The Clouded Yellow (Ralph Thomas, 1950) 7/10
A fragile young girl (Jean Simmons), accused of murder, is helped by a former secret agent (Trevor Howard) to escape from the police. They are chased from New Cadtle to the Lake District and to Liverpool where the mystery is finally resolved. The plot suspiciously follows Hitchcock's "The 39 Steps" in mood and action with the two leads being chased cross country minus the memorable handcuffs from the Hitchcock classic. Taut little thriller is helped immensely by the on location filming (with the great Geoffrey Unsworth on camera) and the chemistry of the two leads.
Last Seen Movie - The Latest Movie You Have Seen; ratings
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December Flower (Stephen Frears, 1987) 9/10
Charming little television film about love for the elderly. An elegant widow (Jean Simmons) arrives to visit her elderly aunt (the wonderful Mona Washbourne) who is bedridden and in an almost catatonic state. She has been all but abandoned by her son (Bryan Forbes) and daughter-in-law (June Ritchie) and lives with a caretaker (Pat Heywood) who mistreats her. Gradually, through loving care, the old lady is brought out of her sad state, reawakening her sense of humour and given life again by her doting niece. Superbly acted - by both Simmons and Washbourne - uplifting and heartwarming story. Unusual subject for director Frears who soon after this film hit it big in Hollywood. Also amusing to see an early appearance by Jim Carter (who finally made it big as the butler Carson on Downton Abbey over 20 years later). This film is a small masterpiece.
Charming little television film about love for the elderly. An elegant widow (Jean Simmons) arrives to visit her elderly aunt (the wonderful Mona Washbourne) who is bedridden and in an almost catatonic state. She has been all but abandoned by her son (Bryan Forbes) and daughter-in-law (June Ritchie) and lives with a caretaker (Pat Heywood) who mistreats her. Gradually, through loving care, the old lady is brought out of her sad state, reawakening her sense of humour and given life again by her doting niece. Superbly acted - by both Simmons and Washbourne - uplifting and heartwarming story. Unusual subject for director Frears who soon after this film hit it big in Hollywood. Also amusing to see an early appearance by Jim Carter (who finally made it big as the butler Carson on Downton Abbey over 20 years later). This film is a small masterpiece.
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The Woman in Question / Five Angles on Murder (Anthony Asquith, 1950) 7/10
A slatternly fortune teller (Jean Kent) is found strangled to death and her story unfolds through the eyes of five people she came into contact with - her on again/off again boyfriend (John McCallum), her sister, a pet shop owner, a vaudeville artist (Dirk Bogarde) and her busybody landlady (the delightful Hermione Baddeley) - as the police question them. Atmospheric little Brit noir with director Asquith using Kurosawa's Rashomon-like technique to resolve the mystery. Star Jean Kent shines as the woman who appears a different person to all five "friends".
A slatternly fortune teller (Jean Kent) is found strangled to death and her story unfolds through the eyes of five people she came into contact with - her on again/off again boyfriend (John McCallum), her sister, a pet shop owner, a vaudeville artist (Dirk Bogarde) and her busybody landlady (the delightful Hermione Baddeley) - as the police question them. Atmospheric little Brit noir with director Asquith using Kurosawa's Rashomon-like technique to resolve the mystery. Star Jean Kent shines as the woman who appears a different person to all five "friends".
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So Long at the Fair (Anthony Darnborough & Terence Fisher, 1950) 7/10
A major plot element is lifted from Hitchcock's "The Lady Vanishes" but here a man (David Tomlinson) disappears from a hotel and his frantic sister (Jean Simmons) cannot prove that he existed. She runs from pillar to post - the police, the British Consul (Sir Felix Aylmer) and the sinister owner of the hotel (Cathleen Nesbit speaking fluent french). It takes the amateur sleuthing of a British ex-pat painter (Dirk Bogarde) to resolve the mystery. Elegant production has a screenplay maintaining suspense to the end although the denouement, when it comes, seems rather over cooked and goes into an area quite different to the overall mood of the film. Simmons is stunningly beautiful.
