Lila Green is an insecure and aging showgirl for Madame Olga's stage shows. When her boyfriend, Rick, runs off with the show's money, Madame Olga and Ronny let Lila go. Lila goes to stay ... See full summary »
Franklin J. Schaffner
A knight in the service of a duke goes to a coastal villiage where an earlier attempt to build a defensive castle has failed. He begins to rebuild the duke's authority in the face of the ... See full summary »
Franklin J. Schaffner
A young knight sets out to join King Richard's crusaders. Along the way, he encounters The Black Prince who captures children and sells them as slaves to the Muslims. It is Robert Narra's ... See full summary »
The other party is in disarray. Five men vie for the party nomination for president. No one has a majority as the first ballot closes and the front-runners begin to decide how badly they want the job. Written by
John Vogel <email@example.com>
When Joe Cantwell (Cliff Robertson) enters the helicopter he sits in the right seat. When he exits, he exits from the left seat. See more »
[in response to reporter's question 'do you think people mistrust intellectuals like you in politics?']
Intellectual, you mean I wrote a book? Well, as Bertrand Russell said, people in a democracy tend to think they have less to fear from a stupid man than an intelligent one. I think it's the other way around. I think it's the stupid man.
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During the opening credits, a picture of every single U.S. President appears in order, from George Washington to Lyndon Johnson. See more »
A sharp as nails look at US politics, maybe a bit old fashioned, but in a good way, with great performances and writing, and very well put together. It pits the packaged candidate of "the people", a scary Cliff Robertson against the principled liberal played by Henry Fonda, with Lee Tracy as the dying ex-president whose endorsement both vie for. While he favors Robertson for his decisiveness, he fears his utter lack of principles, but can't support the wavering Fonda. Sex, mental illness, shady characters dredged up by political operatives (in this case a great part by Shelley Berman), the fabulous portrayals of both of the wives (especially a cute and dangerous Edie Adams), the film transcends the characters, and hits home as much today as when it came out in 1964.
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