Far From the Madding Crowd (1967)

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Don’t anyone suppose that because I’m a woman, I don’t understand the difference between bad goings-on and good. I shall be up before you’re awake, I shall be afield before you’re up, and I shall have breakfasted before you’re afield. In short, I shall astonish you all. In the late nineteenth century in England’s West Country beautiful young Bathsheba Everdene (Julie Christie) inherits a picturesque farm from her uncle and decides to run it herself. Three very different suitors – Francis Troy (Terence Stamp), an intense soldier who has impregnated a maid; William Boldwood (Peter Finch), a prosperous middle-aged farmer; and Gabriel Oak (Alan Bates), a neighbouring sheep farmer of modest means – all contend for her hand in marriage and her different attitudes to each of them cause conflict and tragedy … At home by the fire, whenever I look up, there you will be. And whenever you look up, there I shall be. Adapted by Frederic Raphael from Thomas Hardy’s classic novel, this is one of the most gloriously beautiful films of its era, starring some of the most attractive British performers, all shot in almost decadently luminous imagery by the great Nicolas Roeg, a few years from making his directing debut. However none of that would matter if it weren’t for the management of the material which clarifies the novel’s question – how is it possible for a woman to maintain her independence and property while claiming a romantic relationship for herself? The painful issues of patriarchy and community combine when Bathsheba turns down Gabriel’s offer of marriage and she inadvertently triggers a chain of horribly dramatic events in this bucolic setting. It’s director John Schlesinger’s third film with Christie and she’s at the peak of her beauty and charisma playing this passionate girl. You can understand why everybody loves her. A woman like you does more damage than she can conceivably imagine

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Bande a Part (1964)

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Aka Band of OutsidersA Who-Dunit, Who’s Got-It, Where-Is-It-Now Wild One From That “Breathless” director Jean-Luc Godard!  Smalltime crooks and cinéphile slackers Franz (Sami Frey) and Arthur (Claude Brasseur) spend their days mimicking the antiheroes of Hollywood noirs and Westerns while pursuing the lovely Odile (Anna Karina) whom they meet at English class. The misfit trio upends convention at every turn, through choreographed dances in cafés or frolicsome romps through the Louvre trying to set a record for fastest circumnavigation. Eventually, their romantic view of outlaws pushes them to plan their own heist, but their inexperience may send them out in a blaze of glory – just like their B-movie heroes … Isn’t it strange how people never form a whole?Ostensibly an adaptation of a novel called Fool’s Gold by Dorothy Hitchens, that’s just a skeleton on which the mischievous Jean-Luc Godard drapes his love and admiration of Hollywood genres (and Karina) over a series of apparently improvised riffs in this lightly constructed charmer. A few clues for latecomers: Several weeks ago… A pile of money… An English class… A house by the river… A romantic young girl... It’s a splendidly rackety affair, with several standout scenes providing the postmodern matrix for much of pop culture (and a name for Quentin Tarantino’s production company). It’s Godard at his most playful, joyous and audience-pleasing, exploring what it’s like to not want to grow up and how it’s always possible to have fun with like-minded people. Then, you go a little too far and someone goes and spoils it all for everyone. Maybe. Sheer pleasure. Godard said of the dance scene: “Alice in Wonderland as re-choreographed by Kafka”. A minute of silence can last a long time… a whole eternity

That Hamilton Woman (1941)

