Bovie Movie

“His code name is Condor. In the next 24 hours, everyone he trusts will try to kill him.” As the ads ominously announced, a low-level spook confronts the unfathomable in Sydney Pollack’s 1975 political thriller, adapted from the James Grady novel Six Days of the Condor. CIA researcher Joe Turner (Robert Redford) returns from lunch to find the entire staff of his small New York office assassinated. When he meets his boss (Cliff Robertson) at another location to tell him what happened, someone tries to shoot Turner as well. On the run from the cops and his agency, a desperate Turner resorts to holing up with innocent civilian Kathy (Faye Dunaway), who becomes his only ally. Joe decides to save himself the only way possible: by going to The New York Times. But will it work? One of a cycle of conspiracy films from the 1970s that also included The Parallax View (1974) and Redford’s All the President’s Men (1976), Three Days of the Condor pits a working Everyman (albeit a CIA everyman) against a far-reaching conspiracy, as it also criticizes the CIA during a period of increasing publicity about federal wrongdoing, from the Pentagon Papers through Watergate and other congressional investigations; the challenge of negotiating New York City, shot on location, becomes one more sign of the forces that Joe must face. With its timely subject matter, taut suspense, and sympathetic Redford hero, Three Days of the Condor became a substantial hit. Balancing the conspiracy cycle’s pessimism with a margin of attenuated hope, Three Days of the Condor suggests that one man can still discover the truth, but whether it helps him remains to be seen.

The made-for-cable musical satire Reefer Madness is based on the award-winning play of the same name, which in turn was inspired by the notorious — and deliciously awful — 1936 anti-marijuana film originally titled Tell Your Children. A smarmy lecturer (Alan Cumming in the first of his three roles in the film) arrives in a typical small town of the late ’30s to warn the populace of the dangers of the “evil weed,” bringing along a lurid propaganda film to dramatize his message. In broad, unsubtle, and hilarious strokes, the movie-within-a-movie shows how even a squeaky-clean pair of highschoolers named Mary Lane (Kristen Bell) and Jimmy Harper (Christian Campbell) can become hopeless dope addicts by succumbing to the lure of marijuana. Reefer Madness is not only a savage skewering of the original black-and-white movie (some of the musical’s campiest lines are taken directly from the earlier script!), but also a devastating attack on what playwrights Kevin Murphy and Dan Studney consider to be the real reason that the 1936 movie was made: to frighten the public out of their wits in order to keep them under the thumb of an oppressive government. Thus, the musical manages to take a number of not-so-veiled swipes at xenophobia, racism, McCarthyism, the Bush Administration’s Homeland Security policy, and even the recent FCC clampdown on “offensive” TV fare (one of the film’s highlights is a garish nightclub number featuring Jesus Christ). The ebulliently staged songs include “The Stuff,” “Down at the Ol’ Five and Dime,” “Lonely Pew,” “Listen to Jesus Jimmy,” “Mary Jane/Mary Lane,” “The Brownie Song,” “Tell ‘Em the Truth,” and the title number. Officially titled Reefer Madness: The Movie Musical, this film first aired April 16, 2005, on the Showtime cable service.

Three stars team up for this unusual look at America’s role in the war against Iraq. In 1991, as the Gulf War winds to a close, three American servicemen find themselves happy to have achieved victory but wondering about the ultimate importance of what they’ve done (especially since Saddam Hussein is still in power). Major Archie Gates (George Clooney) is a decorated Vietnam veteran and special forces officer with two weeks to go before he retires; Sgt. Troy Barlow (Mark Wahlberg) has a new baby at home; and Chief Elgin (Ice Cube) is probably just going to end up back in Detroit. So when one of them comes across a map that seems to point out where Saddam’s forces have stashed a large cache of gold they stole from Kuwait, they decide to follow the trail and take some of the war booty for themselves. However, the deeper they journey into Iraq, the more they see of the consequences of America’s policies in the Middle East. Although President George Bush and the American military urged Iraqi citizens to rise up against Saddam Hussein, and pledged their support to a people’s movement against the leader, Iraqis found that when they took to the streets against Saddam, the United States did not back them up, and the loss of Iraqi lives was fearsome. When Gates, Barlow and Elgin become aware of what’s happening, they’re torn between their desire to grab the fortune they came for and the demands of their conscience to help the people they came to liberate. Three Kings was directed by David O. Russell and marked a significant change of direction after his dark-humored relationship comedies, Spanking the Monkey and Flirting with Disaster.

