Socialists can have glamour. Joan Stanley (Judi Dench) is a widow living out a quiet retirement in the suburbs when, shockingly, the British Secret Service places her under arrest. The charge: providing classified scientific information – including details on the building of the atomic bomb – to the Soviet government for decades. As the interrogation gets underway, Joan relives the dramatic events that shaped her life and her beliefs. As a physics student at Cambridge in the Thirties, young Joan (Sophie Cookson) is befriended by beautiful Sonya (Tereza Srbova) and her cousin Leo Galich (Tom Hughes) who grew up together after Sonya was orphaned and their relationship is more like that of a brother and a sister than cousins. Joan falls in love with the intense intellectual Leo. He goes to Russia in 1939 and is stuck there when war breaks out. Joan takes a job as assistant to married scientist Prof. Max Davis (Stephen Campbell Moore) at the wartime Tube Alloys project planning an atomic bomb for Britain. Leo returns from the Soviet Union and asks her to pass information but she refuses. She starts sleeping with Max on a trip to Canada where an encounter with Leo (now based in Montreal) sees her refusing once again to be a spy. Back in England she watches horrified the newsreel footage of the bombing of Hiroshima and finds herself sympathetic to the Soviet cause. But she accuses Leo of using her and then finds him dead, an apparent suicide. She tries to make contact with Sonya again … We’re not on the same side any more. Adapted from Jennie Rooney’s titular novel (based on the life of Melita Norwood) by Lindsay Shapero, this spy drama is meticulously made and attractively played by a talented cast. (If Tom Hughes isn’t the next James Bond I’ll eat one of the extravagant hats on display here). However some crucial plot points and revelations are played down in a badly mismanaged script which effectively diffuses any suspense into two near-identical scenes of the police staging a search of the Alloys department to find evidence about the supply of information to the Soviets. The flashback structure doesn’t always come off, the passage of time isn’t demarcated well and the relationship between Dench and her barrister son Nick (Ben Miles) doesn’t hit the dramatic point required: in fact his father’s identity isn’t clear in a parallel plot with Sonya’s pregnancy in the 1930s. The real culprit recruiting people to the Russian side is far too obvious, the tension is flat and it’s paced poorly. Not what you expect from a director of the calibre of Trevor Nunn but the story is intriguing nonetheless and Cookson does well with the role. Beautifully shot by Zac Nicholson. Is anything you ever told me actually true?
Horror author Wilbur Gray (Peter Cushing) tells publisher Frank Richards (Ray Milland) of his fear that cats are preparing to replace humans and regales him with three true stories that prove his point. London 1912. The cat gets everything. wealthy dowager Miss Malkin (Joan Greenwood) is planning to write her only nephew Michael (Simon Williams) out of her will, and bequeath her large fortune entirely to her large multitude of cats. When her maid Janet (Susan Penhaligon), hears the old woman making these changes with her lawyer Wallace (Roland Culver) she alerts Michael and they plan to destroy the last copy of the will locked in Miss Malkin’s bedside safe. Janet waits for the perfect moment to crack the combination but Miss Malkin catches her in the act and attempts to call the police, forcing Janet to kill her. But the cats witness everything and stop her from destroying their inheritance. Quebec Province 1975. Why can’t you be more like Angela? She never puts a foot wrong. Young orphan Lucy (Katrina Holden), moves into her aunt Joan’s (Alexandra Stewart) home along with her pet cat Wellington. Her cousin Angela (Chloe Franklin), however, gets extremely jealous when she discovers that Wellington will be living with them, since she’s not allowed any pets herself. When her whining does little to change her parents’ (Alexandra Stewart and Donald Pilon) minds, Angela delights in getting both the cat and Lucy in trouble, prompting her fed-up father to bring Wellington to be put down. Wellington somehow finds his way home, and helps Lucy plot her revenge against the troublemaking Angela by shrinking her cousin down to the size of a toy. Hollywood 1936. It was the cat that did it. B-movie star Valentine De’ath (Donald Pleasance) does away with his leading lady wife in an artfully arranged accident, persuading his producer Pomeroy (John Vernon) into handing over the role role to the actor’s vapid girlfriend Edina (Samantha Eggar) who calls him ‘VD’. As the two celebrate back at De’ath’s mansion, they are constantly interrupted by his wife’s cat, who is taking care of her newborn litter. De’ath hates the little creatures and drowns them all, but the mother cat escapes and follows him to the studio to take her revenge, eating through ropes to drop a light on his head and then shutting an iron maiden with his girlfriend inside… This British/Canadian Amicus anthology features a great cast but offers fairly slim pickings even if the theme of feline revenge is immensely appealing. It just doesn’t serve it with sufficient variety. There are some nice moments – including a photo of Pleasence in his Bond role, white pussycat on his lap; but the framing story isn’t sufficiently surprising even with its twist ending. The cats are delightful, if somewhat intimidating. And hungry. Written by Michel Parry and directed by porn stalwart Denis Héroux.
