Tag Archives: Dean Cundey

Halloween (1978, John Carpenter), the television version

The television version of Halloween has an interesting story–the original film ran so short, when the network wanted to run it on TV, there wasn’t enough film after they cut out the violence. Carpenter was producing Halloween II at the time so he came back and filmed some more scenes to pad it out.

Most of these scenes are with Donald Pleasence, which seriously throws the film off-balance. Besides the opening, Pleasence disappears for long stretches while Carpenter establishes Jamie Lee Curtis, Nancy Kyes and P.J. Soles. With so much more Pleasence at the beginning of the picture, one notices his absence more. He ought to be around, given his lengthy presence at the beginning.

The added scenes are also done with the sequel in mind, which means the film no longer makes sense if one has seen the second one and how the new scenes fit. However, during the final sequence everything happens at such an insistent pace it’s hard to dwell on the plot holes.

I’ve seen the television version a couple times and it always seemed like a lesser work, even though it does give Kyes (Halloween‘s unsung comedic star) another scene. This time’s no different.

This viewing must be my seventh or eighth of Halloween and I just now noticed the Psycho reference at the open and how Dean Cundey’s subjective camerawork does everything for the film’s mood.

In other words, awkwardly added scenes or not, Halloween‘s always got more to offer.

CREDITS

Directed by John Carpenter; written by Carpenter and Debra Hill; director of photography, Dean Cundey; edited by Tommy Lee Wallace and Charles Bornstein; music by Carpenter; production designer, Wallace; produced by Hill; released by Compass International Pictures.

Starring Donald Pleasence (Dr. Sam Loomis), Jamie Lee Curtis (Laurie Strode), Nancy Kyes (Annie Brackett), P.J. Soles (Lynda van der Klok), Charles Cyphers (Sheriff Leigh Brackett), Kyle Richards (Lindsey Wallace), Brian Andrews (Tommy Doyle), John Michael Graham (Bob Simms), Nancy Stephens (Marion Chambers), Arthur Malet (Graveyard Keeper), Mickey Yablans (Richie), Brent Le Page (Lonnie Elamb), Adam Hollander (Keith), Robert Phalen (Dr. Terence Wynn), Tony Moran (Michael Myers, age 23), Will Sandin (Michael Myers, age 6), Sandy Johnson (Judith Margaret Myers), David Kyle (Judith’s Boyfriend), Peter Griffith (Morgan Strode) and Nick Castle (The Shape).


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Back to the Future (1985, Robert Zemeckis)

Back to the Future gives the impression of being very economical in terms of its narrative… but it really isn’t. Zemeckis just does such a great job immediately establishing the fifties setting, even though there’s less than fifty minutes before the third act, the film feels more immediate.

It takes a half hour to get to the past (until that point, of course, the title doesn’t make much sense) and Zemeckis and co-writer Bob Gale establish the characters. Well, not the characters, but the cast. No one in Future has much of a character, just a distinct, likable persona. Even Thomas F. Wilson’s menacing thug.

Without the establishing front matter, Michael J. Fox’s trip to the past wouldn’t work, at least not with his parents, Crispin Glover and Lea Thompson. Actually, it might work with Glover, since he’s fantastic. Thompson is not; Zemeckis has problems with female actors–both Thompson and Claudia Wells are weak. Wendie Jo Sperber is good in her cameo though.

While Fox holds the film together, his performance concentrates more on likability than actual dramatic heft. Christopher Lloyd is much stronger; he gives a physical comedy performance some of the time, but also acts as the viewer’s entry into the extraordinary situation. He does quite well.

Of particular note are Dean Cundey’s photography and Alan Silvestri’s score. Silvestri’s score isn’t subtle, but it’s effective. And Cundey does great work, even though Zemeckis’s composition is pedestrian.

Though sometimes painfully shallow, Future is a lot of fun.

CREDITS

Directed by Robert Zemeckis; written by Zemeckis and Bob Gale; director of photography, Dean Cundey; edited by Arthur Schmidt and Harry Keramidas; music by Alan Silvestri; production designer, Lawrence G. Paull; produced by Gale and Neil Canton; released by Universal Pictures.