Based on the popular novels about that other suave, globe-trotting man of action, this genre picture from director Phillip Noyce mixed romance and character development with dangerous stunts, geopolitical intrigue, and a variety of elaborate disguises, resulting in an uneven stew of a spy thriller. Val Kilmer is Simon Templar, a classy, cunning master thief and “man of a thousand faces” who cribs his phony names from those of obscure saints and sells his illegal services to the highest bidder. Hired by an ambitious Russian politician (Rade Serbedzija) to steal the formula for cold fusion, Templar falls in love with Dr. Emma Russell (Elisabeth Shue), the frail Oxford scientist who has unlocked the secret of the process. Back in Moscow, the thief debates whether to betray his new love or the powerful madman who is paying him millions, until he discovers that his client is concealing oil reserves that could save his freezing people. Often seen as an also-ran to the legendary James Bond, Templar, the creation of author Leslie Charteris, in fact predated the first Bond novel by decades and probably inspired Ian Fleming in his creation of the debonair agent.

An overheard conversation leads a woman into a dark world of deadly intrigue in this political thriller. Silvia Broome (Nicole Kidman) is an African ?migr? who works as an interpreter at the United Nations. One of the languages she understands is Ku, a dialect spoken in her home country of Matobo. One day, as the General Assembly auditorium is being evacuated for a routine security sweep, Broome overhears a man speaking in Ku, who makes a cryptic statement that could be interpreted as a threat against the life of Zuwanie (Earl Cameron), Matobo’s controversial ruler. Secret Service agent Tobin Keller (Sean Penn) is brought in to investigate Broome’s story, and it isn’t long before he’s convinced that she knows more than she’s willing to tell. As Keller and his partner, Dot Woods (Catherine Keener), dig deeper into Broome’s story as well as her past, they discover a shocking tale of violence and corruption tied to Zuwanie’s regime. The Interpreter was directed by Sydney Pollack, who also appears in a brief supporting role.

Set amidst the controversy of the handover of the Panama Canal from Panama to America in late 1999, this espionage thriller follows seductive British spy Andrew Osnard (Pierce Brosnan), who has found himself recently banished to Panama. When Osnard stumbles into a tailor shop, he meets Harry Pendel (Geoffrey Rush), a garrulous sort with an unmatched penchant for “fluence” — that is, fabricating wild tales with real-life details. Osnard threatens to expose his shady past, until Pendel agrees to provide him with information about the political situation in Panama. Pendel’s wife Louisa (Jamie Lee Curtis) tries to remain unscathed by her husband’s constant follies, which escalate and put him in the midst of international discord, while also threatening the shaky relationship between himself and Osnard, who cannot escape each other’s grasp. Based on John le Carr?’s popular 1996 novel, the film also features Catherine McCormack, David Hayman, and young Daniel Radcliffe, who completed this film before his starring role in Harry Potter and the Sorcerer’s Stone, released later in the year.

Much as Steven Spielberg followed 1993’s special-effects blockbuster Jurassic Park with a far more downbeat and personal project later the same year, Schindler’s List, in 2005 after tearing up the box office with War of the Worlds the director closed out the year with a powerful and thoughtful drama about the human costs of international terrorism. The 1972 Olympics in Munich, Germany, were supposed to be a peaceful gathering of outstanding athletes from around the world, but on September 5, the games took a sinister turn when eight masked Palestinian terrorists invaded the Olympic village, killing two Israeli athletes and abducting nine others. The kidnappers demanded safe passage out of Germany in addition to the release of Arab prisoners in Israeli and German prisons, but when they arrived at the Munich airport they were met by German police and military forces, and in the melee that followed, all nine hostages were killed. In the wake of the killings, the Israeli government gave Mossad, the nation’s intelligence agency, a special assignment — to track down and eliminate the Palestinians responsible for the death of the Israeli athletes. A young and idealistic Mossad agent (Eric Bana) is assigned to the four-man unit created to wipe out the Olympic terrorists, but while he believes in serving his country, as their bloody work goes on he begins to buckle under the weight of his work and wonders if he can morally justify his nation’s acts of revenge. Munich also stars Geoffrey Rush, Daniel Craig, Mathieu Kassovitz, and Ciar?n Hinds.

