Tag Archives: Rosemary Murphy

1972 Films, Horror, Lamont Johnson, Patty Duke, Richard Thomas, Rosemary Murphy, Sian Barbara Allen

You’ll Like My Mother-1972

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You’ll Like My Mother-1972

Director Lamont Johnson

Starring Patty Duke, Rosemary Murphy

Scott’s Review #1,531

Reviewed April 29, 2026

Grade: A-

A largely forgotten 1972 horror film, You’ll Like My Mother, is a diamond in the rough.

It’s a perfect offering for a frigid wintry night since several days’ worth of activity occur amid a blustery Minnesota blizzard.

Additionally, a foreboding remote mansion with warm fireplaces, howling wind, and passageways is where most of the action takes place.

Is there any better atmosphere for a horror film?

Influenced by films like Psycho (1960), Rosemary’s Baby (1968), and even What Ever Happened to Baby Jane? (1962) and undoubtedly others, its themes are ‘mommy horror’ and being incapacitated, gaslit, and trapped in an isolated locale.

When her husband, Matthew, is killed in Vietnam, newlywed Francesca Kinsolving (Patty Duke) finds herself pregnant and alone. She travels from sunny Los Angeles to visit her in-laws in snowy Minnesota, believing, based on her late husband’s encouragement, that she’ll be welcomed with open arms.

She is mortified at what she actually finds when she arrives.

Mrs. Kinsolving (Rosemary Murphy) is an uncaring woman who refuses to accept Francesca as her daughter-in-law. Upon an introduction, she casually mentions having just drowned some kittens as a result of the family cat mating with an alleycat.

Matthew’s mentally disabled sister, Kathleen (Sian Barbara Allen), whom he never thought to mention, is kind, and Francesca forms an immediate connection with her.

Much to her displeasure, Francesca sticks around because of the blizzard, and events take a peculiar turn with the discovery of a family Bible, a mysterious resident of the mansion, and questions about the family fortune.

Patty Duke, best known for Valley of the Dolls in 1967, reportedly sought more mature roles and delivered a fantastic lead performance in You’ll Like My Mother.

The best part about Francesca is that she is a strong character and matches wits with Mrs. Kinsolving. When she is given a sleeping pill in her hot cocoa, causing her to sleep for fifteen hours, she scolds the mother and demands the hearty breakfast of bacon, eggs, and toast that she missed.

She also doesn’t mince words about her disappointment in Mrs. Kinsolving’s demeanor, admitting she expected someone a bit nicer and stating she doubts they’ll see each other again.

I wanted more scenes between the two and more bitchy sparring as the ladies play cat and mouse, dangling leverage in front of each other.

Rosemary Murphy is a standout as Mrs. Kinsolving, lending the character a cold, abrupt quality. As the onion is peeled and uncertainty about her identity is unleashed, she boldly keeps her cool.

The pacing of the film is excellent, and events never lag. At merely one hour and thirty-two minutes, the director Lamont Johnson makes the most of it, immediately showing Francesca on a bus towards snow country.

The rest is contained in and around the vast mansion and its grounds. While not haunted, the estate is a major player with long hallways, staircases, cabinets, and the attic and garage being important components.

A few plot holes are evident, such as no one realizing a newborn baby is being kept in the attic, and horror standards like Francesca’s near escapes being thwarted, but the film’s tension never wanes.

The final act is juicy as a wild chase and game of hide and seek around the mansion’s grounds ensues, which results in a shocking death. The audience will bite their nails in hopes that Francesca and the baby escape with their lives.

There is no gore, making the film more intellectual and haunting than in-your-face violence would be. Often, the danger is unseen, and shadows and noises are common.

A chilling thrill ride makes You’ll Like My Mother (1972) a delicious effort, a perfect companion for a dark, stormy night.

