Miss Emmeline Lucas known universally to her friends as Lucia is a dreadful snob but in Miss Elizabeth Mapp of Mallards Lucia meets her match. On the surface they are the most genteel of society ladies but beneath the veneer of politeness and etiquette lies a bitter and seething malice. There is no plan too devious no plot too cunning no depths to which they would not sink in order to win the battle for social supremacy. Using their deadly weapons of garden parties bridge eve
Harry's Game is the story of two killers. One is Billy Downes (Derek Thompson) cold-blooded assassin of a British Cabinet Minister. The other is Harry Brown (Ray Lonnen) Captain by rank and with orders to eliminate the IRA hitman in his own backyard - the Falls Road Belfast. Both men believe their cause is just. But only one can win. Harry's game - to find the identity of the killer and destroy him before his cover is blown... With powerful performances from Ray Lon
Hotel du Lac is an impeccably produced BBC television adaptation of Anita Brookner's Booker Prize-winning novel. Middle-aged writer Edith Hope has fled London and romantic disappointment to find sanctuary at a luxury hotel on a Swiss Lake, but finding no escape from her loneliness must eventually face her past. Edith is played with compassion by Anna Massey, her intellect and wit acting as a defence against her own failings, and support comes from a superb cast including Denholm Elliott, Googie Withers, Julia McKenzie, Patricia Hodge, Irene Handl and Barry Foster. Brookner's apparently slight but multi-layered tale is skilfully crafted by writer Christopher Hampton, who has with such films as Dangerous Liaisons (1988) and The Quiet American (2002) become a master of literary adaptation. Giles Foster's direction focuses on bringing the best from his cast, rather than attempting any sort of cinematic sweep, and Carl Davis' eloquent theme music makes the introspection all the more touching. Ultimately, though, it is Anna Massey's insightful central performance which makes Hotel du Lac such a memorable slice of television. On the DVD: Hotel du Lac is presented in the original TV broadcast 4:3 ratio with a very poor, extremely grainy and soft picture. The sound is reasonable mono, clear and free from distortion though lacking in dynamic range. The only extra, though one well worth having, is a serious and highly informative commentary from Giles, Hampton and producer Sue Birtwistle. --Gary S Dalkin
Jeremy Brett Susan Fleetwood Robin Ellis and Geoffrey Chater star in this adaptation of Ford Madox Ford s classic Edwardian story of love and deception widely regarded as one of the greatest English-language novels of the twentieth century. A household name from his iconic performance in ITV s The Adventures of Sherlock Holmes Brett relishes the title role giving one of the outstanding performances of his long and distinguished career. The complex plot evolves around two outwardly perfect married couples Englishman Edward Ashburnam and his wife Leonora and Americans John and Florence Dowell; the couples meet annually in the German spa town of Bad Nauheim a resort favoured by those with heart conditions. But as the friendships deepen the intricacies of the relationships are gradually laid bare and the carefully concealed flaws destructive passions and infidelities of the protagonists bring about a sequence of tragic events that will consume them all.
Directed by BAFTA-nominee Martyn Friend (New Tricks) and produced by BAFTA-nominee John Harris (The Singing Detective), the series also proved popular in the US, where it was nominated for a CableACE award in 1985 for Best Movie or Mini-series. Shackleton was shot on location in Greenland and features cinematography from BAFTA-winner David Whitson (The Voyage of Charles Darwin), who is no stranger to creating atmospheric journeys of historical figures. The chilling original music score was composed by Francis Shaw. Undeterred by the dangers faced by Roald Amundsen (first to reach the South Pole) and Robert Falcon Scott and his team (who perished on their treacherous journey), Shackleton, in 1914, chooses to lead a team on their famous journey aboard the Endurance. However, when disaster strikes and the ship is trapped and crushed by pack-ice, Shackleton and five of his men must embark on a desperate 800-mile journey from Elephant Island to South Georgia with only the James Caird, a 20-foot lifeboat, to protect them against the furious Southern Ocean. Based on the true stories, recorded in Shackleton's own journals which he kept during his expeditions, this series does not shy away from the harsh realities the men faced in the Antarctic from dwindling supplies to emergency amputations and provides a gripping account of the dangers, frustrations and suffering the determined explorers endured. Unlike recent film and TV adaptations of the story, the BBC's 1983 drama delivers a widely acknowledged true account of the events as they unfolded. It opens with Shackleton planning the expedition and reveals the challenges he faced in finding sponsors. It presents the perilous journey on the James Caird and the South Georgia mountain crossing in keeping with journal records. And, unlike later versions, the BBC's Shackleton delves into his complex relationships with those around him as they all battle to succeed and survive. David Schofield stars as Ernest Shackleton in a remarkable early performance. He would later go on to star in the epic blockbusters: Gladiator, The Walking Dead and Pirates of the Caribbean. David Rodigan (A Woman called Moses) is outstanding as Shackleton's trusted deputy Frank Wild. This critically acclaimed, fact-based drama will definitely appeal to an audience interested in historical biopics and true-life adventures. Generally, fans of brilliantly cast and well-written drama with high production values will be thrilled to hear of Shackleton's long-awaited DVD release.