A major plot element is lifted from Hitchcock's "The Lady Vanishes" but here a man (David Tomlinson) disappears from a hotel and his frantic sister (Jean Simmons) cannot prove that he existed. She runs from pillar to post - the police, the British Consul (Sir Felix Aylmer) and the sinister owner of the hotel (Cathleen Nesbit speaking fluent french). It takes the amateur sleuthing of a British ex-pat painter (Dirk Bogarde) to resolve the mystery. Elegant production has a screenplay maintaining suspense to the end although the denouement, when it comes, seems rather over cooked and goes into an area quite different to the overall mood of the film. Simmons is stunningly beautiful.
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Something For the Birds (Robert Wise, 1952) 6/10
Screwball wannabee has a determined woman (Patricia Neal) lobbying in Washington to save the dying condors in California. Helping her on her mission are an oil company executive (Victor Mature) and an old timer (the delightful Edmund Gwenn) who impersonates an Admiral in order to crash society parties in the Capital city. Political romantic comedy has a talky but witty screenplay with the two oddly matched stars struggling to find chemistry although individually both are memorable. Neal and her sexy voice try and make the most of the material.
Screwball wannabee has a determined woman (Patricia Neal) lobbying in Washington to save the dying condors in California. Helping her on her mission are an oil company executive (Victor Mature) and an old timer (the delightful Edmund Gwenn) who impersonates an Admiral in order to crash society parties in the Capital city. Political romantic comedy has a talky but witty screenplay with the two oddly matched stars struggling to find chemistry although individually both are memorable. Neal and her sexy voice try and make the most of the material.
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Bengal Brigade (Laslo Benedek, 1954) 2/10
Sadly the campy aspects of this film - Rock Hudson playing a British army Captain in 1857 North West Frontier, India (but filmed on the backlot in sunny California) who is discharged from his commission after he disobeys orders and heroically goes to rescue his trapped brigade - are lost in this lifeless and very boring adventure hokum. Arlene Dahl is wasted as the obligatory eye-candy and the dastardly villain seems to have wandered off the set of "Carry On Up the Khyber". A complete washout.
Sadly the campy aspects of this film - Rock Hudson playing a British army Captain in 1857 North West Frontier, India (but filmed on the backlot in sunny California) who is discharged from his commission after he disobeys orders and heroically goes to rescue his trapped brigade - are lost in this lifeless and very boring adventure hokum. Arlene Dahl is wasted as the obligatory eye-candy and the dastardly villain seems to have wandered off the set of "Carry On Up the Khyber". A complete washout.
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Bedelia (Lance Comfort, 1946) 7/10
Nobody played evil better than the great Margaret Lockwood in a series of elaborate British costume melodramas made for the Gainsborogh studio during the 1940s. This one is a modern Brit noir but strictly a "B" vehicle. She manages to make the trite material (based on a novel by Vera Caspary whose superior "Laura" was earlier made into an outstanding noir by Hollywood) work through sheer star power playing a female Bluebeard knocking off a series of husbands for their life insurance. The latest sap is played by Ian Hunter. The film sorely lacks the elegance and depth of Caspary's classic "Laura" but as an exercise in watching a greedy woman go through her paces - the lies and the deceptions - it remains a fascinating watch with Freddie Young's cinematography capturing the essence of a noir. The film, due to American censorship, had a different ending. This version sticks to the book's ending.
Nobody played evil better than the great Margaret Lockwood in a series of elaborate British costume melodramas made for the Gainsborogh studio during the 1940s. This one is a modern Brit noir but strictly a "B" vehicle. She manages to make the trite material (based on a novel by Vera Caspary whose superior "Laura" was earlier made into an outstanding noir by Hollywood) work through sheer star power playing a female Bluebeard knocking off a series of husbands for their life insurance. The latest sap is played by Ian Hunter. The film sorely lacks the elegance and depth of Caspary's classic "Laura" but as an exercise in watching a greedy woman go through her paces - the lies and the deceptions - it remains a fascinating watch with Freddie Young's cinematography capturing the essence of a noir. The film, due to American censorship, had a different ending. This version sticks to the book's ending.
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Jessica (Jean Negulesco, 1962) 3/10
A slow, achingly dull comedy with the highlight being lovely Angie Dickinson riding a Vespa through the cobbled streets of a small Sicilian village. She is an American widow (a virgin and a mid-wife) whose presence causes all the village men to stop, stare and drool. As a protest the women all decide to stop having sex with their men. The film just drones on and on - not helped at all by Maurice Chevalier playing the village priest and doing his tired sing-song shtick or by Agnes Moorehead who plays a sanctimonius old biddy urging on the women to stay away from their husbands. The spectacular location - Forza D'Agro in Sicily, perched high up in a hill near the sea - is breathtaking. Pity the screenplay is so trite. It even wastes lovely Sylva Koscina in a thankless part.