Starring Michael J. Fox (Marty McFly), Christopher Lloyd (Dr. Emmett Brown), Lea Thompson (Lorraine Baines McFly), Crispin Glover (George McFly), Thomas F. Wilson (Biff Tannen), Claudia Wells (Jennifer Parker), Marc McClure (Dave McFly), Wendie Jo Sperber (Linda McFly), George DiCenzo (Sam Baines), Frances Lee McCain (Stella Baines) and James Tolkan (Mr. Strickland).


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Romancing the Stone (1984, Robert Zemeckis)

So much of Romancing the Stone is perfect, when the film has bumps, they stand out. Even worse, it closes on one of those bumps. The finale is so poorly handled, one has to wonder if it’s the result of a rewrite.

Anyway, on to the glowing stuff.

The film’s a technical marvel. Zemeckis’s Panavision composition juggles the story’s action, its character moments and the beautiful scenery. Plus, he’s got Dean Cundey shooting the film. It’s stunning to watch; there’s not a single unrewarding shot.

But Zemeckis also gets how to integrate the humor. Even when the characters are in danger–for example, when villain Manuel Ojeda is fighting with protagonist Kathleen Turner–Zemeckis finds the right mix to make the threat viable yet comical side situations appropriate.

The same balance works for Danny DeVito and Zach Norman, who are also villains (Norman’s even scary sometimes), but they’re always hilarious. DeVito’s role in the film is just to give the audience something else to enjoy. Stone is big on its amusement value, starting in its first few moments with a good joke.

Turner’s excellent in the lead, though at some point her character arc about coming out of her shell thanks to Michael Douglas’s vaguely criminal, but still swashbuckling expat, falls through. It’s like a scene or three are missing.

Douglas has a lot of fun. DeVito’s hilarious. In small roles, both Alfonso Arau and Holland Taylor are outstanding. Especially Arau.

Plus, Alan Silvestri’s score’s infectious.

Stone‘s a great vacation.

CREDITS

Directed by Robert Zemeckis; written by Diane Thomas; director of photography, Dean Cundey; edited by Donn Cambern and Frank Morriss; music by Alan Silvestri; production designer, Lawrence G. Paull; produced by Michael Douglas; released by 20th Century Fox.

Starring Michael Douglas (Jack T. Colton), Kathleen Turner (Joan Wilder), Danny DeVito (Ralph), Zack Norman (Ira), Alfonso Arau (Juan), Manuel Ojeda (Zolo), Holland Taylor (Gloria), Mary Ellen Trainor (Elaine) and Eve Smith (Mrs. Irwin).


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Apollo 13 (1995, Ron Howard)

While Tom Hanks, Bill Paxton and Kevin Bacon’s characters are the only ones in danger in Apollo 13, they remain calm for almost the entire runtime. There’s no point to panicking, something Hanks points out in dialogue. Instead, director Howard focuses on an exceptional assortment of character actors–as the NASA Mission Control–for the dramatic parts. Even Kathleen Quinlan, as Hanks’s wife, has to keep it together for the most part.

Otherwise, regardless of how it actually happened, the film’s dramatics wouldn’t work. Apollo 13 isn’t a disaster movie, it’s a science and engineering drama. Howard creates a genre with the film; I don’t think anyone has attempted to follow in his footsteps.

There’s no history synopsis at the start, so unless an unknowing viewer paid attention to the opening titles, the finish might be a surprise. Howard has to keep up the tension for both kinds of viewers, informed and not. He and editors Daniel P. Hanley and Mike Hill probably had a hell of a time putting the film together; they make it appear seamless and organically flowing

Wondrous photography from Dean Cundey and fine music from James Horner assist.

Hanks and Bacon have the most to do, with Paxton and the earthbound Gary Sinise providing sturdy support. Great work from Quinlan. Ed Harris binds the Mission Control scenes.

Of the outstanding character actors, Loren Dean, Clint Howard, Gabriel Jarret and Christian Clemenson stand out.

Apollo 13 is assured, masterful work all around… but especially from Howard.

CREDITS

Directed by Ron Howard; screenplay by William Broyles Jr. and Al Reinert, based on a book by Jim Lovell and Jeffrey Kluger; director of photography, Dean Cundey; edited by Daniel P. Hanley and Mike Hill; music by James Horner; production designer, Michael Corenblith; produced by Brian Grazer; released by Universal Pictures.

