George and Mildred are the ultimate odd couple the popular landlord and landlady from Man About The House who became a household name with Thames Television in the 1970's and 80's. Mildred is vain snobbish and domineering; George is shy timid frigid and henpecked. Together they make a great partnership! This box set features all ten episodes from the first series. Moving On:When George and Mildred plan a move to middleclass suburbia Mildred is
In the opening scene of Hamlet, Laurence Olivier describes the play in a voice-over as "the tragedy of a man who couldn't make up his mind". But Olivier's screen adaptation is considerably more thoughtful and complex than this thesis would suggest. The contradictions and ambiguities of the title character, who prowls cavernous sets filled with vast, ancient corridors and winding staircases, emerge as if from a dream. The plethora of tracking shots--precise enough to impress Stanley Kubrick--encircle Olivier and his tightly constructed geometry of demise. Drawing on his experience playing the Prince on stage at Elsinore in 1937, the legendary thesp provides the film with the patina of greatness and shows how the constitution of the formerly cheerful Prince weakens increasingly under the burden of his own thoughts and inability to accept his mother's o'er-hasty marriage to uncle Claudius (Basil Sydney). Indeed, if emotions could possess ghosts, Olivier's Hamlet shows how they would manifest themselves. There is even a dollop of Freud, suggesting that Queen Gertrude (Eileen Herlie) has perhaps loved her offspring too closely--thus providing the fuel for Hamlet's actions. As Ophelia, Jeans Simmons captures the character's early spirit better than her gradual disintegration (Helena Bonham Carter fares better in Franco Zeffirelli's fine 1990 remake). Purists may bemoan the loss of Fortinbras, Rosencrantz and Guildenstern, but these choices allow Olivier to focus more squarely on Hamlet's plight. His monologues, many held in secret enclaves, glow with the dramatic markedness of a Dostoevski novel, with all of the master's irony, allusions and witticisms in place. The winner of four Oscars (Best Picture, Actor, Art Direction, and Costumes), this is a Hamlet for the ages. The rest is silence. --Kevin Mulhall
We Dive at Dawn (1943) tells of the encounter between a British submarine and a German warship in the Baltic Sea. John Mills gives a dependable performance as the submarine commander, with Eric Portman the pick of a strong supporting cast. Director Anthony Asquith finds the balance between action sequences and "in situ" dialogue, and there's an evocative score from Louis Levy. The film has long been underrated and deserves reappraisal.--Richard Whitehouse
The Revenge of Billy the Kid is an outrageous farce like no other comedy film you've ever seen. Its bizarre blend of murder and mirth terror and titters simply defies sane description! When horney-handed farmer Gyles MacDonald has his wicked way with the farmyard goat little does he realise the freakish consequences of his strange desires. The Macdonalds are crude and grotesque living by their (dim) wits on a desolate island. Shunned by the mainlanders the family's laughable lifestyle is shattered when the unfortunate goat finally gives birth! Only Gyles' soft-headed daughter takes pity on the hideous creature. Naming it Billy she warns her brutish brothers to keep their hands off her new-found friend! But Billy doesn't beat about the bush. He grows quickly... Too quickly for Gyles who realises his diabolical secret will soon be out and the legacy of his evil lust is about to drop him deep in the manure....
