by Frank Calvillo
The Archivist
Welcome to the Archive. Following the infamous “Format Wars” (R.I.P. VHS), a multitude of films found themselves in danger of being forgotten forever due to their admittedly niche appeal. Thankfully, Warner Bros. established the Archive Collection, a Disc On Demand & Streaming service devoted to some of the more idiosyncratic pieces of cinema ever made. Being big fans of the label, we here at Cinapse thought it prudent to establish a column devoted to these unusual gems. Thus “The Archivist” was born — a biweekly look at some of the best, boldest and most batshit motion pictures the Shield has to offer. Some of these will be recent additions to the collection, while others will be titles that have been available for awhile. With over 1,500 pictures procurable on Warner Archive (and more being added every month), there’s no possible way we’ll get to all of them. But trust me when we say we’re sure going to try.
Apart from taking turns romancing Michael Keaton’s caped crusader, the careers of Kim Basinger and Michelle Pfeiffer have been as far apart as can be. Yet there’s no question that the two striking blondes have both earned names for themselves as two of the most memorable leading ladies in Hollywood history.
As one would imagine, however, it didn’t start out that way. Both Basinger and Pfeiffer had to pay their dues through commercial work, guest spots on network series and eventually roles in made-for-TV movies on their respective journeys to stardom. In this edition of The Archivist, we’ll be looking at two of those made-for-TV titles which excellently showcase the future screen sirens in some above quality television fare.
Killjoy (1981)
In the mystery Killjoy, Basinger stars as Laury Medford, the daughter of a wealthy hospital executive who finds herself the object of affection of two doctors: Max (Stephen Macht) and Paul (John Rubinstein). When Laury announces her engagement to Max, Paul hatches a scheme to break the couple up involving a mysterious woman known only as Joy, which leads to a sequence of events including deception, blackmail and murder as everyone is trying to find the elusive Joy, assuming she actually exists.
For lovers of old fashioned murder mysteries and thrillers, Killjoy is pure catnip. Its a true whodunnit that’s crackling with an involving plot containing twist after twist within its many layers. The power struggles and romantic entanglements among the characters are standard soap opera filler, but it’s the central mystery of who is lying and who is pretending that keeps you hooked and guessing all the way. It helps that the film has a great cast aiding it along. Besides Basinger, Macht and Rubinstein, there’s Nancy Marchand as a top surgeon and Max’s mother and Robert Culp as a mysterious figure watching everyone. As for Basinger, she may be playing “the girl,” but she manages to infuse the otherwise standard part with a confidence and sensuality she would later perfect.
Killjoy was written by Sam Rolfe, who won the Edgar Allen Poe Award for this film, and deservedly so. This a mystery worthy of praise for its deep embrace of the genre and its respect for the audience’s intelligence. As a film, Killjoy is so incredibly involving, laying out an intricately plotted mystery that soars beyond its TV trappings and never lets up until the final second.
The Children Nobody Wanted (1981)
Based on truly inspiring real-life events, The Children Nobody Wanted features Pfeiffer alongside Fredric Lehne who plays Tom Butterfield, a 19-year-old college student required to donate his time as a volunteer in a mental hospital. When he finds himself taken by the plight of a homeless boy there, Tom manages to successfully became the youngest single foster parent in Missouri’s history. Along with his girlfriend Jennifer (Pfeiffer), the two take in a handful of other boys and begin to build a home for themselves in a dilapidated house. Along the way, the two would endure various hardships, obstacles, not to mention a strain on their own relationship, to build Butterfield Ranch, a sanctuary for various homeless children which still stands to this day.
On paper, The Children Nobody Wanted sounds as sentimental as all get out; the kind of movie loaded with an endless string of hug-filled moments. And while the emotion factor is high here, the film never shies away from the realistic side of things. There isn’t a single character in The Children Nobody Wanted who hasn’t suffered through an ordeal of some sort and it’s a testament to the producers, and the network, that such moments are present. One such moment occurs when a young boy asks Tom and Jennifer about their families. When they answer him, and ask about his mother, he simply responds: “my dad shot her.”
Because of its content, The Children Nobody Wanted is a handful for any young actress to tackle. While it’s obvious at times that Pfeiffer is still honing her evident skills as an actress, the level of soulfulness and truth she is able to manage proves an early indicator of the kind of impeccable work she would eventually be known for.
This is a stark tale filled with the darker side of life, but ultimately its not the sadness or the struggles which stays with the viewer, but rather the determination, optimism, love for humanity and the overall endurance of the human spirit, which make The Children Nobody Wanted an inspiring movie experience.