1977 Films, Cathleen Nesbitt, Drama, Fred Zinnemann, Hal Holbrook, Jane Fonda, Jason Robards, Lambert Wilson, Maurice Denham, Maximilian Schell, Meryl Streep, Political Drama, Rosemary Murphy, Vanessa Redgrave

Julia-1977

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Julia-1977

Director Fred Zinnemann

Starring Jane Fonda, Vanessa Redgrave, Jason Robards

Scott’s Review #1,283

Reviewed July 31, 2022

Grade: A

Jane Fonda leads the charge in a powerful and gorgeously shot drama named Julia (1977), centering around pre-World War II and the impending Holocaust.

The drama is based on the playwriting of Lillian Hellman, a famous playwright, which depicts the relationship between two close friends and the unexpected consequences that arise when one desperately needs help from the other.

When Lillian (Fonda), a renowned playwright, reunites with her childhood friend Julia (Vanessa Redgrave) in Russia, the writer is asked to smuggle funds into Germany to aid the anti-Nazi movement.

In the mix is Lillian’s mentor, Dashiell Hammett (Jason Robards), who is unaware of her dangerous assignment.

I immediately relish the film mainly because the message is extremely female-empowering, and a dynamic friendship between two women is examined. This does not happen enough, successfully, in films even to this day.

Given the World War II theme, one would naturally assume the film would center around men, not women, and plenty of female spies and the like are featured.

Added to the mix is the astounding cinematography of Germany, Poland, and Russia. In truth, the film was shot in England and France for security and restrictive reasons, but it could have fooled me since the countries look authentic and believable.

Julie looks polished, and that’s hardly a gripe. The production design and costumes are perfectly shot and colored. It’s not a dowdy or drab film, and it depicts a little amount of violence or torture, choosing to focus on relationships and intrigue.

The suspenseful train sequence is brilliant in every way, sprinkling in Hitchcockian touches and enough nail-biting to make the long scene a key takeaway. Lillian must keep her intentions secret as she travels toward Russia, and each train scene, whether it’s the peril of being checked at the border or eating in the dining car, is captured perfectly.

A slight suspension of disbelief is the casting of the beautiful Fonda as the plain-looking playwright Lillian Hellman. In some scenes, she is made up to look haggard, tired, and homely, but the trick never works for a minute.

It’s even giggle-worthy, and it’s recommended to sit back and watch Fonda deliver a splendid performance, forgetting altogether that she is portraying the writer.

In other movies, it might have only been about Fonda from an acting perspective, but in Julia, the spoils go round and round. At the very least, Redgrave, Robards, and Maximilian Schell, who plays a pivotal character named Johann, must be mentioned. Each brings professionalism and believability to their characters.

But quieter parts by a woman passenger and a girl passenger are my favorites. They go from cheery to serious, speaking in a sort of code, not stating that they are helping Lillian, but obviously using facial expressions to reveal true alliances.

A delightful point to make is that Julia is Meryl Streep’s first film role, albeit in a tiny part.

Speaking of Redgrave, when she won the Best Supporting Actress Academy Award, she made an infamous speech that marked a great controversy.

In her acceptance speech, she thanked Hollywood for having “refused to be intimidated by the threats of a small bunch of Zionist hoodlums whose behavior is an insult to the stature of Jews all over the world and to their great and heroic record of struggle against fascism and oppression”.

This was preceded by members of the Jewish Defense League picketing the ceremony and followed by some boos and retorts to her comments.

But back to the film, Julia does not end in a happily-ever-after way. A major character is killed, and a baby is lost forever. But that’s part of the truth about creating a film that harkens back to a day when non-conformity led to death.

Julia (1977) is a vital film that still holds up tremendously well, and in a world still filled with chaos and oppression, it’s a powerful reminder of cinema’s power.