Starring Tom Hanks (Jim Lovell), Bill Paxton (Fred Haise), Kevin Bacon (Jack Swigert), Gary Sinise (Ken Mattingly), Ed Harris (Gene Kranz), Kathleen Quinlan (Marilyn Lovell), Jean Speegle Howard (Blanch Lovell), Tracy Reiner (Mary Haise), David Andrews (Pete Conrad), Chris Ellis (Deke Slayton), Joe Spano (NASA Director), Xander Berkeley (Henry Hurt), Marc McClure (Glynn Lunney), Ben Marley (John Young), Clint Howard (EECOM White), Loren Dean (EECOM Arthur), Tom Wood (EECOM Gold), Googy Gress (RETRO White), Patrick Mickler (RETRO Gold), Ray McKinnon (FIDO White), Max Grodénchik (FIDO Gold), Christian Clemenson (Dr. Chuck), Brett Cullen (CAPCOM 1), Ned Vaughn (CAPCOM 2), Andy Milder (GUIDO White), Geoffrey Blake (GUIDO Gold), Wayne Duvall (LEM Controller White), Jim Meskimen (TELMU White), Joseph Culp (TELMU Gold), John Short (INCO White), Ben Bode (INCO Gold), Todd Louiso (FAO White), Gabriel Jarret (GNC White), Christopher John Fields (Booster White), Kenneth White (Grumman Rep), James Ritz (Ted) and Andrew Lipschultz (Launch Director).


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Who Framed Roger Rabbit (1988, Robert Zemeckis)

Who Framed Roger Rabbit, even with the absolute mess of a final act, would have really benefited from a better director.

Oh, Zemeckis isn’t bad. With Dean Cundey shooting the film, it’d be hard for it to look bad and it doesn’t. But Zemeckis doesn’t–apparently–know how to bring all the elements together. The film opens as a Chinatown homage and sort of falls apart once it deviates from that model.

The big problem is Bob Hoskins, his performance and his character. The performance isn’t the fault of screenwriters Jeffrey Price and Peter S. Seaman, but the fully contrived backstory for the character is sure their responsibility. Roger Rabbit‘s so diverting–the animation mixes beautifully with the live action and is always visually engaging–the end credits are rolling by the time it’s clear Hoskins’s character is more cartoonish than the cartoons.

Since any judgment about character development can be delayed, Hoskins’s performance is the film’s bigger problem. He’s charmless in a role more appropriate for Humphrey Bogart. He does, however, work really well (without speaking) during the cartoon effects.

The rest of the supporting cast is very strong–Christopher Lloyd and Joanna Cassidy are both excellent. Voicing the cartoon leads Charles Fleischer and Kathleen Turner do well… though there aren’t enough great lines from Turner. There are like four, which are all outstanding, but no more.

The derivative Alan Silvestri score gets old immediately and Arthur Schmidt’s editing is bad, but, otherwise, Roger Rabbit‘s fun stuff.

CREDITS

Directed by Robert Zemeckis; animation director, Richard Williams; screenplay by Jeffrey Price and Peter S. Seaman, based on a novel by Gary K. Wolf; director of photography, Dean Cundey; edited by Arthur Schmidt; music by Alan Silvestri; production designers, Roger Cain and Elliot Scott; produced by Frank Marshall and Robert Watts; released by Touchstone Pictures.

Starring Bob Hoskins (Eddie Valiant), Charles Fleischer (Roger Rabbit / Benny The Cab / Greasy / Psycho), Christopher Lloyd (Judge Doom), Kathleen Turner (Jessica Rabbit), Joanna Cassidy (Dolores), Alan Tilvern (R.K. Maroon), Stubby Kaye (Marvin Acme), Lou Hirsch (Baby Herman) and David L. Lander (Smart Ass).


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Back to the Future Part II (1989, Robert Zemeckis)

Back to the Future Part II, while front heavy with special effects, ends up being a small picture. The first half or so deals with the sequel setup from the first movie’s finale but then Part II tells a side story set during the first film. Time travel franchises can be, it turns out, rather economical.

