gevaultski Reviews

My Sweet Charlie (1970 TV Movie)

The Best TV Film of 1970

[10/10 · 18 April 2001]

Granted, I am biased in that I have been a long-time fan of Ms. Duke's, dating back to 1962. But I am objective enough in my observations as a student of film, and a video producer myself, to realize - and highly recommend - the excellence of this splendid television production, adapted from the novel by David Westheimer.

The writing, acting, direction and production values are quite above-norm. Filmed entirely on location in Texas, the film captures the realistic flavor of the novel, which focused on the conflict naturally evolving between an uneducated, white, pregnant teenager and a black Northern attorney, drawn fatefully together by circumstances and differing forms of social prejuidice.

The characters, as portrayed by Ms. Duke and Mr. Freeman, emerge as possibly one of the finest two-character studies ever produced for television.

Ms. Duke won her first Emmy award (1970) for her exceptional work in this production. Producers Levinson & Link (who were then novices), also received an Emmy for their script, as did Ed Abroms for editing. Director Lamont Johnson was awarded the coveted DGA for Best TV Director. In total, the film received 8 Emmy nominations.

This was not only a critically acclaimed production; CHARLIE received a 31.7 rating and 48 Nielsen share. It represents a "breakthrough" effort in the TV industry arena. Due to its unprecedented success, writers and producers were encouraged to develop other serious-subject, controversial projects for the networks, vs. Hollywood. CHARLIE laid the groundwork for other TV productions, like ROOTS, THE EXECUTION OF PRIVATE SLOVIK, and many more above-par TV productions, to occur.

Although now 30+ years old, the film stands as an important work that honestly reflected our society's (still-existent) racial tensions and misunderstandings. It remains a brilliant hallmark in the evolution of better television fare.

Valley of the Dolls (1967)

On SECOND Thought...

[10/10 · 18 April 2001]

As an ardent admirer of Patty Duke since 1962 and her incredible performance in THE MIRACLE WORKER, then following her likeable hi-jinks on the wholesome PATTY DUKE SHOW, where she "reflected" my adolescent years, I was one of millions of devoted fans who looked eagerly for her continued success when it was announced she'd play Neely O'Hara in the filmed version of Jackie Sussan's blockbuster, steamy novel.

The Hollywood hoopla that surrounded that production - while it was still being made - was totally "over the top" in its pre-marketing and advance "Oscar buzz" ... all of which I "bought into," being a naive, easily influenced, 15-year old, pulling to see her favorite star make film headlines again as the terrific, young actress she was already as.

Now, everyone knows, the film itself was so incredibly "over the top" and incompetent in its efforts that it received possibly the WORST reviews ever given to a much ballyhoo'd movie. On top of that, Ms. Duke was, in my opinion, the star of the ill-written/ill-directed Valley of the Dolls, and resultantly, took most of the brunt of the blasting from the critics and the public.

I was personally devasted by the excruciating artistic failure my favorite actress endured and was equally fearful that this ridiculously dumb piece of filmmaking would bring an end to her (until-then) astonishing career.

It darn near did.

I can't tell you how many times, or how many people, I had to fend off in defense of my allegiance to Patty Duke and my belief in her as a actress, because of the film fiasco which has come to be known as VALLEY OF THE DULLS.

But on second thought (not to be confused with Seconal thoughts!)... some 30+ years after its release, DOLLS emerges as the BEST WORST MOVIE ever made. As such, its place in film history is enshrined; it epitomizes (perhaps DEFINES) the pop culture term: "camp classic."

Thankfully, Patty Duke ("Call Her Anna" now), recovered nicely - in many ways beyond the artistic sense - and redeemed herself by proving her talents - racking up an impressive body of award-winning roles and proving that that one big-bomb (I mean, BIG) does not mean the ruin of a career. As reported now, Ms. Duke laughs, along with the rest of us, at the cinema-ineptitude of VofD.

So, on second thought I've raised my IMBd rating of this film to a "10." First, because of its inarguable place in the annals of terrible movie-making. For that, it rates a "10" because it stands alone atop the Mt. Everest camp-genre. (As the film says, it's a lonely, empty climb!) But mostly because, for sheer laughs, it's unbeatable. As is its most celebrated survivor, Patty Duke.

(P.S. Check out AMC's Backstory: "The Making of the Valley of the Dolls" slated for April 23 01 with a repeat of same airing April 28 01. Should be fun.)

Fatal Judgement (1988 TV Movie)

Smarter Than Your Average TV Film

[10/10 · 6 July 2000]

Although "Fatal Judgement," starring Patty Duke, Tom Scotti and Joe Regalbuto was first produced 12 years ago, I have only recently had the great pleasure of viewing this excellent "torn from the headlines" TV film. If you have not had the opportunity to see this film, I encourage you to go out of your way to find it ... and do so.