A tale of intrigue adventure and romance. This enchanting BBC dramatization captures the spirit and wit of Austen's classic novel Northanger Abbey. The setting is eighteenth-century Bath a society of decadence and deceit into which Catherine Morland arrives bursting with freshness integrity and a passion for macabre Gothic novels. In a time when materialism not love governs marriage Catherine's head is full of fantasy and fiction of maidens being abducted to sinister c
Victim...or killer? A young chauffeur after marrying his beautiful and wealthy boss thinks he has it all until he finds that their 'dream' house is more of a nightmare to inhabit. After taking up residence their lives take a decided change for the worse...
Miss Emmeline Lucas (Geraldine McEwan) known universally to her friends as Lucia is a dreadful snob but in Miss Elizabeth Mapp (Prunella Scales) of Mallards Lucia meets her match. On the surface they are the most genteel of society ladies but beneath the veneer of politeness and etiquette lies a bitter and seething malice. There is no plan too devious no plot too cunning no depths to which they would not sink in order to win the battle for social supremacy. Using their deadly weapons of garden parties bridge evenings and charming teas the two combatants strive to outcharm each other as they vie for the position of toast of the town... This release features all ten episodes from both series of Mapp & Lucia adapted from the celebrated books by E.F. Benson. Episode titles: The Village Fete Battle Stations The Italian Connection Lobster Pots The Owl And The Pussycat Winner Takes All Change and Change About Lady Bountiful Worship Au Reservoir.
Introduced in "A Magnum for Schneider", the hour-long 1967 Armchair Theatre episode of Callan written by James Mitchell about a disillusioned British secret agent of the same name (starring Edward Woodward), went on to offer four popular (if downbeat) series, a spin-off movie remaking the original story and a some-years-later wrap-up play "Wet Job". Remembered for its very distinctive opening titles, with a swinging broken-light bulb and a memorable theme tune, the series adopted a Deighton-LeCarré approach to the grim, treacherous, grubby business of Cold War espionage and made a TV star of the intense Woodward as the sweaty, sometimes conscience-stricken, sometimes robotic Callan. Even in the 21st century this still seems as strong, its complex stories and impressive performances outweighing a low-budget mix of video and film in the production that makes it seem less "professional" than other shows of the time. A great deal of the series opener is devoted to bringing on new regulars. There's a fresh Mr Hunter who, like Number Two on The Prisoner--with which Callan shares series editor George Markstein--was a title not a name, so several actors held the position over the course of the show. There's also the trendily mulleted thug Cross (Patrick Mower), who would go spectacularly off the rails in the next series and a half. In a dramatic device that has long since fallen out of fashion in television, Callan episodes tend to wind up by leaving the audience to work out all the connections of the plot while Callan himself sits gloomily and ponders the wretchedness of his squalid world. --Kim Newman
Miss Emmeline Lucas known universally to her friends as Lucia is a dreadful snob but in Miss Elizabeth Mapp of Mallards Lucia meets her match. On the surface they are the most genteel of society ladies but beneath the veneer of politeness and etiquette lies a bitter and seething malice. There is no plan too devious no plot too cunning no depths to which they would not sink in order to win the battle for social supremacy. Using their deadly weapons of garden parties bridge evenings and charming teas the two combatants strive to outcharm each other as the vie for the position of toast of the town. The Village Fete: Still mourning the death of her husband nine months previously Lucia decides to get away from the village where she lives for a while and rent a place in another part of England. Taking her best friend Georgie along with her and they both fall in love with the place. They decide that they will both rent there for the summer and return to home to participate in the village fete before moving out... Battle Stations: Lucia and Georgie move to their rented homes in Tilling and it is not long before Lucia and Miss Mapp are competing against each other in games of oneupmanship. The Italian Connection: Lucia holds her garden party in Mapp's garden and it is a success. Her happiness is soon brought back to earth when Mapp gleefully tells her that the Contessa Faraglione is coming to visit Tilling and that the two of them will be able to talk Italian to each other. Lobster Pots: A party at Lucia's new home leads to Mapp trying anything she can to get hold of Lucia's recipe for lobster. This leads to the two of them finding themselves stuck in the house during a raging flood. The Owl And The Pussycat: After months lost at sea Mapp and Lucia return to Tilling much to the surprise of all the residents who had thought that they had died. They both plan evenings where they will tell their memoirs of their adventure versions that differ quite dramatically from each other...
