Television Specials | Scott's Film Reviews-1,528 Reviews posted!!! RECENTLY LAUNCHED-MY TOP 250 FAVORITE FILMS AND TOP 40 HORROR FILMS!!!

The Easter Promise-1975

Director Paul Bogart

Starring Jason Robards, Jean Simmons, Lisa Lucas

Scott’s Review #1,525

Reviewed April 3, 2026

Grade: A

The Easter Promise (1975) is a television movie that is surprisingly powerful and emotional. The umbrella title ‘family classics’ was misleading to me, as I begrudgingly watched what I thought would be an overly sentimental and wholesome affair.

That is not the case at all, as The Easter Promise is laden with dark and strong themes of loneliness and alcoholism mixed with feminism and truth to oneself.

A major win and another surprise is the use of videotape rather than film. This makes the story feel like a stage play or a very good daytime television drama layered with humanity and identification.

This worked in the same successful way for the well-known PBS series Upstairs, Downstairs series, and ups the storytelling and investment in the characters.

Finally, a hint of class distinction and career success versus failure is explored. Characters struggle to decide whether to reach for the stars or be complacent and content with the daily drudgery of ordinary life.

The story is that one day, the townspeople of a small Nebraska town eagerly anticipate the return of a former resident and now famous, glamorous Broadway actress, Constance Payne (Jean Simmons). Constance has returned to town to sell her recently deceased father’s house and quickly return to the Big Apple.

Events are told from the perspective of pre-teen Addie Mills (Lisa Lucas), an aspiring artist who cannot wait to leave the folksy and dull Midwest for the lights of New York City the moment she is old enough to.

She intends to forge a connection with Constance, whom she admires for reaching heights of career success.

But when Addie and her girlfriends bombard Constance with requests for acting lessons and an appearance at a local fashion show, they begin to see a dark side of show business.

Drama also surrounds Addie’s father, Jamie (Jason Robards), a high school classmate of Constance’s, who finds her lifestyle flashy and ridiculous. He prefers the small-town mindset and folksy way of thinking, which clashes with Constance and Addie’s beliefs.

Jamie’s mother, Grandmother Mills, provides a kindly, non-judgmental presence that counters Jamie and is wonderfully portrayed by Mildred Natwick.

The character reminds me of Helen Potts, the sweet-natured older woman from Picnic (1955) who brings a sense of pride and good-naturedness to the image of the Midwest.

Serving up a freshly baked pie or muffins elicits a friendly, welcoming vibe.

Despite the heaviness of the alcohol scenes staged dramatically, the best scenes are the quiet ones over a simple meal. When Addie impulsively invites Constance to dinner at her family home, much to Jamie’s dislike, career and mindset are on the agenda.

Constance and Addie calmly question why people are expected to stay passive and unhappy in an isolated place rather than embrace the hustle and bustle of New York City or the gypsy life of a creative soul.

Culturally, Constance expects a cocktail hour before the meal, whereas the Mills family does not even have wine on hand and serves dinner immediately.

This shows the difference between a good Christian family and the edginess of more creative types and perhaps non-believers.

The scenes involving alcoholism don’t exactly treat the topic as an addiction, or any other message deeper than someone who drinks has a myriad of problems.

But the acting between Lucas and Simmons is top-notch during these scenes.

I was impressed with the scene where Constance teaches the girls about acting and techniques surrounding improvisation and being in the moment of a scene. As a former brief theater major, I found the tips rang true and served as a reminder of my own drama teacher.

A clever, artistic addition is the inclusion of drawings of the characters prior to particular sequences. The drawings come to life as real people, and the scene begins.

The Easter Promise (1975) is a wonderful early-spring made-for-television gem that can be watched year after year.

Free to Be…You and Me-1974

Starring Marlo Thomas, Alan Alda, Harry Belafonte

Scott’s Review #1,262

Reviewed June 3, 2022

Grade: A

I don’t typically review television specials or television series, since, as the title suggests, my website isn’t about that.

But, because of the sheer relevance and groundbreaking nature of Free to Be…You and Me (1974), and that it is more of a ‘project’ than merely a television special, I felt compelled to give it the recognition and praise it deserved.

A record album and illustrated book first released in November 1972, featuring songs and stories sung or told by celebrities of the day, also makes it meatier than a one-and-done hour-long slot on a random Monday night.

The running time is a mere 45 minutes, but a lot happens in that time, leaving any viewer with an open mind about how everyone should see it.

To summarize, the emotions the experience elicits outweigh the limited screen time.

The project was conceived, created, and executive-produced by actress Marlo Thomas, who also serves as host. What a great human being she proves herself to be, bringing something so valuable to the small screen.

The result is so ahead of its time that the message feels powerful when watching it for the first time nearly fifty years later, in 2022.

You can’t say that about most television.

The basic concept is to celebrate and encourage gender neutrality, saluting values such as individuality, tolerance, and comfort with one’s identity. Strong messages.

These ideals began to emerge in the late 1960s, when the sexual revolution took hold.

A major theme is that anyone, regardless of whether they are a boy or a girl, can achieve anything and be whatever they want to be.

I adore early on when a scene from a hospital emerges, infant depictions of Thomas and Mel Brooks debating their genders. They say their goodbyes as they leave the hospital, but the moment is long remembered.

Later, Thomas and Alan Alda sing about a boy named William who wants a doll. And why shouldn’t he? Just as Sally, Jennifer, or Mary should be allowed to play with a dump truck if they feel like it.

Surely, the United States, the project’s main region, has slowly become more progressive in the subsequent decades. A sad reminder is that some people still have a problem with gender neutrality or even gender equality.

We’re not out of the woods yet, folks.

But those people are to be dismissed and not embraced.

Guest performers include Alda, Cicely Tyson, Tom Smothers, and Harry Belafonte, while Roberta Flack, Michael Jackson, Rita Coolidge, and Kris Kristofferson help supply the tunes.

A shockingly young Jackson also appears in a skit.

The production features uplifting sketches and songs that urge both the young and the old to welcome diversity and embrace individualism.

I ruminated throughout my viewing on how, in many ways, it is similar to PBS’s Mister Rogers Neighborhood, using puppets to appeal to youngsters and teach treasured messages. The kindness of the characters provides protection and warmth, teaching worth and value.

Free to Be…You and Me (1974) deservedly became an Emmy-winning TV special that taught many children (and adults) how to celebrate and respect diversity.

I hope that someone somewhere gives Free to Be…You and me, a boost, and it’s shown in schools all across the world.

It’s a timeless masterpiece.