This smarter-than-average script concerns a smarter-than-average Boston-area LPN, Anne Capute. As the "low-on-the-totem-pole" nurse, she juggles her family's needs and the work she loves - to tenderly care for her patients. But hospital administrators, local politics and media combine to thwart her, turning her life's-work-dream into a real-life nightmare overnight. At first, she is only suspended from her hospital job. Then the powers that be collude to initiate a series of half-truths and scapegoating tactics, resulting in her being indicted for murdering a terminally ill patient.

As always, Patty Duke is completely compelling to watch as this compelling hospital/courtroom drama unfolds. Ms. Duke's ever-engaging ability as an actress is at full-force work once again, as she cracks into the core of thi s role and the character's sometimes wise-cracking persona. It's no wonder that Ms. Duke has frequently been referred to by the critics and public alike as the "Queen of TV Movies." If you are lucky enough to view this film, you will more than likely have to check for it on the Lifetime Channel for re-airing.

In supporting roles, Tom Scotti is the uptown lawyer who comes to Capute's defense. His portrayal of the attorney, who is convinced of her innocence before she is, is wonderfully underplayed and appealing to watch. And Joe Regalbuto (of Murphy Brown fame) turns in a fine performance as the working-class husband who wants to help but is tentative, and frightened, by the changes that impact him and his family.

This is a production that features extremely smart scripting, above-par acting and intelligent direction. Within the first ten or fifteen minutes of the film, Ms. Duke's character and plight are tightly drawn through scant, aptly written, dialogue (augmeted by believable, Boston accents and attitudes by the full cast. The writing is similarly tight in its action, accomplished by parallel establishing scenes that quickly draw the audience in to this worth-watching, realistic drama. As Duke exits a car driven up to her house after an initial "media encounter," she pushes through a barrage of TV reporters camped on her lawn, yelling back at them "Leave me alone. I hafta go make dinnah!" Later, in a the first courtroom scene where TV cameras are allowed to videotape, another could-have been-throw-away-line is handled to perfection again by Duke: "Maybe they should get Jane Fawndah to play me, hah?" Another little piece of perfection and example of pretty perfect writing ... perfectly perfomed. There are lots of word-jewels in this splendid script.

In keeping with the terse scenario, veteran director Gil Cates allows the actors to perform without having them "appear" to perform ... and likewise allows the writer's words and well-written characters to emerge, be heard, and impact the audience.

If you haven't seen this film, I encourage you to find it. You will not be sorry to have spent time searching for it on Lifetime - or for the 120 enjoyable minutes of your life you'll gain from watching it. A better-than-average film experience.

The Miracle Worker (1962)

MW: One one of the reasons I fell in love with film as art

[10/10 · 22 May 2000]

Although I am a long-time Patty Duke admirer, and thus far from objective, this film still stands the test of time. This is the kind of filmmaking that prompted me to fall in love with the movies. Brilliantly inspired writing by William Gibson, from his equally inspired play. Intelligent, austere direction by Arthur Penn (one of the true gentlemen and masters of the American cinema); Penn had the sense to retain the inate artistry and grit of the original stage play and simply allow the camera to capture the actors' intuitive - albeit, well rehearsed, performances, recreating their stage roles which generated an unheard-of 19 curtain calls when it first graced the stage in its Philadephia opening. The film, in stark, black and white, speaks total reality to the film audience of 1962 - and, of course, well beyond that year. Finally, one would be hard pressed to think of another film that so exquisitely defines the term "2-character" study. Bancroft and Duke deliver A-plus, no bones about it, top-drawer, performances. It is a film about the undaunted human spirit and our need to communicate. Although much has been written about 11-minute breakfast donneybrook, which is certainly wonderful cinema to behold, the entire film is breathtaking from opening credits to the final scenes. I dare anyone to even breathe during the climactic water pump scene when teacher Annie Sullivan finally "connects" and communicates with her "unreachable" charge, the deaf, blind, young Helen Keller. It's an absolutely astonishing, "can't take your eyes off it," moment of celluloid. Duke, Bancroft and Penn worked beatifully to create this incredibly touching masterpiece of dramatic filmmaking, which is not without its moments of "comedy," as all fine dramas are capable of conveying. It is a film which breathes life - and it is especially brought to life by two of the best actresses America has ever produced. The Miracle Worker is a story and film portraying real human courage, patience and individual, personal will. It continues to live in my memory as a work of art that has rarely been equalled before - or since - on screen.