Great British Movies by Don Shiach download in iPad, ePub, pdf
But if you can see through all that, there is a beautiful movie beneath, dealing with devotion and identity, religion and fame. Julie Christie and Donald Sutherland are the parents whose drowned daughter may be sending them messages, leading them into the gothic labyrinthine of a deserted Venice.
But that's a very good thing. In short, it's the most marvellously English animation there is. The film takes in World War I and the Bolshevik Revolution, and its stunning set-pieces include the huge crowd scenes in Moscow, the train sequences and the beautiful snowy vistas. Rupert Everett appears unbilled as rival playwright Christopher Marlowe. The Count's gruesome end, flesh peeling and melting in the sun, is an iconic horror image and did much to establish the Hammer style.
On the fictional Scottish island of Todday, the wartime whisky ration has run out and the islanders are devastated. The excellent Robert Donat is the innocent engineer caught up in a web of intrigue when a female spy is killed in his apartment. Furie's first adaptation of cook-turned author Len Deighton's Cold War novels goes the other way. Therapist-turned-screenwriter Jonathan Asser channels his own experience working to rehabilitate prisoners into a violent, bruising and most of all, realistic depiction of life on the inside. The character is supposedly based on David Low's caricature buffoon, though Roger Livesey's doddery yet patriotic soldier shows only a loose connection.
Craig seems re-energised, neon-lit in one virtuoso Shanghai sequence and mixing the debonair with the deadly as the story races from one affectionate Bond homage to another. It's initially a tad jarring to see Pegg as the straight man, but his natural chemistry with long-time real-life pal Frost remains endearing as ever. Michael Caine is Jack Carter, the London-based villain returning to his native Newcastle to bury his brother, who sets about antagonizing the local gangsters until he finds out who was the killer. It's full of startling visual cues, too. Specifically, Universal's grande fromage Sid Sheinberg believed that its ending was too bleak and needed less, well, bleakness.
John Howard Davies, in the title role, later enjoyed a successful career as a television producer. When fussy governess Miss Froy Whitty mysteriously vanishes from the dining car, the sparky pair get their amateur sleuth on to track her down. It's a familiar set-up, but it's almost never been as beautifully observed or intelligently written as it is here, for which all credit to Bill Forsyth. Mixing tragedy and comedy, it may not - quite - be high art, but it's immense fun.
Almost twenty years later, director and star reunited for a sequel. Full of wonderful moments, with Kline earning his Oscar for an hysterical, over-the-top performance.
Thoroughly enjoyable film, with terrific performances from the likes of Joan Greenwood, Basil Radford and Gordon Jackson. But stardom aside, it adds up to an indictment of the War's immeasurable suffering that's both scathing and deeply moving. But, as he unravels the truth, he is also drawn into the decadent and corrupt world in which Lime existed. Often quite nasty, but glossily compulsive and fascinating to watch the transition of the two principal characters. It may be grim stuff at times, but under Karel Reisz's direction it is refreshingly honest and at times moving.
- Play Your Best Hand
- Slocum 346
- The Good Girl's Guide to Murder
- Endocrine Autoimmunity and Associated Conditions
- You've Got Ketchup on Your Muumuu
- Sprache und Kommunikation im technischen Zeitalter
- Auftrag Politikvermittlung
- Porphyry's Commentary on Ptolemy's Harmonics
- Finanzielle Bewertung von Marken
- Legal Asylum
- Superconducting State
- The Fun Palace
- Next Door to the Dead