Ken Russell's lauded D H Lawrence adaptation is a sophisticated meditation on the complexities of human relationships and the shifting social mores of a country shell-shocked by World War One.Women in Love was hailed upon its release, earning four Academy Award nominations, and the Best Actress Oscar for Glenda Jackson. Audiences flocked to see its famous, erotically charged naked wrestling scene, and critics celebrated the film's opulent design, handsome cinematography and the compelling ensemble performances of Alan Bates, Jennie Linden, Oliver Reed and Glenda Jackson. Often regarded as Russell's masterpiece, Women in Love endures as one of British cinema's finest achievements.Extras4K (2160p) UHD Blu-ray presentation in Dolby Vision (HDR10 compatible)A British Picture: Portrait of an Enfant Terrible (1989, 49 mins): Ken Russell's documentary on his life and careerInterview with Alexander Verney-Elliott (2025): newly recorded interview with Ken Russell's sonATV Today (1968, 10 mins): interviews with writer and producer Larry Kramer and actors Alan Bates and Jennie Linden on the set of Women in LoveBilly Williams OBE BSC in conversation with Phil Méheux BSC (2015, 49 mins): in-depth interview with the Oscar winning cinematographerAudio commentary with director Ken Russell (2003)Audio commentary with writer and producer Larry Kramer (2003)Second Best (1972, 27 mins): short film starring Alan Bates based on the short story by D H LawrenceThe Guardian Lecture: Glenda Jackson interviewed at the National Film Theatre (1982, 77 mins, audio only)The Pacemakers: Glenda Jackson (1971, 14 mins): a documentary profile in which the actress speaks of her performance in Women in LoveStills and Collections galleryOriginal theatrical trailer**FIRST PRESSING ONLY** Illustrated booklet featuring new writing by Matthew Melia and Lisi Russell, and archive essays by Michael Brooke, Claire Smith and Vic PrattFirst 4K UHD release anywhere in the worldHugely popular and groundbreaking film. Its infamous nude wrestling scene is still renowned as one of the most notorious scenes in British film history Academy Award-winning performance by Glenda Jackson who died in 2024Award-winning cinematography by Billy Williams
Three young children live on a remote farm in the North of England; their mother is dead and their father is too busy to look after them. Kathy (Hayley Mills) is the eldest Nan (Diane Holgate) is the quiet child of the family while six year old Charles (Alan Barnes) is the most outspoken. The children wage constant guerrilla warfare against farmhand Eddie and the traps he sets for wild animals. They rescue three kittens that Eddie believes he has drowned. Charles tries to give
This lavish costume drama follows the lives of three best friends looking for love. Centred around the aristocracy of the 1930's Love In A Cold Climate is based on the books by Nancy Mitford.
Thomas Hardy's powerful tale of a rich and respectable man who drunkenly auctions his wife and child at a West Country fair. The remorse of the Mayor of Casterbridge finally destroys him. The script was penned by Dennis Potter.
Pity poor Vic (Alan Bates): when he begins a relationship with Ingrid (June Ritchie), a typist at the Lancashire factory where he works as a draughtsman; his life comes apart at the seams. Ingrid's gossiping, malicious friends are bad enough, but her mother Mrs Rothwell (the terrifying Thora Hird) is something else. Vic has to marry Ingrid-she's pregnant--and the only place for them to stay is chez Rothwell. There's a tenderness about A Kind of Loving which you don't find in the more abrasive "kitchen sink" films of the 60s. Vic is not a rebel like Arthur Seton in Saturday Night, Sunday Morning or a macho lunk like Richard Harris' rugby-league player in This Sporting Life. He's a likable, easygoing youngster who soon discovers that real-life love affairs are infinitely messier than he and his mates could ever have imagined. The acute, witty screenplay, adapted by Willis Hall and Keith Waterhouse from Stan Barstow's novel, shows how limited Vic and Ingrid's choices really are. They have no privacy or independence. Bounced into a marriage that neither necessarily wants, their romance quickly sours. Mrs Rothwell is truly the mother-in-law from Hell--a busybody and a tyrant. Look out for the Queen Victoria-like expression on her face when a drunken Vic throws up in her front room. Debut-feature director John Schlesinger captures the humour and the pathos in the young lovers' plight without ever making fun of them. --Geoffrey Macnab
Based on the novel by L.P Hartley and adapted by Harold Pinter, The Go-Between stars Julie Christie as Marian, about to be engaged to Hugh (Edward Fox), a well-bred viscount and her perfect match. Over the course of a sweltering Norfolk summer in 1900, young Leo (Dominic Guard), becomes besotted with the vivacious Marian whilst staying at their house. Innocent of romantic and sexual matters, he unwittingly becomes a pawn in the forbidden romance between her and eminently unsuitable local farmer Ted Burgess (Alan Bates). As the oppressive heat intensifies so too does Leon's burgeoning adolescent questioning of love, attraction and the rules of the upper class that he doesn't really belong to. Both a beautifully subtle critique of the English class system and a visual masterpiece that perfectly captures the timeless beauty of an English Edwardian summer, The Go-Between won director Joseph Losey the Grand Prix (now the Palme D'Or) at Cannes Film Festival in 1971.