Hey that’s no way to say goodbye. Documentary maker Nick Broomfield charts the story of the enduring love affair between writer and singer Leonard Cohen and his muse Marianne Ihlen, a young married woman and mother, who spent time together on the Greek island of Hydra in the Sixties, the era before mass tourism. They made each other believe they were beautiful and she lived with him and took on the role she had previously performed for her writer husband. It transpires Broomfield knew them both and also fell in love with Marianne who later pushed him to make his first film back in Wales. Cohen’s career is etched against the backdrop of the relationship and it is echoed in the songs he wrote in Marianne’s honour and memory including Bird on a Wire. I was possessed, obsessive about [sex], the blue movie that I threw myself into [and] blue movies are not romantic. However it’s mostly about Leonard, and even Nick. I’m standing on a ledge and your fine spider web/ Is fastening my ankle to a stone. In some ways this is a bad trip in more ways than one as the film makes clear, with alterations in lyrics making over the original conditions in which they were written. Leonard earned the nickname Captain Mandrax thanks to his gargantuan appetite for drugs. Hydra became a playground for the wealthy, awash with illicit substances and countercultural encounters structure the narrative as much as Leonard’s songs. Various interviewees agree that poets do not make great husbands. I was always trying to get away. So what did Marianne do that made her such a significant muse, and not just to Leonard? She had a talent for spotting talents and strengths in people. After eight years together during which Leonard went from being a penniless poet to a nervous stage performer when Judy Collins discovered him and he became a star overnight, Marianne had had enough. He had an obsessive love of sex which he dutifully indulged while she stayed on the island. When she was summoned she joined him but things did not work and her little son suffered. She endured Leonard’s constant infidelities on the road and she was replaced by Suzanne (Elrod) whose relationship with Leonard overlapped with her own, and one day spider woman Suzanne turned up on the doorstep in Hydra with their toddler son Adam, ready to move in. So Marianne moved on. Leonard had found himself to be a born performer and she no longer had a role, this sensitive woman who didn’t draw or paint or write yet whose value as muse was frequently cited by Leonard in public, on stage, in interviews. Thereafter there were telegrams to her and invites to concerts when she returned to Norway and remarried and settled into a suburban lifestyle and their relationship fizzled into a kind of long-distance friendship which ended poignantly. Broomfield reveals that on one visit to him in Cardiff Marianne had to go away one day to abort Leonard’s baby – one of several she had by him. One friend comments that if anyone were to have had his children it should have been her. Instead it was the universally disliked Elrod. Marianne and Leonard’s relationship wasn’t the only casualty, as Broomfield finds in this picture of the early hippie lifestyle with its bohemian leanings and open marriages. There are accounts of mental illness and suicides including the sad account of the Johnstons, the friends who made his arrival in Greece so happy and easeful. Re-entering the real world following the isolation of this island adrift from the world was anything but happy. This is a complex story with many participants and audio interviews old and new are interspersed with superb archive footage (some by DA Pennebaker), numerous photographs and revealing chats with friends, bystanders and musicians who survive to tell the tale of this mysterious love. It is about Broomfield’s own loyal friendship with Marianne. Finally, it is about people finding themselves through each other and a story almost mythical in musical history which has so nourished the world’s imagination. So long, Marianne
I’m sorry about your father. I’ve learned, though, that in this country if I draw faster, I keep living. Engineer Tom Andrews (Randolph Scott) is carrying out a survey for the Canadian Pacific Railway and finds a pass through the Rockies that will prove vital for its construction. He tells boss Cornelius Van Horne (Robert Barrat) he is resigning his post to marry Cecile Gautier (Nancy Olson) and it is she who informs him about the problems with fur trader Dirk Rorke (Victor Jory) who wants the railroad stopped because he controls the Indians and trappers and believes their livelihood is now under threat. Tom and demolitions expert Dynamite Dawson (J. Carrol Naish) are almost killed when Rorke uses explosives to sabotage their plans and Tom’s life is saved by construction camp doctor and pacifist Quaker Edith Cabot (Jane Wyatt). Then Rorke incites the local Indians to get involved… I thought you’d changed. But it takes courage not to kill and shed blood. Colourful account of the settling of the North West which doesn’t remotely relate to the truth, but, hey, who’s counting. The Indian attack is quite spectacular. Scott is typically robust and Olson is fine in her film debut while Wyatt has an unusual role, pleading for peaceful resolution amid the chaos. Written by Jack DeWitt and Kenneth Garnet and directed by Edwin Marin with beautiful location photography by Fred Jackman Jr shot in Alberta and British Columbia, at Banff, Lake Louise, Kicking Horse Pass, Morley Indian Reserve and Yoho Valley. There’s a rousing score by Dmitri Tiomkin. Do you want to die?! Then you’re either a fool or a saint!