A slow, achingly dull comedy with the highlight being lovely Angie Dickinson riding a Vespa through the cobbled streets of a small Sicilian village. She is an American widow (a virgin and a mid-wife) whose presence causes all the village men to stop, stare and drool. As a protest the women all decide to stop having sex with their men. The film just drones on and on - not helped at all by Maurice Chevalier playing the village priest and doing his tired sing-song shtick or by Agnes Moorehead who plays a sanctimonius old biddy urging on the women to stay away from their husbands. The spectacular location - Forza D'Agro in Sicily, perched high up in a hill near the sea - is breathtaking. Pity the screenplay is so trite. It even wastes lovely Sylva Koscina in a thankless part.
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The Sins of Rachel Cade (Gordon Douglas, 1961) 6/10
Old fashioned film in the vein of the Warner Brothers stiff melodramas of the 1940s with the heroine suffering endlessly through tears but with a hint of a smile plastered firmly on ther face like a true martyr. A Catholic nurse (Angie Dickinson) arrives in the middle of the jungle in the Belgian Congo during the war years only to find that the only white doctor in the village has died and she has to run the "show" all by herself. She faces hostility from the local tribe leader (Woody Strode), is threatened by the witch doctor (Juano Henandez), has a hard time convincing the locals to come to her hospital, performs an appendectomy in a hut, debates theology and rebuffs the amorous advances of the local French administrator (Peter Finch), falls in love with the survivor of a plane crash - a doctor from Boston (Roger Moore who doesn't bother with his accent) - suffers terrible Catholic guilt, has an illegitimate child and all of it with Max Steiner's lovely score playing in the background. This is an excellent showcase for lovely Angie Dickinson who merely goes through the motions on fake studio jungle sets without perspiring even once through all the calamities. Watch it strictly for Angie otherwise give it a miss. Peter Finch is completely wasted in a part that bears more than a touch of similarity to his similar outing in "The Nun's Story" where he faced off with a similar heroine (Audrey Hepburn) but one who wore a habit.
Old fashioned film in the vein of the Warner Brothers stiff melodramas of the 1940s with the heroine suffering endlessly through tears but with a hint of a smile plastered firmly on ther face like a true martyr. A Catholic nurse (Angie Dickinson) arrives in the middle of the jungle in the Belgian Congo during the war years only to find that the only white doctor in the village has died and she has to run the "show" all by herself. She faces hostility from the local tribe leader (Woody Strode), is threatened by the witch doctor (Juano Henandez), has a hard time convincing the locals to come to her hospital, performs an appendectomy in a hut, debates theology and rebuffs the amorous advances of the local French administrator (Peter Finch), falls in love with the survivor of a plane crash - a doctor from Boston (Roger Moore who doesn't bother with his accent) - suffers terrible Catholic guilt, has an illegitimate child and all of it with Max Steiner's lovely score playing in the background. This is an excellent showcase for lovely Angie Dickinson who merely goes through the motions on fake studio jungle sets without perspiring even once through all the calamities. Watch it strictly for Angie otherwise give it a miss. Peter Finch is completely wasted in a part that bears more than a touch of similarity to his similar outing in "The Nun's Story" where he faced off with a similar heroine (Audrey Hepburn) but one who wore a habit.
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She Couldn't Say No (Lloyd Bacon, 1954) 3/10
Lifeless and unbelievably corny attempt at a screwball with a chic Jean Simmons - an oil heiress - arriving in Hicksville USA to play good samaritan by doling out large sums of cash to needy people but instead causes chaos amongst the simple townfolk. She also manages to bag for herself the town doctor (Robert Mitchum). Both stars try to liven up the proceedings but it's an uphill battle even though they have great screen chemistry together.
Lifeless and unbelievably corny attempt at a screwball with a chic Jean Simmons - an oil heiress - arriving in Hicksville USA to play good samaritan by doling out large sums of cash to needy people but instead causes chaos amongst the simple townfolk. She also manages to bag for herself the town doctor (Robert Mitchum). Both stars try to liven up the proceedings but it's an uphill battle even though they have great screen chemistry together.
