Love Child

Terry Jean Moore (Amy Madigan) gets the short end of the stick when her underaged cousin tries to carjack a guy with a gun. She's the one who gets the long prison sentence. She gets more years when she gets pulled into an arson incident. She is sent to a secured prison. Prison guard Jack Hansen (Beau Bridges) takes an interest in her. She befriends fellow immate J. J. (Mackenzie Phillips).

This is based on a true story. Thirtysomething Amy Madigan is still a newbie breaking into Hollywood and shows some real acting power. The story doesn't have the most consistent pacing. It meanders a bit. Maybe they could have done more with the legal fight. Overall, this is a great showcase for Amy early in her career.

True story (however Hollywoodized) of a young Florida woman sent to jail on a 20-year sentence for taking part in a robbery that only netted her $5.00. Once behind bars, she strikes up a flirtation with a well-meaning prison guard which results in a pregnancy. The screenplay by Anne Gerard and Katherine Specktor (from Gerard's original treatment, although director Larry Peerce is said to have worked it over) isn't a high step-up from cable television at this time, although newcomer Amy Madigan gets to do a lot of emoting. Supporting cast including Beau Bridges and Mackenzie Phillips (as a lesbian inmate) also good, though the film isn't very moving or memorable. Madigan received a Golden Globe nomination as New Star of the Year in a Motion Picture - Female. ** from ****

This is quite a fascinating film. It shows us how the criminal justice system works and what it's like inside prison. We feel intimidated, hopeful, disgusted, and downright "in love", just as the lead character does. We can see both sides of the picture, too - from Captain Ellis' very logical advice to the lawyers' dilemma. The games the lawyers and judges play are very realistic, as well. This is based on a true story, and you'll be very much caught up in it. Both sides of the issue have good points. I'm very glad this important issue was given center stage.

My review was written in October 1982 after a Midtown Manhattan screening.

"Love Child", subtitled "a true story", is a tasteful and sincere filmization of young Ohioan Terry Jean Moore's battle five years ago to have and keep her baby (fathered to a guard) while serving a 20-year robbery term in Broward Correctional Institution in Florida.

The well-made Paul Maslansky production eschews the exploitation film excesses common to the "women in prison" genre, but that means troublewhen it comes to "exploiting" this little picture as a theatrical release for Ladd Company through WB. Subsequent television chances seem better, with very little laundering needed on the R-rated film.

In a strong screen debut, freckled Amy Madigan toplines as Moore, who while hitchhiking with her wild cousin Jesse (Lewis Smith), takes the rap when Jesse robs their driver of $5 while trying to steal the car. First quarter of the film limns her route to prison, with the judge handing her a stiff 15-year rap, plus five more years when she starts a fire in jail.

Possessing a wild temper and a perennial chip on her shoulder, Moore looks headed for doom in stir. Befriended by a personable guard Jack Hansen (Beau Bridges) and a sympathetic young lesbian J. J. (Mackenzie Phillips) she adjusts and even seems en route to legal freedom. Real-life twist comes when she becomes pregnant by Hansen, who quits his job and flees Florida with his family when the truth comes out, leaving Moore holding the bag once more.

Targeting the picture squarely at a femme audience, script by Anne Gerard and Katherine Specktor emphasizes Moore's self-reform as catalyzed by her awareness of the baby growing inside her and the new responsibility it represents. A Carly Simon-warbled song over end-titles reinforces the them as the picture concludes with Moore's victory in keeping the child, raising it in prison and achieving probation.

Benefitting from location lensing on the authentic Broward County sites plus realistic, non-actor casting of extras, director Larry Peerce achieves many physically powerful scenes, but overall the film is too tame. The lesbian and racial conflicts in the prison are introduced but sidestepped.

In what amounts to nearly a one-woman show, Madigan is excellen in the physically demanding central role. Audience willingness to check out and identify with her is the key to the film's sell. Sporting a short, greased-back hairdo, Phillips is striking in support, but both her and Bridges's roles remain functional. Phillips starts off as an aggressive rival to Bridges for Madigan's romantic affection, but the script abruptly turns her into just a nice guy sounding board. More bite, (or in industry parlance, "a little more topspin") would have helped the film. Tech credits are unobtrusive.