He’s a younger, better you. Jimmy Bly (Kip Pardue) is an up-and-coming young star of the open-wheel circuit known as Champ Car, but he’s slipping in the rankings as the championships loom. Under pressure from his promoter brother Demille (Robert Sean Leonard) and wheelchair-bound team owner Carl Henry (Burt Reynolds), Jimmy is given a mentor – Joe Tanto (Stallone), a legendary former CART racer whose career and marriage to Cathy (Gina Gershon) were destroyed by a tragic accident. Joe has to earn the rookie’s trust, while attempting a career comeback following years of retirement, dealing with persistent reporter Lucretia Clan (Stacy Edwards), and seeing Cathy, now married to rival racer Memo Moreno (Cristian de la Fuente). Meanwhile, Jimmy is pursuing Sophia (model Estella Warren), the girlfriend of top driver Beau Brandenburg (Til Schweiger) and there’s a journalist (Stacy Edwards) following everyone around the place in search of a scoop for her season-long coverage … Fans of Formula One racing will have spotted Stallone lurking in the team areas in the late 90s, attempting to get top-secret information for a biography of Ayrton Senna, killed while driving for Williams in 1994. He abandoned that idea when he got nowhere and decided to go his own way in an action drama set in Champ Car, albeit with guest spots from some of my own sporting heroes (Jacques Villeneuve! Juan Pablo Montoya!). As an F1 nut (or petrolhead) there is nothing more exciting on this good earth than watching a live race: this consigns the danger into a raft of effects and no matter how impressive they cannot compete with the real thing. There are also some geographical issues: for F1 fans the great races are the European classics at Monaco, Monza and Spa. This was shot at Long Beach, Chicago, Florida, Canada and Japan. Stallone is of course starring in this Renny Harlin-directed epic, with real-life NASCAR enthusiast Burt Reynolds co-starring, (but in a wheelchair, recalling F1 team owner Frank Williams) and in a nod to his own epic lifestsyle, he comments of the journalist pursuing them, She’s doing an exposé on male dominance in sports. More of this ironic dialogue would have enhanced the fast-cutting and action sequences which don’t dwell on the ever-present danger of death in a tangle of metal – here the outcomes from a crash are minimised to a broken ankle. It’s never going to get to the root of what makes drivers do what they do despite the tagline What Drives You? but there’s a nice sense of jeopardy, coming to terms with the past and some terrific racing – even a completely implausible episode through night-time traffic in Chicago. As if! That’s movies for ya. The best motor racing movie is still Grand Prix; and the best film about Senna would take devastating form in the titular documentary. Stallone wrote the screenplay from an original story by Jan Skrentny & Neal Tabchnick. Glad you stuck around
She could be one of our most important agents over here. On holiday from her job in the civil service at the Home Office, Judith Farrow (Julie Andrews) heads to the Caribbean after ending a love affair with married Government minister Richard Paterson (David Baron). On Barbados she is befriended by debonair Russian Feodor Sverdlov (Omar Sharif). The two quickly fall in love despite his married status, but Judith’s feelings are tested when Sverdlov is revealed to be a Russian agent eager to win her over to his cause. Back in London, intelligence officer Jack Loder (Anthony Quayle) is aware of a mole in the Government and is convinced Sverdlov is trying to recruit Judith as a Soviet spy. She is instructed never to see him again, but can’t shake the attachment and soon finds that both of their lives are in danger … With titles by Maurice