Unfortunately, these economies mostly just show off how Bob Gale’s creatively bankrupt script. The film is reductive, not expansive, with most of the cast wasted. Christopher Lloyd, for example, disappears for large sections, occasionally popping up for a comical line reading. Michael J. Fox and Thomas F. Wilson are the whole show and neither do well. Neither are bad, but both have all new character quirks to incorporate. These incorporations are a tad difficult… since the original film looms over this one. And not just because whole sections of the first film’s footage is reused or because the second half involves Fox acting “alongside” himself.

Gale and Zemeckis continue to waste female talent. Elisabeth Shue actually has some decent screen time in the first half, being the viewer’s entry into the future of she and Fox, but then she literally gets knocked out for the rest of the movie. Lea Thompson shows up for a few scenes, does a lot better than Shue (who mugs constantly), before evaporating.

Gone are the first film’s likable characterizations. Part II is an ugly film; nastiness is apparently easier to write. The abject lack of story is shocking.

CREDITS

Directed by Robert Zemeckis; screenplay by Bob Gale, based on a story by Zemeckis and Gale; director of photography, Dean Cundey; edited by Harry Keramidas and Arthur Schmidt; music by Alan Silvestri; production designer, Rick Carter; produced by Neil Canton and Gale; released by Universal Pictures.

Starring Michael J. Fox (Marty McFly / Marty McFly Jr / Marlene McFly), Christopher Lloyd (Dr. Emmett Brown), Lea Thompson (Lorraine), Thomas F. Wilson (Biff Tannen / Griff Tannen), Elisabeth Shue (Jennifer Parker), James Tolkan (Mr. Strickland), Jeffrey Weissman (George McFly) and Charles Fleischer (Terry).


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Back to the Future Part III (1990, Robert Zemeckis)

Apparently, all Robert Zemeckis and Bob Gale needed for a Back to the Future sequel was a story. Part III, unlike the second installment, has a lot going on and it’s not all tied into the original’s storyline. Instead, Michael J. Fox finds himself in the Old West, trying to save Christopher Lloyd.

Zemeckis and Gale finally reward Lloyd for his time with a good part in this one. Fox’s story is boring–he’s up against Thomas F. Wilson again (Wilson is utterly fantastic)–but Lloyd’s romancing Mary Steenburgen while playing cowboy. There’s also a nice bit for Lloyd set after the first movie. This entry really makes it clear Zemeckis and Gale don’t know what works in these movies.

They include some more nonsense details, with Fox playing his ancestor. Lea Thompson shows up for a scene or two as Fox’s great-great-grandmother or something… it’s unclear if the filmmakers mean to imply the family tree has crossed branches. Probably not; Part III, until the awkward ending (it’s an ending to Part II, not this one), is rather genial.

The Dean Cundey photography is great and editors Harry Keramidas and Arthur Schmidt do excellent work, especially on the unbelievably tense finale. Unfortunately, Alan Silvestri’s score is either repetitive or weak. It’s a small quibble in an otherwise excellent production.

There are nice minor performances from Matt Clark and James Tolkan.

While it finishes the series, Part III does show what works in Future sequels–tight writing, inventive setting.

CREDITS

Directed by Robert Zemeckis; screenplay by Bob Gale, based on a story by Zemeckis and Gale; director of photography, Dean Cundey; edited by Harry Keramidas and Arthur Schmidt; music by Alan Silvestri; production designer, Rick Carter; produced by Gale and Neil Canton; released by Universal Pictures.

Starring Michael J. Fox (Marty McFly / Seamus McFly), Christopher Lloyd (Dr. Emmett Brown), Mary Steenburgen (Clara Clayton), Thomas F. Wilson (Buford ‘Mad Dog’ Tannen / Biff Tannen), Lea Thompson (Maggie McFly / Lorraine McFly), Elisabeth Shue (Jennifer Parker), Matt Clark (Chester the Bartender), Richard Dysart (Barbwire Salesman), Pat Buttram (Saloon Old Timer), Harry Carey Jr. (Saloon Old Timer), Dub Taylor (Saloon Old Timer), James Tolkan (Marshal James Strickland), Marc McClure (Dave McFly), Wendie Jo Sperber (Linda McFly) and Jeffrey Weissman (George McFly).