Headstrong and passionate Bathsheba Everdene (Julie Christie) unexpectedly inherits a large farm in rural Dorset. Struggling to manage the farm herself she captivates the hearts and minds of three very different men: an honest and hardworking sheep farmer (Alan Bates) a wealthy but tortured landowner (Peter Finch) and a reckless and violent swordsman (Terence Stamp). But as emotions become entangled free spirited and innocent folly soon leads to devastating tragedy. The restoration process of Far From the Madding Crowd was overseen by the film’s cinematographer and acclaimed director Nicolas Roeg. The Digital Film restoration was funded by STUDIOCANAL in collaboration the BFI’s Unlocking Film Heritage programme Awarding funds from the National Lottery.
Hamlet (1991)
Oscar-nominee Alan Bates turns in one of his most forceful performances as an asylum inmate with supernatural powers in a film that is both highly unsettling and deeply compelling – a perfect companion piece to Nicolas Roeg’s ’70s masterpiece Don’t Look Now. Also featuring strong performances from Susannah York and John Hurt and employing a distinctive narrative style employed by Palm d’Or-nominated director Jerzy Skolimowski The Shout is presented here in a High Definition transfer made from the original film elements in its as-exhibited theatrical aspect ratio. During a cricket match at an insane asylum between the inmates and the local villagers patients Crossley and Graves keep themselves entertained by telling stories. Crossley tells of how he came to possess supernatural powers enabling him to kill with a single shout and although his friend dismisses the tale as an insane fantasy as the match continues the proceedings take an emphatically sinister turn... Special Features: Audio commentary with horror experts Kim Newman and Stephen Jones booklet by Kim Newman Original Theatrical trailer Image gallery Original Press Material PDFs
Pity poor Vic (Alan Bates): when he begins a relationship with Ingrid (June Ritchie), a typist at the Lancashire factory where he works as a draughtsman; his life comes apart at the seams. Ingrid's gossiping, malicious friends are bad enough, but her mother Mrs Rothwell (the terrifying Thora Hird) is something else. Vic has to marry Ingrid-she's pregnant--and the only place for them to stay is chez Rothwell. There's a tenderness about A Kind of Loving which you don't find in the more abrasive "kitchen sink" films of the 60s. Vic is not a rebel like Arthur Seton in Saturday Night, Sunday Morning or a macho lunk like Richard Harris' rugby-league player in This Sporting Life. He's a likable, easygoing youngster who soon discovers that real-life love affairs are infinitely messier than he and his mates could ever have imagined. The acute, witty screenplay, adapted by Willis Hall and Keith Waterhouse from Stan Barstow's novel, shows how limited Vic and Ingrid's choices really are. They have no privacy or independence. Bounced into a marriage that neither necessarily wants, their romance quickly sours. Mrs Rothwell is truly the mother-in-law from Hell--a busybody and a tyrant. Look out for the Queen Victoria-like expression on her face when a drunken Vic throws up in her front room. Debut-feature director John Schlesinger captures the humour and the pathos in the young lovers' plight without ever making fun of them. --Geoffrey Macnab
An uptight English writer traveling to Crete on a matter of business finds his life changed forever when he meets the gregarious Alexis Zorba.
The divine Julie Christie brings her glamorous presence to this superb box set containing 5 of her finest films. Featuring: 1. The Go-Between (1970) 2. Billy Liar (1963) 3. Far From The Madding Crowd (1967) 4. Don't Look Now (1973) 5. Darling (1965)
An affectionate and enchanting portrayal of the life of Queen Elizabeth focusing on her courtship by the shy and retiring future King George VI (known as Bertie) and the love story that followed This fascinating adaptation also covers the abdication crisis of Edward VIII the Coronation of George VI as British King and the strong relationship forged between them and Churchill during the War.