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Aka Lady Hamilton/The Enchantress.  They told us of your victories but not of the price you paid!  When small-town courtesan Emma Hart (Vivien Leigh) finds herself married off by her indebted uncle to British Ambassador to Naples, elderly widower Sir William Hamilton (Alan Mowbray), her world is turned upside down. Just as Emma is finally settling into her new life as Lady Hamilton, she meets British naval hero Horatio Nelson (Laurence Olivier) who vociferously opposes Napoleon’s growing empire and the two fall madly in love. However, their forbidden romance is soon threatened by the ever-growing shadow of the Napoleonic Wars... What a century it’s been: Marlborough rode to war, and Washington crossed the Delaware. Louis XVI, and Marie Antoinette. The last of the Stuarts. Peter the Great. Voltaire. Clive of India. Bonaparte. The framing story of this famous propaganda work created by producer/directorAlexander Korda is that of Emma Hamilton ensconced in debtor’s prison in France, regaling her incredulous fellow prisoners with her incredible life story and her grand romance. That this involved once notorious real-life lovers, then married couple, Vivien Leigh and Laurence Olivier (reunited by Korda from Fire Over England), must have been catnip to audiences. Indeed the film’s tagline boasted,  The Year’s Most Exciting Team of Screen Lovers! Its role in attracting the US into a total war nobody wanted is debatable. In fact Korda was accused of espionage, a charge he only escaped because his hearing coincided with Pearl Harbour:  special relationship?! There are always men, who for the sake of their insane ambition, want to destroy what other people build. The screenplay by Walter Reisch and R.C. Sheriff (with two of Nelson’s speeches contributed by Winston Churchill) condenses a lot of historical material and Olivier is perhaps a bit too slow but this is compensated for with the range of emotions Leigh explores to charismatic effect. Shot in the US, it looks gorgeous courtesy of Rudolph Maté’s intricate cinematography and the sumptuous design by Vincent Korda and Lyle Wheeler, with beautiful costuming by René Hubert,  while the romantic score is composed by Miklós Rózsa. There is no ‘then’. There is no ‘after’

Mon Oncle (1958)

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From a story by Jacques Tati, Jacques Lagrange and Jean L’Hôte, this (Tati’s first film in colour) is a witty appraisal of technology in society and the immediate effects on contemporary suburban man. From the midcentury modern architecture to the immaculate sense of timing in traffic jams, the adventures of the eccentric M. Hulot are followed with amusement as he negotiates the post-war consumerist world. Dialogue is subordinated to atmos and effects as the values of society are deconstructed through his human fumbling in magnificently impersonal geometric surroundings – constructed at Nice’s Victorine Studios and torn down when the film was done. Quelle folie! Sure, you’ll think about Chaplin’s Modern Times and it’s a little on the long side but it’s too much fun not to enjoy, with a funny running gag about a fountain and a charming dachshund. With Alain Bécourt as Gérard, Hulot’s nephew.

Jamaica Inn (1939)

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Bah, stop crying! Stop it, you little fool! Be beautiful! Oh, ply those tears if you like, but you must be beautiful. Well, you have to be hard now. The Age of Chivalry is gone! England in 1819, the reign of George IV.  After the death of her mother, young orphan Mary Yellen (Maureen O’Hara) travels from Ireland to the Cornish coast to live with her Aunt Patience (Marie Ney). Stranded on a windswept, isolated road, Mary meets the bumptious Humphrey Pengallan (Charles Laughton), who escorts her to Jamaica Inn. There, Mary meets her aunt and bullying uncle, Merlyn Joss (Leslie Banks) – who secretly leads a band of pirates that pilfers the goods from wrecked ships. Suspicious, Mary turns to Pengallan for help, only to discover another dark secret… Why not a toast to beauty, Sir Humphrey?  Written by Alma Reville, Sidney Gilliat, Joan Harrison and J.B. Priestley, this adaptation of Daphne Du Maurier’s novel about wreckers still has some of that book’s atmospherics despite too much staginess and the overt theatricality of Laughton’s performance. O’Hara is luminous in her first major role and along with the gripping opening wrecking scene, it’s her scenes with Jem Trehearne (Robert Newton) that give this its tinge of excitement.  It’s disappointing in many production respects and Du Maurier reportedly wasn’t happy with the result.  It’s not really a Hitchcock picture – even he realised that, since it was produced by Laughton’s company – but it still has some touches of gallows humour and bright moments of dark humanity. That’s women for you – save your life one minute, frightened of you the next. I guess I’m not a very pretty sight at the moment, but I don’t bite, you know

What a Carve Up! (1961)