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Jurassic Park (1993, Steven Spielberg)

Two big things I noticed about Jurassic Park. First, it’s still a superior use of CG. It really shows how digital effects do not get better with technology or budget or whatever; being used by a good filmmaker makes all the difference.

And Spielberg does a fine job with Jurassic Park. It’s an incredibly impersonal film, which the second thing I noticed really showcases. Sam Neill’s protagonist is so shallow, even Bob Peck’s character—who gets no back story—comes off deeper. Some of the problem is with Neill’s performance. He can’t keep his American accent—in fact, at the beginning it seems like he’s supposed to be Australian, but then he starts suppressing it, only to then let it come through. Laura Dern’s character is even more shallow, but she manages to make the character work with her performance. Neill gets better towards the end, when he finally stops whining about not liking kids.

Once the film gets going, it has a fantastic pace. Spielberg’s direction is strongest here in that regard—he knows how to make the film work and does; he also knows how to get good performances out of almost all the cast. Neill isn’t really his fault.

Besides Peck, Jeff Goldblum, Martin Ferrero and Samuel L. Jackson are standouts. Richard Attenborough teeters between endearing and good. He sells his most important scene.

The John Williams score is excellent, the Dean Cundey photography is good (but not singular).

Jurassic Park’s a fine, pseudo-smart popcorn movie.

CREDITS

Directed by Steven Spielberg; screenplay by Michael Crichton and David Koepp, based on the novel by Crichton; director of photography, Dean Cundey; edited by Michael Kahn; music by John Williams; production designer, Rick Carter; produced by Kathleen Kennedy and Gerald R. Molen; released by Universal Pictures.

Starring Sam Neill (Dr. Alan Grant), Laura Dern (Dr. Ellie Sattler), Jeff Goldblum (Dr. Ian Malcolm), Richard Attenborough (John Hammond), Bob Peck (Robert Muldoon), Martin Ferrero (Donald Gennaro), Joseph Mazzello (Tim Murphy), Ariana Richards (Lex Murphy), Samuel L. Jackson (Ray Arnold), B.D. Wong (Henry Wu) and Wayne Knight (Dennis Nedry).


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Escape from New York (1981, John Carpenter)

Man and boy, I’ve probably seen Escape from New York ten times. This viewing might be the first where I noticed the film’s quietness. Carpenter uses the relative silence to make the first third (even before Isaac Hayes shows up), the most memorable parts of the film.

Some of that memorable quality has more to do with Carpenter’s approach than the script. The flying sequence is phenomenal. The deliberate cuts between Kurt Russell, delicately lighted in the cockpit, and the glider silently moving through the New York streets, the music barely audible… it’s one of Carpenter’s more “beautiful” moments as a director.

That sequence also showcases how Carpenter and his crew were able to take a lower budgeted picture like New York and make it more impressive than most big releases of the day. Carpenter sets up a dystopian future, but make the futuristic aspects imaginative and thrilling to the audience.

Lots of seventies Carpenter regulars show up–Tom Atkins, Charles Cyphers, Nancy Stephens (not to mention Donald Pleasence and Adrienne Barbeau)–but the additional supporting cast members are iconic. Obviously, Isaac Hayes as the Duke of New York is a flashy role, but Harry Dean Stanton and Ernest Borgnine are great too.

In a very Altman fashion, suggests these complex relationships–particularly Barbeau and Stanton, but also Russell and Van Cleef–and lets the viewer decide for him or herself. He does something similar with Pleasence’s finish.

The film is a significant masterpiece, something I’m not vocal enough about.

CREDITS

Directed by John Carpenter; screenplay by Carpenter and Nick Castle; director of photography, Dean Cundey; edited by Todd C. Ramsay; music by Carpenter in association with Alan Howarth; production designer, Joe Alves; produced by Larry J. Franco and Debra Hill; released by Embassy Pictures.

Starring Kurt Russell (Snake Plissken), Lee Van Cleef (Hauk), Ernest Borgnine (Cabbie), Donald Pleasence (The President), Harry Dean Stanton (Brain), Isaac Hayes (The Duke), Tom Atkins (Rehme), Charles Cyphers (The Secretary of State), Season Hubley (Girl in Chock Full O’Nuts) and Adrienne Barbeau (Maggie).


