Liz Fraser Movies

Director Bernard Rose and screenwriter David Yallop were inspired by the real-life Hulten/Jones murder case of 1944, famously known as The Cleft Chin Murder Case, after a London cabbie was found murdered. It was a sensation in England, where American soldier Karl Hulten and British showgirl Elizabeth Maud Jones became household names -- even beating out news of the war. In the film, Karl Hulten (Kiefer Sutherland), is an American GI who is stalking the black market of London after stealing an army truck and going AWOL. There he meets up with Betty Jones (Emily Lloyd), a stripper with a deluded fantasy world view formed by watching a steady stream of Hollywood film noir and gangster pictures. Seeing Karl, who claims he is Chicago Joe doing advance work in London for encroaching Chicago gangsters, Betty takes the opportunity to set her fantasies to life as she connives Karl into a crime spree of petty crimes. With luck on their side, the spree keeps escalating, until Betty urges Karl to commit the ultimate crime -- murder. ~ Paul Brenner, Rovi

This comedy was the final episode in the "Confessions of.." trio. This time the characters from the previous films are cast as dreadfully untalented entertainers working in a resort. Slapstick ensues. ~ Sandra Brennan, Rovi

In this sex comedy, a randy psychiatrist is plagued with a host of beautiful women clients who need help with their sex-related dilemmas. ~ Iotis Erlewine, Rovi

For fans of the British television series Dad's Army, this film is a bonanza. Including the entire cast from the television series, it is a comedy about the Walmington-on-Sea contingent of the Home Guard, set in 1940. These men are part-time soldiers, and their civilian situations often impinge on their defense duties, much to the exasperation of the (retired) regular military men in their group. Their mettle is tested when they must capture three German aviators who have parachuted into their midst. The Home Guard, or Local Defense Volunteers, consisted of people who, for a variety of reasons (usually age) were unable to serve in the regular military, and wanted to help with the war effort. At the time the Home Guard was formed, a German invasion was expected to occur almost any day. ~ Clarke Fountain, Rovi

This gently farcical British comedy stars Hayley Mills and Hywel Bennett as Jenny and Arthur, a young couple who have just gotten married. However, while both of them are filled with anticipation for their honeymoon, a practical joke played by their "friends" causes their bed to collapse just as they're about to consummate their relationship. Through a variety of misfortunes, they end up spending the night at the home of Arthur's parents, where nervousness and a certain lack of privacy make it difficult for them to enjoy their first night together as they'd wish. While a bit of frank language and some fleeting nudity by former child star Hayley Mills generated a certain amount of controversy upon first release, by today's standards The Family Way is more easily seen as the compassionate relationship comedy its creators intended. The Family Way is also of note to Beatles fans as the first film scored by Paul McCartney. ~ Mark Deming, Rovi

The lively but somehow slightly distasteful The Americanization of Emily stars James Garner as a WWII naval officer who happens to be a craven coward. While his comrades sail off to their deaths, Garner makes himself scarce, generally hiding out in the London flat of his lothario navy buddy James Coburn. Garner falls in love with virtuous war widow Julie Andrews (the "Emily" of the title), but she can't abide his yellow streak. Meanwhile, crack-brained admiral Melvyn Douglas decides that he needs a hero--the first man to die on Omaha Beach during the D-Day Invasion. Coburn is at first elected for this sacrifice, but it is the quivering Garner who ends up hitting the beach. He survives to become a hero in spite of himself, winning Andrews in the process. Paddy Chayefsky's script, based on the novel by William Bradford Huie, attempts to extract humor out of the horrors of war by using broad, vulgar comedy instead of the light satirical touch that would seem to be called for. Americanization of Emily was Julie Andrews' second film; it should have led to a steady stream of adult-oriented roles, but the box-office clout of Mary Poppins and The Sound of Music consigned her to "wholesome family entertainment". ~ Hal Erickson, Rovi

