You know the story: Cinderella rides in a magical pumpkin to the ball, enchants the prince and flees at midnight. He finds her slipper and tracks her down, and they live happily ever after. But wait! In The Slipper and the Rose, it turns out there's more to the life of a prince than being charming. The king prefers to choose the prince's wife, one of proper social station who would provide a strong political alliance to ward off the kingdom's enemies. That's one of the twists in this 1976 British take on the classic fairy tale, one of a long line of musical versions. The disgruntled prince, who's as much of a focal point here as the lady with the footwear, is played by Richard Chamberlain, during the years when he was taking on the classics and had not yet been crowned king of the TV mini-series. He displays a pleasant voice opposite Gemma Craven as Cinderella, and veteran character actor Michael Hordern as the king leads the supporting ensemble. Add lavish sets and lush scenery (partially filmed in Austria), humour, fun choreography, and an Oscar-nominated score full of charming songs by Richard M. and Robert B. Sherman (veterans of such Disney movies as Mary Poppins and The Jungle Book, and who also co-wrote the script with director Bryan Forbes), and you have a grand, engaging family musical. The 143-minute running time and dreamy, deliberate pace might test the patience of antsy viewers, but The Slipper and the Rose's legion of fans wouldn't have it any other way. --David Horiuchi, Amazon.com
Philip Trent sets out to investigate the mysterious death of an American tycoon whose death has been recorded by the coroner as a suicide...
The lives and relationships of those within a British traditional touring stage company provide the backdrop for the 'The Dresser' nominated for 5 Oscars in 1983 a compelling study of intense relationship between the leader of the company and his dresser. Sir (Albert Finney) a grandiloquent old man of the theater has given his soul to his career but his tyrannical rule over the company is now beginning to crack under the strain of age and illness as he prepares for his 227th
Amusing musical drama set in the early 1900 s when the Music Hall scene reached its peak of popularity and superbly directed by Val Guest. At the turn of the 20th Century Bob Fielding (Michael Rennie) arrives in London determined to make it as a song publisher. He visits a music hall where he hears Edie Story (Margaret Lockwood) singing Oh Mr Porter and immediately falls for her. He acquires the rights to the song I'll Be Your Sweetheart and asks Edie to perform it, only to find that rival publisher, the sauve Jim Knight (Peter Graves) also claims the rights. Despite Jim's claim, Bob turns the song into a huge success and begins to realise his dream of being a successful publisher. However when music publishing pirates threaten Bob's business he has to fight back and only when a new copyright law is passed into law does he have a chance to rebuild his fortunes both as a music publisher and as Edie's partner. The film includes performances of the famous music hall songs, 'Mary-Anne', 'The Honeysuckle and The Bee', 'Oh Mr Porter', 'I Wouldn't Leave My Little Wooden House For You'.
Six-man tag team match for the WF championship. King Of The Ring Tournament finals. Handicap table dumpster match. First Ever evening gown match for the WF hardcore championship. King of the ring semi-finals. Four team elimination match for tag-team WF championship King of the ring tournamern quarterfinals.
Based on the series of novels written by Dorothy L Sayers in the 1920s and 30s, Lord Peter Wimsey was dramatised for TV by the BBC between 1972-5. Ian Carmichael, veteran of British film comedy, played the genial, aristocratic sleuth; Glyn Houston was his manservant Bunter. The pair are similar to PG Wodehouse's Jeeves and Bertie Wooster (whom Carmichael played in an earlier TV adaptation) though here the duo are equal in intelligence, breezing about the country together in Wimsey's Bentley and stumbling with morbid regularity upon baffling murder mysteries to test their wits. Those for whom this series forms hazy memories of childhood might be surprised at its somewhat stagy, lingering interior shots, the spartan paucity of music, the miserly attitude towards locations, especially foreign ones, and the rather genteel, leisurely pace of these programmes, besides which Inspector Morse seems like Quentin Tarantino in comparison. It seems that initially the BBC was reluctant to commission the series and ventured on production with a wary eye on the budget. The Britain depicted by Sayers is, by and large, populated by either the upper classes or heavily accented, rum-do-and-no-mistake lower orders, which some might find consoling. However, the acting is generally excellent and the murder mysteries are sophisticated parlour games, the televisual equivalent of a good, absorbing jigsaw puzzle. There were five feature-length adaptations in all. "Clouds of Witness" sees Wimsey investigate the death of his brother the Duke of Denver's fiancée. --David Stubbs
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