Binder and a resonant piano-based score by John Barry, you’d almost think you were in a James Bond film. Blake Edwards’ adaptation of Evelyn Anthony’s 1971 novel is true to its sense of high romance, urgent drama and deep-seated tensions stemming from the clash of ideologies pulsing beneath the lust. Andrews and Sharif are extraordinarily well-matched in this stylish epic, with gorgeous photography by Freddie Young in what is a charged if relatively well-heeled and glossy depiction of the Cold War, with betrayal and assassinations and embassy parties. Perfect for a dull September evening. A few days to convince her that she is doing it for love
You save that jiggle for your husband. Semi-retired Michigan lawyer Paul Biegler (James Stewart) takes the case of Army Lt. Frederick Manion (Ben Gazzara), who murdered local innkeeper Barney Quill after his wife Laura (Lee Remick) claimed that he raped and beat her. However a police surgeon finds no evidence of rape. Over the course of a big trial, Biegler is the smalltown lawyer (and recently deposed District Attorney) who must parry with the new DA Lodwick (Brooks West) and out-of-town prosecutor Claude Dancer (George C. Scott) to set his client free, but his case rests on the victim’s mysterious business partner Mary Pilant (Kathryn Grant), who’s hiding a dark secret. Biegler has to prove Manion was suffering temporary insanity but will the jury buy it after Biegler discovers he’s a violent and jealous husband and he knows in his heart he’s got a very weak defence? … Producer/director Otto Preminger spent most of the 1950s baiting the censor with material for adults and this long engrossing account of a true crime is no different. Wendell Mayes adapted Robert Traver’s (aka John D. Voelker) novel based on his own experiences on a 1952 case in the state of Michigan.The matter of fact handling of the explicit physical details in the courtroom confirms that this is a film that has no cinematic tricks. It’s shot wide and flat in black and white with the only camouflage or disguise in the personalities presenting themselves. That applies to the legal team too: Parnell Emmett McCarthy (Arthur O’Connell) has to swear off the booze for the duration to assist Biegler; Laura must drop the tight pedal pushers, don skirts and hide her wonderful hair; Biegler’s bonhomie hides a finagling mind that doesn’t express great surprise at anything anyone says or conceals. There’s a strand of humour running through both dialogue and characterisation that raises the game: the lightness of Remick as the bruised flirtatious beauty, with her wonderful companion dog Muff (Snuffy) who gets to provide his own witness statement in court, alongside Stewart’s jolly and wryly witty performance, makes this more pleasurable than the subject matter suggests. In fact the whole film avoids melodramatic excess and has a devious sinuousness that leads from Stewart. His banter with Joseph N. Welch [chief counsel for the US Army when it was being investigated for UnAmerican Activities in the McCarthy Hearings] about fishing provides a lot of enjoyment; Eve Arden as the reliable and seen-it-all secretary Maida Rutledge offers her typical scepticism in a film constructed from the cynic’s playbook. There are no histrionics or crazy closing arguments, just practice, rationale and evidence (of witness-coaching). Now, Mr Dancer, get off the panties – you’ve done enough damage. Duke Ellington provides the film’s notable score and he appears uncredited as pianist Pie Eye and enjoys an exchange with Stewart. The great titles are by Saul Bass. This is elegant filmmaking, wonderfully crafted, telling a difficult story in the procedural vernacular very stylishly. How can a jury disregard what it’s already heard?
