Three performers for six roles: this is the game of the film. A melodrama about two love triangles. In the first, Hagalin is killed by his mistress and her lover. In the second, attorney ... See full summary »
Frank Capua is a rising star on the race circuit who dreams of winning the big one--the Indianapolis 500. But to get there he runs the risk of losing his wife Elora to his rival, Luther ... See full summary »
Mary Rafferty comes from a poor family of steel mill workers in 19th Century Pittsburgh. Her family objects when she goes to work as a maid for the wealthy Scott family which controls the ... See full summary »
Three Marines take shore leave in San Francisco during World War II. Frankie O'Neill visits his lower-class dysfunctional family; Nico Kantaylis visits his pregnant fiancée; and the ... See full summary »
Private eye P.J. is reluctant when he gets a new job: he shall protect Maureen Preble, mistress of millionaire Orbeson, mainly from attacks by his wife and her greedy family. In truth ... See full summary »
A woman is found murdered in a house along the coast from Brighton. Local detectives Fellows and Wilks lead an investigation methodically following up leads and clues mostly in Brighton and... See full summary »
An aging tennis hustler (Tony Franciosa), young protégé surfer (Michael Sarrazin), and young protégé musician (Bob Denver) live the buddy life at Malibu beach pad. Surfer falls in love with... See full summary »
A psychiatrist specializing in the occult becomes involved in the case of a man who is possessed by a spirit in an antique mirror. The man's fiance discovers that the mirror is able to ... See full summary »
Lynda Day George,
Definitely screams '60's Universal Studio Telefilm', but if you liked the looks of those pictures (as I do), this is a well photographed, directed and acted little picture. Bradford Dillman, that Olivier of the B's, starred, but Pat Hingle and Harry Guardino had the tastier roles. James Goldstone directed -- he had one of the cleanest, most recognizable styles of late sixties contract directors, though his name is barely known.
The story is a very loose remake of Mirage, the 1960 Gregory Peck vehicle, but it is really another picture entirely. If you've seen the one, you have not seen the other.
Jigsaw swims simultaneously in alienation, paranoia, 60's technicolor psychedelia, and general cold war fear and loathing. The surprise ending is a visual gas, the cinematic equivalent of an acid flashback. It deserves a look if it ever shows up on the tube. In these more modern times of alienation, paranoia, and fear and loathing, an entertaining, slightly fluffy reminder that we've already met the enemy and he is STILL us.
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