Robert Helpmann Movies

A star-studded cast highlights this musical adaptation of the classic fantasy tales of Lewis Carroll. One day young Alice (Fiona Fullerton) takes a nasty spill down the rabbit-hole and finds herself in the bizarre kingdom of Wonderland, where she encounters a number of strange and enchanted characters, including the playful White Rabbit (Michael Crawford), the manic March Hare (Peter Sellers), the mysterious Caterpillar (Ralph Richardson), the Doormouse (Dudley Moore), the imperious Queen of Hearts (Flora Robson), and the quizzical Mad Hatter (Robert Helpmann). The cast also includes Spike Milligan, Peter Bull, Roy Kinnear, and Michael Jayston as Lewis Carroll. Alice's Adventures In Wonderland won two prizes at the 1973 British Academy of Film and Theatre Awards -- for Georfrey Unsworth's photography and Anthony Mendelson's costume design. ~ Mark Deming, Rovi

This historic film footage, presents the history of the Sadler Wells Royal Ballet, including a clip of the 16-year-old Fonteyn. ~ Rovi

The Royal Ballet performs this 1969 production of Sergey Prokofiev's musical fairy tale Cinderella, starring Antoinette Sibley as Cinderella and Anthony Dowell as the Prince and choreographed by Frederick Ashton. The musical score is provided by the Orchestra of the Royal Opera House, under the direction of John Lanchberry. ~ Andrea LeVasseur, Rovi

Laurence Olivier's adaptation of Henry V is one of the finest Shakespeare films ever made, full of rousing action, beautiful colors, and passionate performances. Henry V is the story of the newly crowned king of England, who fights the French for possession of Normandy. Olivier's direction is inventive, beginning the film as if it were a performance at the Globe Theatre, and having it slowly expand so the final battle scenes take place in realistic settings. Released in 1944 during the height of World War II, Henry V didn't receive an American release until 1946, upon which Olivier won a special Academy Award for "his outstanding achievement as actor, producer and director in bringing Henry V to the screen." ~ Stephen Thomas Erlewine, Rovi

In Australian director Richard Franklin's Patrick, the subject of psychokinesis is used, not for the creation of De Palma-like bloodbath special effects as in Carrie and The Fury, but as an expression of a deeply disturbed persona. Patrick is first seen in the intensive care section of a hospital in a state of extreme catatonia -- after murdering his mother and her lover. Dr. Roget (Robert Helpmann) is the doctor in charge of the clinic who first tends to Patrick, but when new nurse Kathy Jacquard (Susan Penhaligon) arrives, she is assigned Patrick's case. As she cares for the comatose man, Patrick falls in love with her, telekinetically writing love notes to her on her typewriter. Kathy begins to suspect something is amiss when the doctors and nurses at the hospital who want to speed along the comatose man to his death start to die in mysterious ways. As Patrick's condition continues to deteriorate and he realizes that he is on the verge of death, he then wants Kathy to kill herself to join him when he dies. ~ Paul Brenner, Rovi

In this tongue-and-cheek comedy, the Devil and God get together and the horned one bets God that were Adam and Eve to get a second go of it, the same result would occur. To prove his point, the film swings back to Roman times, through WW I, the Roaring '20s and more, as temptation prevails throughout the annals of time. ~ Rovi

Lensed in England, The Iron Petticoat has been out of circulation for so long that it's difficult to determine whether it is a long-lost classic or the unmitigated disaster many have claimed it to be. Essentially a rehash of Ninotchka, the film stars Bob Hope as Chuck Lockwood, an American military officer assigned to "de-Communize" defecting Russian aviator Vinka Kovelonko (Katharine Hepburn). Meanwhile, Vinka tries to win Chuck over to the glories of the People's Republic. The film remains on a fairly subtle comic level until its unecessarily slapsticky finale, which, in to paraphrase one reviewer, caused many film fans to completely "give up Hope." Those who've seen The Iron Petticoat are astounded at how well Bob Hope and Katharine Hepburn worked together, especially since it has been well documented that the two stars were decidedly not close chums off screen. The film sparked a now-famous war of words between Hope and scriptwriter Ben Hecht, both of whom took out long, rambling trade-paper ads to lambaste each other for "ruining" the project. ~ Hal Erickson, Rovi