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The Go-Between (Pete Travis, 2015) 7/10
Elegantly filmed mood piece based on the L.P. Hartley novel which is also a bittersweet coming-of-age story, a drama about memory and a sharp indictment on the English class system. Leo a young boy (Jack Hollington who is superb) from a humble background is welcomed into the summer home of his aristocratic school friend's mother (Lesley Manville). He develops a schoolboy crush on his friend's much older sister Marian (Joanna Vanderham) and unwittingly becomes a pawn in an affair of the heart when she uses him to deliver messages to her lower class lover Ted (Ben Batt). Although she is engaged to be married to a man of her own class she is carrying on an affair with the rugged farmer. The story's framework is built around the memory of the middle-aged Leo (Jim Broadbent) who recalls the poignant summer events of fifty years before which caused him intense emotional distress. He visits the now aged Marian (Vanessa Redgrave) who requests him to carry one last message to her estranged grandson whose father was the farmer. Stunningly shot tv adaptation seems rushed and with a number of changes but remains an interesting companion piece to the lesuirely paced Joseph Losey version from 1971 which was far better acted by Julie Christie, Alan Bates, Dominic Guard, Margaret Leighton, Edward Fox and Michael Redgrave.
Elegantly filmed mood piece based on the L.P. Hartley novel which is also a bittersweet coming-of-age story, a drama about memory and a sharp indictment on the English class system. Leo a young boy (Jack Hollington who is superb) from a humble background is welcomed into the summer home of his aristocratic school friend's mother (Lesley Manville). He develops a schoolboy crush on his friend's much older sister Marian (Joanna Vanderham) and unwittingly becomes a pawn in an affair of the heart when she uses him to deliver messages to her lower class lover Ted (Ben Batt). Although she is engaged to be married to a man of her own class she is carrying on an affair with the rugged farmer. The story's framework is built around the memory of the middle-aged Leo (Jim Broadbent) who recalls the poignant summer events of fifty years before which caused him intense emotional distress. He visits the now aged Marian (Vanessa Redgrave) who requests him to carry one last message to her estranged grandson whose father was the farmer. Stunningly shot tv adaptation seems rushed and with a number of changes but remains an interesting companion piece to the lesuirely paced Joseph Losey version from 1971 which was far better acted by Julie Christie, Alan Bates, Dominic Guard, Margaret Leighton, Edward Fox and Michael Redgrave.
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The Illustrated Man (Jack Smight, 1969) 5/10
Weird Twilight Zone-like trilogy of tales (based on a collection of Ray Bradbury stories) about a hobo (Rod Steiger) whose entire body from the neck down is covered in tattoos, painted by a witch-like woman (Claire Bloom) whom he is searching for in order to kill. A young man (Robert Drivas) he encounters on his wanderings discovers that if the tattoos are stared at they tell stories - setting in motion three increasingly absurd stories set in the past, present and future with all three actors portraying different characters in them. Steiger's fat imposing and naked body all covered in tattoos is the film's intriguing highpoint although his emotionless monotone acting (wearing a wispy and very obvious toupée) is cringeworthy. Bloom (then married to Steiger) plays the eye candy in the three tales and is equally stiff. The low budget sets are straight out of a 1960s tv space show with the best bits being the scenes set in the present (set around a bonfire) which frame the three tales. Phillip Lathrop's vivid cinematography is a plus although the score by Jerry Goldsmith is just as monotonous as the two leading stars.
Weird Twilight Zone-like trilogy of tales (based on a collection of Ray Bradbury stories) about a hobo (Rod Steiger) whose entire body from the neck down is covered in tattoos, painted by a witch-like woman (Claire Bloom) whom he is searching for in order to kill. A young man (Robert Drivas) he encounters on his wanderings discovers that if the tattoos are stared at they tell stories - setting in motion three increasingly absurd stories set in the past, present and future with all three actors portraying different characters in them. Steiger's fat imposing and naked body all covered in tattoos is the film's intriguing highpoint although his emotionless monotone acting (wearing a wispy and very obvious toupée) is cringeworthy. Bloom (then married to Steiger) plays the eye candy in the three tales and is equally stiff. The low budget sets are straight out of a 1960s tv space show with the best bits being the scenes set in the present (set around a bonfire) which frame the three tales. Phillip Lathrop's vivid cinematography is a plus although the score by Jerry Goldsmith is just as monotonous as the two leading stars.