Oscar Nominations: 3 wins-Best Picture, Best Director-Fred Zinnemann, Best Actress-Jane Fonda, Best Supporting Actor-Jason Robards (won), Maximilian Schell, Best Supporting Actress-Vanessa Redgrave (won), Best Screenplay-Based on Material from Another Medium (won), Best Cinematography, Best Costume Design, Best Film Editing, Best Original Score

1962 Films, Alice Ghostley, Brock Peters, Collin Wilcox, Crime Drama, Drama, Gregory Peck, Mary Badham, Phillip Alford, Robert Duvall, Robert Mulligan, Rosemary Murphy, Ruth White

To Kill a Mockingbird-1962

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To Kill a Mockingbird-1962

Director Robert Mulligan

Starring Gregory Peck, Mary Badham, Robert Duvall

Scott’s Review #468

1051852

Reviewed August 25, 2016

Grade: A

To Kill a Mockingbird is a 1962 film based on Harper Lee’s renowned novel. It was released only two years earlier, in 1960.

The novel was groundbreaking, and the film is equally so. Race and racism are front and center in the storyline. The film is still a marvel because it tells the story through the eyes of a child—in present-day terms, an adult—as she reflects on her experience.

The film is set in the 1930s in a small Alabama town.

We follow the lives of Atticus Finch, a respected lawyer and father, and his two young children- Scout and Jem.

Gregory Peck, as Atticus, is the moral center of the film. Scout (Mary Badham) narrates, and her innocence makes the story much more compelling and less like a preachy vehicle for a social topic.

The Finchs are a tight family unit as Atticus is widowed, leaving Jem and Scout motherless. A poor black man-Tom- is accused of raping and beating a white woman, also poor, coached into the accusations by her racist father.

We accept that the woman had designs on Tom and, when caught by her horrified father, was beaten, with Tom left to take the blame.

Much of the film, but not too much, takes place in the courtroom, as we hear testimony by the poor woman, her father, and Tom.

Not to be missed is that every juror is a white man- a sad reminder of the racism that existed and one argues still exists, though not as blatant in today’s modern world.

One cringe when the black attendees are forced to sit in the upper portion of the courthouse, an obvious way to demean and lessen them, and which speaks volumes for the town- we realize Tom does not have a chance, yet we hope against hope for his acquittal.

Wisely, I do not feel the point is the trial’s outcome—we know what will result. But the film teaches us a lesson about reality: life is often unfair and painful.

The after-effects of the trial are the most exciting part of To Kill a Mockingbird.

Gregory Peck was awarded the Best Actor Oscar in 1962 for his role as a liberal, progressive, and honorable man who can do no wrong and is an excellent example for his children.

A black maid, Calpurnia, works for him, and he treats her like family. I could not help but think she is the mother figure in Jem and Scout’s lives.

Atticus does the right thing, treating everyone fairly and living a moral life. He is an excellent example, and it is no wonder Peck won the trophy.

A subplot involves a mysterious neighbor, Boo Radley, feared by the town kids but turning out to be a protector and companion to Scout and Jem. This role was the first for acclaimed actor Robert Duvall- the actor has a tiny yet important role and does a great deal of expressive acting without uttering a line.

The title of the film is poignant and essential to the ending.

The film is really about Jem and Scout and their quick journey into the pains and unfairness endured by adults- once innocently enjoying the summer, playing games, and making friends with a visiting young boy, they are exposed to evil and a hate-filled racist town, which they slowly come to realize exists.

Filmed in black and white, this quality enhances the picture. The blowing leaves and dark shadows add much to the impressive cinematography and give the film a dark quality that color would have ruined.

The 1930s time period is very authentic.

To Kill a Mockingbird is a timeless film with an important message about the world. Children and adults of every generation should view it as a lesson in empathy and compassion.

The film is not ugly or raw but is truthful and still feels fresh. It will resonate with all audiences patient enough to give it a good watch.

Oscar Nominations: 3 wins-Best Picture, Best Director-Robert Mulligan, Best Actor-Gregory Peck (won), Best Supporting Actress-Mary Badham, Best Screenplay Based on Material from Another Medium (won), Best Music Score-Substantially Original, Best Art Direction, Black-and-White (won), Best Cinematography, Black-and-White