Completed in mid-1930, Scarface, based on Armitage Trail’s novel of the same name, might have been the first of the great talkie gangster flicks, but it was held up for release until after that honor was jointly usurped by Little Caesar and Public Enemy. Paul Muni stars as prohibition-era mobster Tony Camonte, a character obviously patterned on Al Capone (whose nickname was “Scarface”). The homicidal Camonte ruthlessly wrests control of the bootlegging racket from his boss, Johnny Lovo (Osgood Perkins), and claims Lovo’s mistress, Poppy (Karen Morley), in the bargain. But while Poppy satisfies him sexually, Tony has a soft spot in his heart only for his sister Cesca (Ann Dvorak). The film’s finale is one of the longest and bloodiest of the 1930s, maintaining suspense and concern for the characters involved even though Muni has deliberately done nothing to make Tony likeable to audience. The grimness of Scarface is leavened by a few choice moments of black humor. Forced to leave a stage production of Rain in order to commit a murder, Tony returns to his theater seat and anxiously asks his buddies how the play came out. Some of the film’s funniest moments belong to Vince Barnett as the mentally deficient, illiterate gangster secretary, who at one juncture gets so mad at a caller on the phone that he shoots the receiver. Scarface features a famous “‘X’ Marks The Spot” logo, inspired by news photos of gangland murders: whenever a character is killed, the letter “X” appears on screen in one form or another. Example: When a rival gangster (played by Boris Karloff) is killed at a bowling alley, the camera cuts to his bowling ball knocking down all the pins — a strike, denoted, of course, by an “X.” Producer Howard R. Hughes couldn’t release Scarface until he toned down some of the violence, reshot certain scenes to avoid libel suits, added the subtitle “The Shame of the Nation” to the opening credits, and shoehorned in new scenes showing upright Italian-Americans banding together to wipe out gangsterism. After its first run, Scarface was completely withdrawn from distribution on Hughes’ orders; the film would not be seen again on a widespread basis until it was reissued by Universal in 1979, shorn of 8 of its original 99 minutes.

Roger Spottiswoode (Air America) directed this film, the 18th chapter in the 35-year-old James Bond series (excluding Casino Royale and Never Say Never Again). James Bond (Pierce Brosnan) learns billionaire media mogul Elliot Carver (Jonathan Pryce) is manipulating world events via an exclusive flow of information through his satellite system reaching all corners of the planet. With a stealth battleship sinking a British naval vessel, Carver sees that the Chinese are blamed. Crashing Carver’s party in Hamburg, Bond meets “journalist” Wai Lin (Michelle Yeoh), later revealed as a Chinese agent. In a brief tryst, Bond renews his past relationship with Carver’s wife Paris (Teri Hatcher). Carver dispatches Stamper (Gotz Otto) and other goons to cancel Bond, who eludes attackers with some of his new gadgets. In Southeast Asia, after Bond and Wai Lin scuba dive into the sunken British ship, they are captured by Stamper, handcuffed, and taken to Saigon where they make a motorcycle escape. To thwart Carver’s plans for WWIII, the two agents head for Carver’s stealth ship where a cruise missile is aimed at Beijing. Principal photography began April 1, 1997 in the new Eon Productions studio facility at Frogmore, northwest of London, and on the 007 stage at Pinewood Studios. Locations included the UK, Hamburg, Southeast Asia, Mexico, and off the Florida coast. The trademark Bond pre-title sequence was filmed in the French Pyrenees snowfields, centered around one of the few high-altitude operational airfields in Europe.

The Bold Ones was the umbrella title given a group of rotating hour-long TV series, which ran from 1969 to 1973. Joining established Bold Ones components The Doctors and The Lawyers in 1970 was The Senator, starring Hal Holbrook as RFK-like Senator Hays Stowe. The pilot for The Senator was A Clear and Present Danger, which first aired March 21, 1970. In this 2-hour “problem drama”, Senator Stowe tackles the issue of air pollution after a close friend dies of emphysema. The Emmy-nominated Hal Holbrook, Sharon Acker (as Erin Stowe) and Cindy Eilbacher (as Norma Stowe) carried their roles over to the “Senator” series proper, while Michael Tolan was cast as Stowe’s aide Jordan Boyle, the role played in A Clear and Present Danger by Joseph Campanella.