12 Movies Starring Shirley Knight

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Drifter Chance Wayne returns to his hometown after many years of trying to make it in the movies. Arriving with him is a faded film star he picked up along the way, Alexandra Del Lago. While trying to get her help to make a screen test, he also finds the time to meet his former girlfriend Heavenly, the daughter of the local politician Tom 'Boss' Finley, who more or less forced him to leave the town many years ago.

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A sinister, neurotic white girl Lula, with the provocation of her lovely, half-naked body and of her startlingly lascivious speech, lures to his doom a good-looking young black man Clay, a stranger whom she has picked up in the subway and whom she mocks for wearing the clothes and employing the voice and manners of the conventional white intellectual. The man, who, at first seeing no reason to resist the girl's advances, perceives too late that he is being used by her, drops his "white" disguise, and launches a wild and bitter counterattack on her and on the entire white race.

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It's 1933, and eight young women are friends and members of the upper- class group at a private girl's school, about to graduate and start their own lives. The film documents the years between their graduation and the beginning of the World War in Europe, and shows, in a serialized style, their romances and marriages, their searches for careers or meaning in their lives, their highs and their lows.

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Having discovered that she is pregnant, Natalie Ravenna (Shirley Knight), a Long Island housewife panics and leaves home to see if she might just possibly have made something different out of herself; if she can manage to unshackle her grocery list worth of responsibilities that add up to a life with a husband she loves. In a motel room where Natalie stops to rest during the day, she sits motionless on the bed, and experiences the exuberance of complete freedom and the queasy feelings of new beginnings. Natalie continues on with her journey and picks up a young hitch-hiker -Killer (James Caan), an attractive brain-damaged football player. It is through Killer that poses a more disturbing question to Natalie than that of domestic responsibility. How deeply are we wedded to chance meetings and are we responsible for the crimes that we witness?

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The infamous attack on Isreali athletes and coaches in the Olympic Village during the 1972 Munich Olympics is chronicled in this made-for-TV movie and supplemented with archive footage from the actual games. Members of the Palestinian Black September Movement kill two and hold nine others as hostages to exchange for hundreds of Arab prisoners in Isreali jails. The Isreali government adheres to its policy of not negotiating with terrorists, and German Holocaust guilt will not permit West German officials to allow the terrorists to leave the country with the hostages. Therefore, it falls to Chief of Police Manfred Schreiber to delay fulfilling the Palestinian demands through ongoing negotiation, but sooner or later he knows that tough decisions will have to be made.

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Two young teenagers, Jade Butterfield and David Axelrod, fall in love with each other. But the passion is too consuming for Jade's bohemian parents. Her parents try to stop them from seeing each other. But when this doesn't work, David burns down the house and is sent to a mental hospital. This doesn't stop him from seeing her. When he gets out, he goes to look for her and remains in love with her. But in the end, the passion for his first love is too strong and she has to leave or this love will kill both of them.

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Stuart Smalley, the Saturday Night Live character, comes to the big screen. Stuart, the disciple of the 12 step program, is challenged by lifes injustices. He loses his Public Access Cable Television Show, must beg his manipulative overbearing boss for his job back, rehabilitate his alcoholic father and drug abuser brother, and support his over-weight mother and sister in their lack of ability in handling their relationships with their husbands. Stuart is supported by his 12 step sponsors as a he regresses back to his negative behaviors each time he faces these challenges.

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A trilogy of stories set in the same house, but with different occupants and spanning over 40 years, deals with various women and moral crisis over unexpected pregnancies and their choice of abortion. In 1952, when abortion was illegal, a nurse deals with her unexpected pregnancy and takes drastic measures to get one. In 1974 a family housewife with four children discovers that she's pregnant and decides she can't handle another child to raise. In 1996, a pregnant college student decides on an abortion, but doesn't realize the means to go through to get one.

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Living in the rural Texas panhandle is a dysfunctional family: an abusive dad, a Vietnam vet with a war wound that's left him impotent; a compliant wife and a son of about 20, who have an incestuous relationship at the insistence of the dad; and, two small sons who look a lot like their brother. The dad harbors a secret, and he goes to murderous lengths to keep it hidden. The young man, Jimmy, who sleeps out in the shed, has suspicions, but little comes out until a Yankee woman of middle age comes to town looking for a dead private eye. And why does dad keep calling Jimmy, "little boy blue"?

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A girl comes to terms with her mentally challenged parents.

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Wes Merritt and his daughter Natalie (14) get more than they bargained for when they buy an old house that was formerly inhabited by the nice old Mrs. Ashboro and her pet cat, Margaret. When strange things start happening in the house, all fingers point to the presence of Margaret, who died the same day as Mrs. Ashboro. But why has she come back to haunt them?

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Danny (Kent Moran) has an apartment as small as his paychecks, no family, and a struggling music career. But with unwaivering optimism, for Danny, "every day is a great day to be alive." It's love at first sight when Danny meets Ariana (Alexia Rasmussen), a wealthy hearing-impaired girl from Greenwich, CT who tragically cannot hear the music she inspires him to write. Ariana is torn between hanging onto the shelter her controlling mother (Cybill Shepherd) provides and fighting for a love that, if just given the chance, might just change her life. When tragedy strikes, determined that nothing can keep them apart, they must trust in the power of their love, and together discover just how important it is to "listen to your heart."