Squire Trevenyan (Peter Cushing), magistrate of an 18th century coastal village where a little smuggling has always gone on (and been tolerated), learns that a group of wreckers have moved into the district, destroying ships and slaughtering their survivors in order to steal the cargo. The local populace, consisting mostly of tradesmen, honest fishermen and some part-time smugglers, all want the wreckers stopped, and appeal to the squire; but Trevenyan also learns that his son Christopher (John Fraser) is involved with the daughter of a tradesman who receives stolen goods. He intends to act on wreckers and smugglers alike, and gets the support of the local nobility (Miles Malleson). But then Christopher Trevenyan is caught up in a killing -- in self-defense -- of one of the wreckers, and the squire is so certain of the corruption of the village, that he declines to use his son as a witness against the wreckers. Rather, he brings in soldiers and starts a campaign against the smugglers and fishermen, the wreckers' leader, Black John (Bernard Lee), standing with him and diverting attention from himself. The citizenry appeals to a local highwayman known as the Captain (William Franklyn), who proceeds to kidnap Christopher, with a vow to kill him if two convicted men are transported to a colony. The squire is now trapped -- Black John, who is eager for the sentences to be carried out so that the troops can be withdrawn and his wreckers return to work, threatens to denounce him if he delays deporting the men; and Trevenyan rationalizes his decision as being in keeping with the law, even though it will cost his son's life. The only way out for the innocent parties on all sides can come from Christopher's bravery and the Captain's sense of honor, and the slim chance that they find a common goal that will spare young Trevenyan's life. ~ Bruce Eder, Rovi

The seventh film in the long-running "Carry On" series (24 more were to follow), this chapter features Sidney James as Charlie, owner of the Speedee Cab Company. Business has been good for Charlie, so good that it's been a source of great aggravation for his wife Peggy (Hattie Jacques), who complains that he never spends any time with her anymore. When Charlie misses taking his wife out on their anniversary because he's busy with work, Peggy decides that she's had enough, and she fights fire with fire by starting her own taxi service, Glamcabs. Unlike the other cab companies in town, Glamcabs' fleet of drivers are exclusively beautiful women in skimpy uniforms, which not surprisingly makes them the taxi of choice for men in town. Glamcabs takes a big bite out of Speedee's business, which leads to an all-out war between Charlie and Peggy. The "Carry On" gang followed this with Carry On Spying; two more "Carry On" titles hit theaters before the end of 1964. ~ Mark Deming, Rovi

Based on Anthony Kimmins' stage success The Amorous Prawn, this British light comedy stars Joan Greenwood as the wife of an Army general (Cecil Parker). Having fallen upon hard times, the wife hits upon a scheme to raise some quick cash. She opens her husband's highland headquarters to visiting salmon fishermen, a circumstance that displeases the general when several of those anglers turn out to be handsome young men. On the assumption that American audiences would think The Amorous Prawn was a film about shrimp instead of salmon, the US distributor added the "Mr." to the original. When filmgoers failed to respond, the picture was re-retitled The Playgirl and the War Minister, a shameless attempt to exploit the then-current Profumo political scandal. ~ Hal Erickson, Rovi

A familiar cast and crew -- which will continue carrying on for several more of these comedies by director Gerald Thomas -- once again star in well-established character types. This time around, the put-upon captain of a cruise ship (Sidney James) has five top positions suddenly needing to be filled by replacements, and unfortunately, he gets a rather inept lot. The quintet does not lack for trying, but then that attitude engenders the difficulties in the first place. The new and amateur cook, the sophisticated bartender, and the shapely femme fatale all make their appearance among the eccentrics on board. ~ Eleanor Mannikka, Rovi

Director Gerald Thomas and most of the cast and crew that worked in his "Carry On...." series of comedies are all back again in the funny, sometimes slapstick Raising the Wind. The plot is no more than a situation which then invites multiple sidetracks -- it seems the students at the prestigious London Academy of Music and Arts are going all out to get a coveted award. Thrown into their competitive ambiance is the classic absent-minded professor (Eric Barker), the more commonly found bad-tempered professor (James Robertson Justice), and a host of subsidiary characters, all played with gusto by professionals known for their comedic talents. ~ Eleanor Mannikka, Rovi

A battered houseboat on the Thames provides the setting for this romantic British comedy. Two newlyweds rent the leaky floating home. The trouble begins when the husband decides to move the scow to a better location. The rickety barge disrupts river traffic. Next the two get lost in a fog bank. When it finally lifts, they find themselves in France. Fortunately, their landlord's yacht is moored nearby and they are able to borrow some petrol. The landlord bets that he can beat them across the Channel with his yacht. The race begins. The yachtsman gets terribly drunk and his cannot stay on course. The newlyweds win the race. ~ Sandra Brennan, Rovi