years.

Verdict: Worth a look. ***.