Show me how you see the world. The story of Maud Lewis née Dowley, a folk artist from Nova Scotia. She (Sally Hawkins) is an arthritic woman living with her Aunt Ida (Gabrielle Rose) in the 1930s. Maud is shocked to learn that her brother Charles (Zachary Bennett) has sold their family home, which their parents had left to him. In the meantime, she is berated by Ida about going out to a local dance. At a store, Maud sees the inarticulate and rough fish peddler Everett Lewis (Ethan Hawke) place an advertisement for a cleaning lady. Maud answers the call and takes the position for room and board. Everett’s house is very small, and the two share a bed, causing scandal in the town, with gossip that Maud is offering sexual services. While attempting to clean the shack, Maud paints a shelf. She then begins painting flowers and birds on the walls to make it look better. She meets one of Everett’s customers, Sandra (Kari Matchett) from New York City, who is intrigued by Maud’s paintings and buys cards Maud has decorated. She later commissions Maud to make a larger painting for five dollars. Maud persuades Everett to marry her, while her paintings receive more exposure in print coverage and sales begin at the house. US VP Richard Nixon contacts the Lewises to obtain one. After the couple appears on TV news, Everett becomes disturbed that local viewers see him as cold and cruel. Ida, increasingly ill, also saw the coverage, and Maud wishes to see her before Ida dies. Ida tells Maud that she is the only Dowley who ever found happiness, and confesses Maud’s baby girl did not die deformed. Charles had sold her to an old couple. Everett becomes convinced the relationship has brought nothing but emotional anguish to both of them. The two separate… It starts rather unpromisingly, this story of a strange, somewhat retarded woman whose existence has proven difficult for her aunt – the reference to ‘what happened last time’ after Maudie sneaks out to a dance hall and drinks is an illegitimate baby a late revelation which triggers the emotive last third, in which her difficult and occasionally violent husband seems to finally reconcile himself with his lot and brings Maudie to see her adopted daughter, now married and living in a pretty whiteboard house. The final scene in the hospital is diffident, as is much of the film, which cries out for a more in-depth treatment of this problem life and naive art. Stick with it even if Hawkins drives you potty. Shot in Newfoundland, for some reason. Written by Sherry Wright and directed by Aisling Walsh.
Peace be the journey. Four Jamaican bobsledders (Leon, Doug E. Doug, Rawle D. Lewis and Malik Yoba) dream of competing in the Winter Olympics in Calgary despite never having seen snow. With the help of Irv Blitzer (John Candy) a disgraced former champion desperate to redeem himself, the Jamaicans set out to become worthy of Olympic selection and go all out for glory… The real-life underdogs in the ’88 Games are given a sweetly (fictional) biographical treatment, complete with father-son conflict, rivalry with other teams, a real rackety set-up in an event riven with issues including the late great Candy (an invented character) who has his own past transgression to resolve without damaging his team’s prospects. As sliding proceedings in Korea come to an end (sob!) this is simply irresistible. Lynn Siefert & Michael Ritchie wrote the story and the screenplay is credited to Siefert and Tommy Swerdlow & Michael Goldberg. Directed by Jon Turteltaub. The last time I saw this was when it was released exactly 24 years ago and Candy died just a fortnight later. What a sad loss.
It happened once, it happened twice. Cancel the dance, or it’ll happen thrice. Ten years ago, an inexperienced coal miner named Tom Hanniger (Jensen Ackles) caused an accident that killed five men and put a sixth, Harry Warden (Peter Cowper), into a coma. A year later, on Valentine’s Day, Harry woke up and murdered 22 people with a pickaxe before dying. Now Tom has returned home, still haunted by the past. And something else is back in Harmony: a pickaxe-wielding killer in a miner’s mask, who may be the ghost of Harry, come to claim Tom and his friends. The accident long forgotten, the dance resumes. Many of the town’s younger residents are excited about it: Gretchen (Gina Dick), Dave (Carl Marotte), Hollis (Keith Knight), Patty (Cynthia Dale), Sylvia (Helene Udy), Howard (Alf Humphreys), Mike (Thomas Kovacs), John (Rob Stein), Tommy (Jim Murchison), and Harriet (Terry Waterland). Of this group, Sarah (Lori Hallier), Axel (Neil Affleck), and the mayor’s returning son T.J. (Paul Kelman) are involved in a tense love triangle. … This Canadian exploitationer is notorious for its gore and violence which led to it being heavily cut but it has become something of a cult item due to its status in the vanguard of the slasher genre. What’s striking about it at this distance is how it treats its subject – seriously! You may think twice about using a nail gun after this. Written by John Beaird with a story by Stephen Miller, this is directed by George Mihalka. And this holiday serial killer flick gave a certain great band their name. For that at least we are grateful.