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Aka No Place Like Homicide. One thing is certain – this is only the start. When wealthy recluse Gabriel Broughton dies of fright his heirs are summoned to his isolated country mansion Blackshaw Towers for a reading of the will. Then they are killed off, one by one and the nearest telephone is in the village … If he thinks I’m going to wait here and wind up in a deckchair on the lawn he’s got another thing coming. Adapted from Frank King’s novel The Ghoul by eminent British farceur Ray Cooney and Tony Hilton (they had co-written The Hand the previous year), this is an opportunity for Carry On regulars Kenneth Connor and Sid James to essay a pleasing Laurel and Hardy act (including a shared bed) as proofreader Ernest (nephew of the deceased) and his bookmaker roommate Syd, attending as his legal advisor. They are accompanied by pretty Linda (Shirley Eaton) a nurse, whom Ernest fancies; Ernest’s cousin Guy Broughton (Dennis Price) an ex-Army officer with an alcohol problem; Guy’s grasping sister Janet (Valerie Taylor); their father Doctor Edward (Michael Gwynn); their batty aunt Emily (Esma Cannon); solicitor Everett Sloane (!!) (Donald Pleasence); and the butler, Fisk (Michael Gough). It plays with all the notions of the haunted house and might remind some of Clue but is mainly a showcase for some good slapstick and mild innuendo which might still raise eyebrows. Genial fun performed by a very game ensemble with pop star Adam Faith turning up in the final sequence, which is explicitly used by author Jonathan Coe in his titular satirical homage to the film. Produced by Robert S. Baker and Monty Baker and directed by the brilliant documentary maker Pat Jackson. Syd, look! French Impressionists – Rembrandt!

The Heroes of Telemark (1965)

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Don’t you ever make the mistake of under-rating the Germans. By Easter we will have not merely 10000 pounds of heavy water, but 12000 pounds of heavy water. British Intelligence receives shocking news of significant breakthroughs at a Nazi facility in occupied Norway where they’re developing heavy water stores for nuclear attack in the small town of Rjukan in Telemark county. The British work with Norwegian Resistance head Knut Straud (Richard Harris) and distinguished physicist Dr. Rolf Pedersen (Kirk Douglas) to plan an urgent response even if Pedersen had planned on sitting out the war. As a Norwegian team headed by Straud struggles to blow up the store, a civilian hostage situation erupts with the Nazis keen to disrupt the local Resistance. Meanwhile, Pedersen has to negotiate domestic arrangements with his ex-wife Ann (Ulla Jacobsen) who’s living with her uncle (Michael Redgrave) As far as I remember you spent two years with him, and damn well didn’t get out of bed. If this isn’t as immediately psychologically suspenseful as director Anthony Mann’s rocky mountain Fifties westerns, it’s a terrifically tense thriller. This man on a mission movie benefits from the difficulties between the leading men – particularly when it comes to dealing with a questionable local Resistance leader:  Shoot him, says Douglas. Don’t, says Harris. They take a vote on what to do with this potential Quisling. You choose! Needless to say, there’s a deadly payoff. The location shooting in Norway provides a sensational snowscape in which this anti-Nazi anti-nuclear gang plough their furrow with a cross-country ski chase a particular highlight. Written by Ivan Moffat and Canadian blacklistee Ben Barzman, who get some nice jibes in about sexist behaviour, planting the chance for the traducing ex-husband (Douglas) to obtain redemption of sorts. It’s adapted from the memoir Skis Against the Atom by Norwegian Resistance hero Knut Haukelid and a novel by John Drummond on the same subject, But For These Men. Truly, this is a film about the greater good with stunning widescreen photography by Robert Krasker and a rousing score by Malcolm Arnold. Especially for that World War Two-shaped hole in your post-Christmas comedown. Epic stuff.  Press this little thing here and the bullets come out there

Peter Rabbit (2018)

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You mustn’t be afraid to toss and fluff, toss and fluff! Peter Rabbit (James Corden), his sisters Flopsy, Mopsy and Cottontail and cousin Benjamin Bunny are finally freed of their dastardly rabbit-catching nemesis Mr McGregor (Sam Neill) . But when his prissy nephew Thomas (Domhnall Gleeson) is fired from Harrods and inherits the house, they are in for a tough time of it  – until he catches the eye of wannabe artist Bea (Rose Byrne) the rabbit-loving neighbour … I’ve got nothing against the countryside, I just find it disgusting. In which Beatrix Potter’s magical stories are transformed into a contemporary exercise in slapstick  and frat parties with a simpering Gleeson and a grinning Byrne. Corden (the man voted Most Hated by the crew of Into the Woods) leads them all a merry chase but the physical comedy is cut badly and Gleeson’s feet and face are disembodied from what could have been a more Keatonesque performance as the security ratchets up a notch and the rabbits have to become more ingenious in their quest for lettuce. The action becomes inventive then gets merely repetitive and eventually exhausting, the occasional visual treats superseded by an insensitivity that isn’t remotely Potteresque. There are some good recurring jokes – like the cockerel who’s astonished that the sun comes up – every day! Written by director Will Gluck and Rob Lieber. At least Rachel Ward gets to voice Josephine Rabbit and her hubby Bryan Brown is Peter’s dad, parenting from beyond the grave. Small mercies.