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The Sergeant (John Flynn, 1968) 8/10
A tough and macho career master sergeant (Rod Steiger) is transferred to a quiet unit in France after the war which he soon whips up into shape. His latent homosexuality is awakened when he becomes obsessed with a young private (John Phillip Law) who gradually realises that the older man has more than just an interest in his career. Extremely strong performance by Steiger who keeps his usual blustery hammy acting in check and creates a devastating portrait of a lonely man who discovers feelings in himself which he can't control. The dated outcome not withstanding the film brings vividly to life the alienation, bleakness, isolation and frightening brutality of army life. A brave role for Steiger to tackle at the time in a subject that was still pretty much taboo at the time.
A tough and macho career master sergeant (Rod Steiger) is transferred to a quiet unit in France after the war which he soon whips up into shape. His latent homosexuality is awakened when he becomes obsessed with a young private (John Phillip Law) who gradually realises that the older man has more than just an interest in his career. Extremely strong performance by Steiger who keeps his usual blustery hammy acting in check and creates a devastating portrait of a lonely man who discovers feelings in himself which he can't control. The dated outcome not withstanding the film brings vividly to life the alienation, bleakness, isolation and frightening brutality of army life. A brave role for Steiger to tackle at the time in a subject that was still pretty much taboo at the time.
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The Heart of the Matter (George More O'Ferrall, 1953) 8/10
Graham Greene's story about Catholic guilt with everyone wallowing in it. In colonial Sierra Leone - 1942 - a British policeman (Trevor Howard), stuck in a miserable marriage, finds love with a shipwreck survivor (Maria Schell). When his staunch Catholic wife (Elizabeth Allan) finds out she nags him to go to church to confess his sin which he is not prepared to do causing everyone a great deal of stiff hand wringing and misery. Extremely well acted by the three leads (both Howard and Schell were nominated for Baftas) and the fine supporting cast - Denholm Elliott, Michael Hordern, Peter Finch. The film superbly creates the opressive atmosphere (shot by the great Jack Hildyard on location) where you can literally feel the humidity and wretched conditions all around. The downbeat situation has Howard's face betraying his stiff outward demeanor as his inner demons conflict with his religious beliefs. It is a great performance as he portrays one of Greene's most tortured characters with the plot a serious argument against Catholism for anyone wanting to convert.
Graham Greene's story about Catholic guilt with everyone wallowing in it. In colonial Sierra Leone - 1942 - a British policeman (Trevor Howard), stuck in a miserable marriage, finds love with a shipwreck survivor (Maria Schell). When his staunch Catholic wife (Elizabeth Allan) finds out she nags him to go to church to confess his sin which he is not prepared to do causing everyone a great deal of stiff hand wringing and misery. Extremely well acted by the three leads (both Howard and Schell were nominated for Baftas) and the fine supporting cast - Denholm Elliott, Michael Hordern, Peter Finch. The film superbly creates the opressive atmosphere (shot by the great Jack Hildyard on location) where you can literally feel the humidity and wretched conditions all around. The downbeat situation has Howard's face betraying his stiff outward demeanor as his inner demons conflict with his religious beliefs. It is a great performance as he portrays one of Greene's most tortured characters with the plot a serious argument against Catholism for anyone wanting to convert.
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The Two-Headed Spy (Andrè de Toth, 1958) 5/10
Lifeless spy yarn set during WWII with a British mole (Jack Hawkins) in the German army who has risen to the rank of General, is one of Hitler's most trusted aides all the while passing on secrets to the Allied Forces. Helping him on the side are his contact (Sir Felix Aylmer) and a German singer (Gia Scala). Alexander Knox is the suspicious comrade who is on his trail but can't quite get enough proof on him. Strictly of interest due to star Jack Hawkins whose distinct voice and precise diction alone is worth sitting through this film for.
Lifeless spy yarn set during WWII with a British mole (Jack Hawkins) in the German army who has risen to the rank of General, is one of Hitler's most trusted aides all the while passing on secrets to the Allied Forces. Helping him on the side are his contact (Sir Felix Aylmer) and a German singer (Gia Scala). Alexander Knox is the suspicious comrade who is on his trail but can't quite get enough proof on him. Strictly of interest due to star Jack Hawkins whose distinct voice and precise diction alone is worth sitting through this film for.