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Halloween II (1981, Rick Rosenthal), the television version

Halloween II–if it isn’t the worst film John Carpenter ever worked on in some capacity–certainly features Carpenter’s worst script. There isn’t a single well-written conversation in the entire picture–the closest one is a couple young women talking; presumably co-writer Debra Hill wrote that conversation–and then it’s one of the handful of scenes Carpenter himself directed. It’s a fine scene, maybe the single scene in the entire film similar to the excellent character moments in the first one.

But it’s hard to compare Halloween II to its predecessor. While Hill and Carpenter produced this film, like they did the first one, and wrote the screenplay, like they did the first one, it’s a completely different approach. It feels more like an imitation–an ignorant one–than a sequel to the original film. The pacing is all different, the emphasis is on physical danger as opposed to fear. The dialogue’s atrocious–the television version adds more screen time for Jamie Lee Curtis (whose wig looks awful) and it doesn’t help the film any. Curtis is playing a completely different character than the first time around; her character doesn’t have an arc. The film starts and stops with her, but it’s trading on sentiment from the first one. There’s no reason to care if she makes it, not after the film brutally murders a bunch of other characters.

Even with the crappy script, however, there’s no way the film can survive the direction. It’s unclear how much influence Carpenter had over Rosenthal’s choices–Carpenter’s regular cinematographer, Dean Cundey, shows up for this outing and at least makes it look beautiful–but someone’s responsible for the mess. Rosenthal’s always showing Michael Myers–poorly played here by Dick Warlock, but some of the fault lies with Rosenthal’s handling of the character. There’s no uncanny factor anymore, there’s Michael Myers playing a joke on an old lady. Or something along those lines. It’s just goofy.

Besides wearing the wig, Curtis doesn’t have much to do. She needs to scream occasionally, but nothing else. The script saddles Donald Pleasence with some terrible dialogue–so bad even he can’t deliver it. Neither Curtis nor Pleasence have a character anymore. Halloween II is practically real time–it should have been, thinking about it, and set against Night of the Living Dead–which lets Hill and Carpenter get away with a character development-free ninety minutes.

Charles Cyphers is good in a too small role, as is Jeffrey Kramer (in a minute role). Gloria Gifford’s okay as a hospital administrator and Leo Rossi has a couple good deliveries. Lance Guest is lousy–and his character seems kind of stupid for someone Rossi calls “Mr. College.” The rest of the supporting cast stinks… Actually, there aren’t any good performances in the entire film–except Cyphers and Kramer. Hunter von Leer is particularly terrible.

When the movie starts, with the recap of the original’s ending–followed by some terrible dialogue–and then lengthy opening titles… it almost pauses any judgment. Sure, the dialogue’s crappy, but it’s just in the one scene, there’s no way to know it’s the standard for the rest of the film. During the first third, Rosenthal’s direction–mimicking Carpenter’s–isn’t terrible. Maybe it’s Charles Cyphers’s presence–even though the script’s so stupid, so full of holes, it’s hard not to trip–but it doesn’t seem too terrible. Then it gets to the hospital and gets stupider in every way possible. Even some unimaginable ways.

CREDITS

Directed by Rick Rosenthal; written and produced by John Carpenter and Debra Hill; director of photography, Dean Cundey; edited by Mark Goldblatt and Skip Schoolnik; music by Carpenter and Alan Howarth; production designer, J. Michael Riva; released by Universal Pictures.

Starring Jamie Lee Curtis (Laurie Strode), Donald Pleasence (Dr. Sam Loomis), Charles Cyphers (Sheriff Leigh Brackett), Jeffrey Kramer (Graham), Lance Guest (Jimmy Lloyd), Pamela Susan Shoop (Karen Bailey), Hunter von Leer (Deputy Gary Hunt), Leo Rossi (Budd), Gloria Gifford (Mrs. Alves), Tawny Moyer (Nurse Jill Franco), Ana Alicia (Janet Marshall), Ford Rainey (Dr. Frederick Mixter), Cliff Emmich (Mr. Garrett) and Nancy Stephens (Marion Chambers).


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