Julian D'Albie Movies

An institutionalized schizophrenic with a Messiah complex inherits the position of an English Earl in this cutting satire of British society, based on a play by Peter Barnes. The film's irreverent tone is established with the disturbingly hilarious death of the thirteenth Earl of Gurney during a bizarre attempt at auto-erotic asphyxiation. To the dismay of the earl's family, the title passes to his son Jack (Peter O'Toole), who has been locked away for eight years after claiming to be the second coming of Jesus Christ. Mad but harmless, Jack is released to assume his seat. However, his embrace of Christianity proves incompatible with a position of power in "normal" society, where peace and love are considered serious weaknesses, and a somewhat unhinged psychiatrist is called to help him adjust. Meanwhile, Jack's scheming uncle, Sir Charles (William Mervyn), works on developing a complex scheme to trick Jack out of his position. Loaded with idiosyncratic touches from eccentric camera angles to unexpected outbursts of song, the film creates an experience nearly as inspired and mad as O'Toole's brilliantly hilarious central performance. The film's devilish invention may at times seem overloaded, but most drawbacks are redeemed by the sharpness of the satire, particularly during the memorably disturbing finale. ~ Judd Blaise, Rovi

This enjoyably twisted British thriller was shot back-to-back with the equally warped Haunted Strangler and is one of the first films of any genre to address the subject of drug addiction. It stars Boris Karloff as Dr. Thomas Bolton, a London surgeon who believes he has developed a safe and effective anesthetic serum which he hopes will revolutionize the world of medicine. Unfortunately, a demonstration of the drug before a panel of his peers ends in a horrific mishap -- with his patient awakening under the knife -- and he is forced to leave his position in disgrace. To complicate matters, Bolton has become addicted to his own concoctions and is forced to enter an illicit arrangement, forging death certificates for a pair of grave-robbers (including Christopher Lee) in exchange for a regular fix and the means to continue his experiments. As one would imagine, this shady partnership leads him further down the road to ruin, culminating in his unwitting participation in murder -- for which he becomes the victim of a blackmail scheme. Karloff's multi-layered performance is one of his finest, bringing a great deal of pathos to his tragic character. This film was also something of a turning point for Lee, who had already risen to international fame in many Hammer productions by the time this film was acquired by MGM for American distribution. ~ Cavett Binion, Rovi

Perhaps in an earlier era or in some remote village, this comedy would work, but this story about two mixed-up identities during World War II is comedically outdated. Brian Rix has the dual role of an Air Force officer who is going on an important military mission to France. The brass decide to hoodwink the Germans by finding the officer's double (an idiot latrine-cleaner at an Air Force base) and putting him on a plane to Cairo. As events unfold, the two men get mixed up, and each heads off to the other's destination, giving rise to several absurd tangles. ~ Eleanor Mannikka, Rovi

Three disparate male travellers quietly amuse themselves by fantasizing about the same beautiful blonde in this interesting, episodic comedy. A French bus driver sees her first and promptly imagines that she is a seductive photographer's model. In his fantasy, the two end up having a passionate affair on the French Riviera. In the next episode, a Yankee Army officer sees her on the ferry across the Channel and imagines that she is a cabaret chanteuse from Berlin. In the final episode, a British fellow sees her on the boat and imagines that she is a film star who needs his help to get away from the pesky press. Unfortunately, for the three, she proves to be a different sort of woman all together. ~ Sandra Brennan, Rovi

A small Scottish island has never paid its mandatory road tax. This brings forth an investigating committee of Parliament members, including the formidable Ronald Squire. The committee heads to the delinquent Hebridean isle, where they succumb to the easygoing charm of the residents. Cowritten by director John Eldridge, Laxdale Hall was an adequate imitation of the Ealing farces (notably Tight Little Island), with an overload of whimsy in place of originality. out to the Hebridean isle to check into this breach of law. The film made it to the States under the title Scotch on the Rocks. ~ Hal Erickson, Rovi

The alternate title to the British The Woman in Question is Five Angles on Murder. That pretty much sums up the tenor of this investigatory drama, wherein an enigmatic fortune teller (Jean Kent) is murdered. The police track down the five most likely suspects and start asking questions. Each suspect offers a different perspective on the murdered woman, and each provides a vital clue towards solving the killing. This "prismatic" technique was of course the foundation of Citizen Kane; while The Woman in Question is not in Kane's league, its gimmick holds the audience's attention whenever director Anthony Asquith allows the pace to lag. ~ Hal Erickson, Rovi

A popular British stage play by William Douglas Home was the basis for this out-of-the-ordinary prison picture. Richard Greene heads the cast as Turnfell, a murderer facing a death sentence. Turnfell is but one of several inmates whose joys and sorrows are detailed in anecdotal fashion: others include a cockney forger (William Hartnell), an embezzling bank clerk (Ronald Howard) and a bigamist (Lesley Dwyer). Also on hand is the Governor (or warden), played with a refreshing lack of genre cliches by Sir Cedric Hardwicke and an Irish terrorist, well-played by a very young Richard Burton. Now Barabbas was a Robber was eventually given a general release under the streamlined title Now Barabbas. ~ Hal Erickson, Rovi

So Well Remembered was the first of a proposed series of Anglo-American co-productions underwritten by Hollywood's RKO Radio Pictures and England's J. Arthur Rank. In one of his better postwar roles, John Mills stars as George Boswell, the editor of the newspaper in the small English mining town of Bowdley. Tirelessly fighting for fairer treatment and better working conditions for the miners, Boswell is sidetracked by his covetous, ambitious wife Olivia (Martha Scott), who hopes to maneuver her husband into Parliament. Eventually, Boswell gets his priorities in order, neglecting his campaign to help local doctor Whiteside (Trevor Howard) combat a diphtheria epidemic. When he loses his own child to the disease, a tragedy caused in part by his wife's selfishness, Boswell withdraws completely from his campaign -- and from life. Years pass before Boswell can find some purpose in his existence again, this time by preventing the still-unregenerate Olivia from destroying the happiness of her son (Richard Carlson), from a second marriage, and the son's sweetheart Julie (Patricia Roc), Dr. Whiteside's daughter. John Mills' 5-year-old daughter Juliet and infant daughter Hayley appear in bit parts. Though director Edward Dmytryk received plaudits from most critics for his work on So Well Remembered, there were those who insisted upon reading Dmytryk's perceived "pro-Red" sentiments in the screenplay -- which was actually adapted by John Paxton from a novel by James Hilton (who also narrates the picture). ~ Hal Erickson, Rovi

Like the better-known (and more popular) A Canterbury Tale, Welcome Mr. Washington is a sometimes amusing, sometimes poignant dramatization of what happened when American troops "invaded" England during WW II. Dismissed as "overpaid, oversexed and over here," the Yanks face some hostility while trying to adjust to British manners and mores. But when a farming community finds itself dangerously short-handed at harvest time, the American GIs pitch in and help their British brethren in true "hands across the sea" fashion. Real-life American army lieutenant Donald Stewart is cast as the nominal romantic lead, his lack of professional polish all the more obvious in his scenes with the talented Barbara Mullen. The film is stolen by Peggy Cummins as a precocious teenager, some three years before Cummins was brought to Hollywood to star in Forever Amber (which, as it turned out, she didn't). ~ Hal Erickson, Rovi