The Margot Fonteyn Story is the only authorized documentary about British ballerina Dame Margot Fonteyn, released during the year of her death. Fonteyn herself serves as the narrator, recalling the high points of her nearly 50-year career in dance. Features interviews with Rudolf Nureyev, Robert Helpmann, and Frederick Ashton. Includes home movies, archival footage, and a personal discussion about her marriage to a Panamanian diplomat. Some of the dance excerpts come from Sleeping Beauty, Ondine, and Giselle. ~ Andrea LeVasseur, Rovi

Michael Powell and Emeric Pressburger's influential musical tragedy set the stage for the climactic dance ballets that became a staple of the Arthur Freed-MGM musicals (An American in Paris, Singin' in the Rain and The Band Wagon) of the early 1950s. Hans Christian Andersen's tragic fairy tale forms the basis of this film about betrayal, love and art. The story begins as struggling composer Julian Craster (Marius Goring) attends a performance of the Lermontov Ballet Company and recognizes his own score in the production of "Hearts of Fire." Julian protests to ballet company director Boris Lermontov (Anton Walbrook) about the unauthorized use of his music. Impressed by Julian's talent, Boris hires him to compose the score for his next ballet -- a dance version of "The Red Shoes." Boris also hires an attractive young dancer, Victoria Page (Moira Shearer), to perform in the ballet. When the lead ballerina announces that she plans to get married, Boris, in a pique over being abandoned, casts Victoria in the starring role. As Julian works on the score and Victoria struggles to perfect her dance technique, the two fall in love. When "The Red Shoes" ballet is premiered -- seen in a stunning and glorious fifteen-minute sequence -- it is a raging success and it makes Victoria a star. But when Boris learns that Julian and Victoria have fallen in love, Boris, who is secretly in love with Victoria, in a fit of rage forces Julian to leave the ballet company; Victoria leaves with him. Since Boris owns the rights to "The Red Shoes" ballet, he forbids Victoria to perform the dance and she becomes unemployable. Time passes and Julian and Victoria are now happily married. Julian's compositions have made him an international success. One day, with Victoria disembarking from a train in Paris, she meets Boris, who implores her to do one performance of "The Red Shoes" in Monaco. Victoria agrees as Julian cancels an engagement in London to travel to Monte Carlo in order to convince his wife not to perform the ballet. But Victoria goes on with the performance, with tragic results. ~ Paul Brenner, Rovi

Most baby-boomers are familiar with the Powell-Pressburger production of the Offenbach opera Tales of Hoffman only through the full-color stills from the film which were reproduced in the "Motion Picture" section of The World Book Encyclopedia. If this is your only memory of the film, we advise you to seek out a copy of this lengthy but visually enthralling picture as soon as possible. Metropolitan opera star Robert Rounseville plays Hoffman, a university student who is spectacularly unlucky in affairs of the heart. Each of his love affairs with Olympia (Moira Shearer), Giulietta (Ludmilla Tcherina) and Antonia (Ann Ayars) is doomed to failure due to circumstances far beyond our hero's control (Olympia, for example, turns out to be nothing more than a life-sized mechanical doll). As in the previous Powell-Pressburger collaboration The Red Shoes, the film's best moments are its ballet sequences, choreographed by Jane Ashton. Offenbach's score is given a splendid rendition by the Royal Philharmonic Orchestra, under the baton of the legendary Sir Thomas Beecham. Most prints of Tales of Hoffman run 118 minutes, eliminating the closing "Tale of Antonia" sequence; the laserdisc version has been restored to 127 minutes, while the search goes on for the complete 138-minute negative. ~ Hal Erickson, Rovi