Introduced in "A Magnum for Schneider", the hour-long 1967 Armchair Theatre episode written by James Mitchell about a disillusioned British secret agent Callan (Edward Woodward), went on to offer four popular (if downbeat) series, a spin-off movie remaking the original story and a some-years-later wrap-up play "Wet Job". Remembered for its very distinctive opening titles, with a swinging broken light bulb and a memorable theme tune, the series adopted a Deighton-LeCarré approach to the grim, treacherous, grubby business of Cold War espionage and made a TV star of the intense Woodward as the sweaty, sometimes conscience-stricken, sometimes robotic Callan. Even in the 21st century this still seems a strong show, its complex stories and impressive performances outweighing a low-budget mix of video and film in the production that makes it seem less "professional" than other shows of the time. In a dramatic device that has long since fallen out of fashion in television, Callan episodes tend to wind up by leaving the audience to work out all the connections of the plot while Callan himself sits gloomily and ponders the wretchedness of his squalid world. --Kim Newman
Introduced in "A Magnum for Schneider", the hour-long 1967 Armchair Theatre episode of Callan written by James Mitchell about a disillusioned British secret agent of the same name (starring Edward Woodward), went on to offer four popular (if downbeat) series, a spin-off movie remaking the original story and a some-years-later wrap-up play "Wet Job". Remembered for its very distinctive opening titles, with a swinging broken-light bulb and a memorable theme tune, the series adopted a Deighton-LeCarré approach to the grim, treacherous, grubby business of Cold War espionage and made a TV star of the intense Woodward as the sweaty, sometimes conscience-stricken, sometimes robotic Callan. Even in the 21st century this still seems as strong, its complex stories and impressive performances outweighing a low-budget mix of video and film in the production that makes it seem less "professional" than other shows of the time. A great deal of the series opener is devoted to bringing on new regulars. Theres a fresh Mr Hunter who, like Number Two on The Prisoner--with which Callan shares series editor George Markstein--was a title not a name, so several actors held the position over the course of the show. Theres also the trendily mulleted thug Cross (Patrick Mower), who would go spectacularly off the rails in the next series and a half. In a dramatic device that has long since fallen out of fashion in television, Callan episodes tend to wind up by leaving the audience to work out all the connections of the plot while Callan himself sits gloomily and ponders the wretchedness of his squalid world. --Kim Newman
Introduced in "A Magnum for Schneider", the hour-long 1967 Armchair Theatre episode written by James Mitchell about a disillusioned British secret agent Callan (Edward Woodward), went on to offer four popular (if downbeat) series, a spin-off movie remaking the original story and a some-years-later wrap-up play "Wet Job". Remembered for its very distinctive opening titles, with a swinging broken light bulb and a memorable theme tune, the series adopted a Deighton-LeCarré approach to the grim, treacherous, grubby business of Cold War espionage and made a TV star of the intense Woodward as the sweaty, sometimes conscience-stricken, sometimes robotic Callan. Even in the 21st century this still seems a strong show, its complex stories and impressive performances outweighing a low-budget mix of video and film in the production that makes it seem less "professional" than other shows of the time. In a dramatic device that has long since fallen out of fashion in television, Callan episodes tend to wind up by leaving the audience to work out all the connections of the plot while Callan himself sits gloomily and ponders the wretchedness of his squalid world. --Kim Newman
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