Doctor Dolittle (1967)

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There’s no doubt about it – animals are far more interesting than people.  In early Victorian England, Dr. John Dolittle (Rex Harrison) lives in a small village where he much prefers the company of animals to humans.  He trains as a veterinarian and specialises in caring for and verbally communicating with animals. When Dr. Dolittle is unjustly sent to an insane asylum for freeing lovesick circus seal Sophie from captivity so she can return to her husband at the North Pole, his animals and two closest human friends, Matthew Mugg (Anthony Newley) and Tommy Stubbins (William Dix), liberate him. Afterwards they join Emma Fairfax (Samantha Eggar) and set out by boat to find a famed and elusive creature: the Great Pink Sea Snail, fetching up on an island where the natives prove a challenge…  How do you make money with a Pushmi-Pullyu? Songwriter Leslie Bricusse adapted Hugh Lofting’s classic children’s books and Harrison and Newley take their theatrical shtick to the screen with zest. A witty, whimsical delight, this was a controversial flop following some disastrous choices of location shooting led to huge production overruns and Harrison’s loathsome behaviour made filming a chore for the human cast.  The songs are fun, the action marvellous (Harrison’s love scene with Sophie the Seal has to be seen to be appreciated) and it’s a wonderfully colourful musical directed with some flair by Richard Fleischer.  I have nothing in common with the human race

The Greengage Summer (1961)

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Aka The Loss of Innocence. Tinker tailor soldier sailor rich man poor man beggar man thief.  Left alone because of their mother’s sudden hospitalisation at the start of a family holiday in France, four British children have to fend for themselves. They stay at an elegant hotel booked by their mother in advance, where, despite the reticence of owner Madame Zisi (Danielle Darrieux), they are befriended by her English lover, the mysterious Eliot (Kenneth More).  Sixteen-year old Joss (Susannah York), the eldest of the children, runs afoul of Madame Zisi, who thinks Eliot is spending too much time with her and causes a scene. Thirteen-year old Hester (Jane Asher) is shocked when Eliot reacts violently as she attempts to take his photo while he takes them sightseeing.  He is forced to abandon early their trip to the caves at Champagne when France’s best policeman M. Renard (Raymond Jérome) shows up. As Joss deals with her burgeoning attraction to Eliot, handyman Paul (David Saire) becomes attracted to her. When Zisi lashes out at young Joss, whom she believes Eliot loves, Paul takes advantage of the situation and gets Joss drunk and the aftermath unleashes her own jealousy …  If this is how grown ups feel they’re worse pigs than I thought Sensitively adapted by Howard Koch from Rumer Godden’s novel, this is a lovely portrait of adolescence, with the gorgeous young York very convincing and blossoming as an actress right before our eyes in a nicely mounted production whose sole flaw is rather fatal – the miscasting of More, nobody’s idea of a romantic enigma, still less a jewel thief of some renown. This is such an interesting story typical of Godden’s work – of the different worlds occupied by children and adults, of jealousy, of misunderstandings:  when Paul tries to explain to Hester that hotel manager Madame Corbet (Claude Nollier) is also jealous of Eliot’s relationship with Zisi he realises she does not understand Lesbianism;  Joss deeply resents Eliot calling her a child and it is that which triggers the disastrous conclusion;  the final shots, which imply that even now, after her sudden transition into womanhood, Joss doesn’t fully comprehend what she has done.  Everyone seemed to agree that the role of Eliot should really have been played by Dirk Bogarde, but it wasn’t and More wanted it desperately and he’s all wrong. His scenes with York are uncomfortable. Still, there are other pleasures to be had in this atmospheric depiction of a heavy summer, not least seeing Bessie Love, the great silent star, in a small role as an American tourist. Directed by Lewis Gilbert.