Two examples of British Second World War films, We Dive at Dawn (1943) and Reach for the Sky (1956), are here stylishly packaged as a World War II Classics pack. We Dive at Dawn tells of the encounter between a British submarine and a German warship in the Baltic Sea. John Mills gives a dependable performance as the submarine commander, with Eric Portman the pick of a strong supporting cast. Director Anthony Asquith finds the balance between action sequences and "in situ" dialogue, and there's an evocative score from Louis Levy. The movie was an underrated film that deserves reappraisal, whereas Reach for the Sky (1956) was a box-office hit and remains a fondly regarded classic. Kenneth More is ideally cast as Douglas Bader, the gifted pilot who loses both legs in a pre-war air crash, only to play a major role in the Battle of Britain, rise to the rank of Group Captain and become a war hero. Based on Paul Brickhill's biography, this is an "official" history maybe, but Lewis Gilbert's screenplay and direction are historically accurate and informed by that very British humour of which More was a natural. The film is graced by a decent supporting cast, and a typically "widescreen" score from John Addison. On the DVD: The black and white prints look and sound excellent. Whereas We Dive at Dawn has 4:3 video aspect ratio, 15 chapter points and no subtitles, the later Reach for the Sky has vivid 16:9 anamorphic reproduction, 20 chapter points, subtitles and detailed biographies of More, Gilbert and Barder. The original theatrical trailer is included, but it would also have made sense to include an interview or documentary footage of Bader himself. Even so, this is an excellent starting-point for investigating a key area of British cinema.--Richard Whitehouse
The hard lives of those living on the rugged Hebrides are chronicled in this drama that is partially comprised of footage from a documentary. The story focuses on a farmer's wife who becomes miserable when her husband loses his livelihood and is forced to become a herring fisherman on those barren isles. The woman loathes life near the sea and after her husband is forcibly inducted into the Navy she moves in with her aunt. In the new village she meets the handsome captain of a herring boat and they fall in love. Unfortunately a cholera outbreak erupts. She must also cope with her son's desire to become a fisherman. Storms also wreak havoc in her life but fortunately she weathers it all and at last is able to be with the man she truly loves.
A real archaeological artefact from 1967, Good Times will be mostly of interest to anyone who wants to see a parade of fashions that Austin Powers would reject as too garish to be seen on the street in. The nothingy plot concerns then-married Sonny and Cher playing themselves as a one-note bickering sit-com couple, signing up with sinister film tycoon Mordicus (an impeccable George Sanders) to make a movie but not wanting to do the mouldy rags-to-riches hillbilly script on offer. Cher is supposed to be less interested than Sonny in making a movie--which might well have been the truth since she mostly lies around doodling outrageous fashion designs or contributing her strange sung-through-the-nose vocals as poor, goofy Sonny does all the hard work flogging life into skits that had been squeezed dry by the Monkees before being passed to him. The finale finds Sonny and Cher standing up for integrity and refusing to make a bad film even if it means they gets blacklisted all over town--a lesson it's a shame that they (especially Cher) didn't take to heart in their later careers. Astonishingly, this was the feature directorial debut of The Exorcist's William Friedkin, who fills the screen with colour, action and gaggery after the manner of the then-hip Batman TV show while focusing on screaming outfits that remain among the darnedest things you ever saw. Aside from a reprise of "I Got You, Babe", the score is a little light on the slim canon of S&C hits; the songs included are "It's the Little Things", "Good Times", "Trust Me", "Don't Talk to Strangers", "I'm Gonna Love You" and "Just a Name". The DVD extras include a few sketchy bios and a jump-to-a-song feature. --Kim Newman
The Square Peg marks a slight departure for Norman Wisdom, being his first comedy to be set, however recently, in the past. He plays one of a pair of council workmen, who while repairing the road outside an army base come to illustrate the oxymoronic nature of the phrase "military intelligence". Finding themselves drafted, the workmen are sent to repair the roads ahead of the Allied advance through war-torn Europe by the sergeant they previously embarrassed. Norman finds himself behind the German lines, joins-up with French Resistance, gets captured then sets out to rescue British prisoners from a German military HQ by impersonating General Schreiber. Of course Wisdom plays Schreiber too, offering the sort of comedy stereotyping which Basil Fawlty in best "Don't mention the war" mode would appreciate. The Square Peg is the film which introduced Norman Wisdom's famous catch-phrase, "Mr. Grimsdale!" for whenever disaster struck. The long suffering Mr Grimsdale is played by Edward Chapman, who would reprise the role in Wisdom's A Stitch in Time (1963) and The Early Bird (1965), as well as playing Mr Philpots in The Bulldog Breed (1960). Hattie Jacques gets to sing a remarkable duet with Wisdom, and a pre-Goldfinger (1964) Honor Blackman provides the love interest.--Gary S. Dalkin
Harry Frigg is a classic Paul Newman rebel - a private in the U.S. Army who is forever escaping from military prisons. Several Brigadier Generals from the Allied forces are unexpectedly taken prisoner by the Italians while in the shower - a public relations disaster. This is compounded by the fact that the Generals are being held inan Italian Villa and are unable to escape because being all of the same rank none is in command and they are forced to plan by committee with predictably ineffective results. Headquarters devises a plot to free these generals by sending in jail escape expert Harry Frigg...
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