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Beverly Hills Cowgirl Blues (1985)

A Wyoming cop (Lisa Hartman) teams with a Beverly Hills policeman (James Brolin) to track down the killer of her best friend.


Corey Allen


Rick Husky


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Credited cast:
Robin Bach ... Livingston
Theora Balsam ... Cowgirl (as Theora Marea Balsam)
Brenda Bolte Brenda Bolte ... Pretty Girl
James Brolin ... Harry Wilde
Wally Dalton ... Malcolm
Vince Deadrick Sr. Vince Deadrick Sr. ... Deaf Man
Trent Dolan Trent Dolan ... Officer
Irena Ferris Irena Ferris ... Christine Woodward
Brian Frishman Brian Frishman ... Doorman (as Brian Mann)
Michael C. Gwynne ... Jimmy Blue
Alexa Hamilton ... Karen Moore
Lisa Hartman ... Amanda Ryder
David Hemmings ... Ian Blaize
Drake Hogestyn ... Rod
Aharon Ipalé ... Victor DeLucci


A Wyoming cop (Lisa Hartman) teams with a Beverly Hills policeman (James Brolin) to track down the killer of her best friend.

Plot Summary | Add Synopsis


Crime | Thriller


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Release Date:

5 October 1985 (USA) See more »

Also Known As:

Beverly Hills Blues See more »

Company Credits

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Technical Specs

Sound Mix:




Aspect Ratio:

1.33 : 1
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User Reviews

Typical mid-1980's TVM
26 January 2003 | by waha99See all my reviews

In one hundred years, this made-for-TV "flick" could be used as a textbook example of how most such shows were made: cardboard acting, washed out color cinematography, easy-to-get-to California locations, unsexy "sexy" love scenes, laughably inane car chases, stilted dialogue,,,the only thing missing is a disease of the week and it would have been "THE" complete TVM!

The plot? Oh, seems that Lisa Hartman is a Wyoming cop who enlists James Brolin's "streetwise" cop to track down the killer of a friend of hers. Only he seems way too polished (the whole movie does, honestly) to be truly "streetwise"; perhaps his (emptily portrayed)bitterness was supposed to get that point across, as television movies were still pretty heavily guidelined as to what they could and could not show, and tell, during that time. It took a landmark mini-series, "Lonesome Dove" to truly push the boundaries for television during that time.

In the end, this movie is about as significant as the second billing of a Monogram double-billing. Perhaps not even as significant, since at least Monogram would have made this in black-and-white, which would have vastly improved on the transparently dull color of this movie, and there would have been the chance of perhaps this thing being an example of film-noir with a feminist touch. Hmmm....didn't someone say that the best way to criticize a movie was to make another, and better, movie???

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