Bette Midler plays a Janis Joplin-like singer overwhelmed by stardom and its excesses. Mark Rydell (On Golden Pond) directs what is a kind of hybrid showcase for Midler's concert talents and a standard pop biopic, with the usual rhythms of desire, success, betrayal, failure, and such. Alan Bates is the best thing about the movie as the Rose's ruthless manager, and Harry Dean Stanton and Frederic Forrest add some interesting seasoning. But as a whole, the film can't rise above its mixed purposes or clichés. --Tom Keogh
Headstrong and passionate Bathsheba Everdene (Julie Christie) unexpectedly inherits a large farm in rural Dorset. Struggling to manage the farm herself, she captivates the hearts and minds of three very different men: an honest and hardworking sheep farmer (Alan Bates), a wealthy but tortured landowner (Peter Finch), and a reckless and violent swordsman (Terence Stamp). But as emotions become entangled, free spirited and innocent folly soon leads to devastating tragedy. The restoration process of Far From the Madding Crowd was overseen by the film's cinematographer and acclaimed director, Nicolas Roeg. The Digital Film restoration was funded by STUDIOCANAL in collaboration the BFI's Unlocking Film Heritage programme, Awarding funds from the National Lottery. Extras: New Interview with Terence Stamp New Interview with Frederic Raphael New Interview with Nic Roeg New featurette Devizes, then and now Original Location featurette
From the Award Winning writer of 'Rumpole of the Bailey' comes this critically acclaimed autobiographical story of an unforgettable journey of an abusive father and his son. John Mortimer's autobiographical play 'A Voyage Round My Father' was given this spectacular film adaptation in 1981. Mortimer best known for his 'Rumpole of the Bailey' stories has fashioned an unexpurgated but affectionate portrait of his highly eccentric lawyer father Clifford Mortimer played by Sir Laur
Black humour and biting social satire combine in this acclaimed feature of 1963, starring Alan Bates as an ambitious young real-estate clerk who s determined to crawl his way to the top of the social pile; Denholm Elliott is the disreputable aristocrat who teaches him all he needs to know, Millicent Martin the girl he sets out to woo and win. Nothing but the Best is scripted by Oscar winner Frederic Raphael, who received a Writers Guild of Great Britain Award for his screenplay, with Nic Roeg.
A cult comic masterpiece from acclaimed director Philippe de Broca, King of Hearts was a flop upon initial release in France, but was a smash hit in the US, where it ended up running for five years straight. During the latter part of World War I, Private Charles Plumpick (Alan Bates; Women in Love) is chosen to go into the French town of Marville and disconnect a bomb that the German army has planted. However, Charles is chased by some Germans and finds himself holed up at the local insane asylum, where the inmates are convinced that he is the King of Hearts. Feeling obligated to help the inmates, Charles attempts to lead them out of town, but they are afraid to leave and frolic about the streets in gay costumes. Will Charles be able to deactivate the bomb in time and save his newfound friends? Featuring a score by legendary film composer Georges Delerue and also starring Geneviève Bujold (Anne of the Thousand Days, Dead Ringers), King of Hearts is presented here from a gorgeous new 4K restoration in its UK debut as part of The Masters of Cinema Series, in a special Dual Format edition. Features: Limited Edition O-Card slipcase (first print run only) Gorgeous 1080p presentation from the Cohen Media Group 4K restoration (with a progressive encode on the DVD) Original LPCM mono audio Optional English subtitles Feature length audio commentary by film critic Wade Major Geneviève Bujold on the making of King of Hearts an interview with the Academy Award nominated actress from 2017 Interview with Pierre Lhomme the cinematographer discusses working with Philippe de Broca, and the techniques used for filming King of Hearts Interview with Michelle de Broca Producer and ex-wife of director Philippe de Broca talks about working on King of Hearts Eureka! trailer for the 2018 UK theatrical release of King of Hearts A collector's booklet featuring a new essay by Philip Kemp
Laurence Olivier plays Archie Rice, a mediocre music hall artist upholding a dying tradition in an English seaside town. Tony Richardson originally directed Laurence Olivier as Rice in the Royal Court's theatre production, and did so again in this, his second feature. The seedy world which Archie Rice occupies could be seen to represent the general malaise of post-war Britain, previously explored by writer John Osborne in his play Look Back in Anger, adapted for the screen by Nigel Kneale in 1959. Kneale subsequently went on to co-write The Entertainer with Osborne. Olivier is supported by a superb cast including a young Alan Bates as his son, Roger Livesey as his kindly, now retired, always more talented and popular father, and Joan Plowright as his daughter. The remarkable cast also features Daniel Massey, Shirley Anne Field, Thora Hird and Charles Gray. Olivier's portrayal of a man coming undone at the seams and revealing the emptiness inside, is a revelation. It changed the public's perception of him, introducing him to a new younger audience, and garnered him yet another Oscar® nomination. Special features: George Devine Memorial Play: The Entertainer - Sequences One and Two (1966, 6 mins, 5 mins) David Frost-produced film, directed by Peter Whitehead, capturing a stage performance in memory of the late Royal Court director, starring Laurence Olivier O Dreamland (1953, 13 mins): Lindsay Anderson's (If...., This Sporting Life) Free Cinema film shot at Margate's iconic amusement park Archive shorts from Topical Budget and Mitchell and Kenyon (1900-1929, total 15 mins): rare footage of turn-of-the century Morecambe, featuring scenes along the promenade and piers, as well as a visit to the 1929 Morecambe Carnival Lancashire Coast (1957, 15 mins): the charms of England's north-west, from Morecambe and Southport to the Pilling Marches Stills gallery Illustrated booklet with essays by Steven Hess and Vic Pratt, plus full film credits
Based on the best-selling novel by Jack Higgins. Weary of violence and on the run from his past Martin Fallon (Mickey Rourke) an ex-IRA assassin tries to leave the killing behind him. A mob leader coerces him into killing one last time for a promise of freedom. The priest who accidentally witnesses the slaying is forced to keep quiet when he confesses to him but the mob leader orders the assassin to murder the priest and the three lives intersect for one moment when the only commandment is... Kill or be killed.
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