Anna Massey Movies

A young Argentine mathematician visiting the United Kingdom is drawn into a complex murder mystery when his landlady is brutally slain in director Alex de la Iglesia's tense and stylish thriller. John Hurt stars in a film scripted by longtime de la Iglesia collaborator Jorge Guerricaechevarría. ~ Jason Buchanan, All Movie Guide

Per its title, director Richard Bracewell's low-key, über-British dramedy The Gigolos concerns itself with two male employees of a London-based escort service for women. The picture, however, places far greater emphasis on investigating the relationship between the men per se than it does on exploring the dynamics between the hired companions and their female clients. Sacha Tarter stars as Sacha, a male escort for a firm that caters to affluent society women. Most are middle aged, a few elderly. He is paid to provide them with classy evenings out, and occasional sex upon request. Sacha's "gent" (or pimp/manager), Trevor (Trevor Sather) arranges Sacha's dates and uses his own excellent taste (in food, wine, flowers, and various accoutremenets) to select gifts for Sacha's clients, but is a klutz when it comes to his own personal interaction with women. When Sacha) twists his ankle during an evening out with a fashion designer, Tessa Harrington (screen legend Susannah York), Trevor must temporarily tend to his clients. As Trevor's social skills improve, however, and evenings go supremely well, he begins to fancy himself an escort and steals several of Sacha's clients for himself. Angered, Sacha decides to fight back. Anna Massey (Frenzy) and Sián Phillips (I, Claudius) co-star; Bracewell, Sather and Tarter co-authored the script. ~ Nathan Southern, All Movie Guide

An elderly widow and a young would-be author strike up an unlikely friendship in this comedy drama. Mrs. Palfrey (Joan Plowright) has been uneasy since the death of her husband, and she decides to move from her long-time home in Scotland to London so she can be closer to her grandson Desmond (Lorcan O'Toole). Mrs. Palfrey settles into the Claremont Hotel, a shabby residential inn for senior citizens that has seen better days. She tries to contact Desmond, but isn't able to get in touch with him, and at first she has a hard time relating to the other folks at the Claremont, especially friendly busybody Mrs. Arbuthnot (Anna Massey). Lonely and out of sorts, Mrs. Palfrey goes out for a walk one day and takes a nasty spill after losing her balance. Ludovic Meyer (Rupert Friend), a struggling writer in his mid-twenties, finds Mrs. Palfrey on the pavement and helps her, taking her back to her room and making sure she's OK. The two strike up a conversation and discover they have a surprisingly amount in common. A friendship grows between them, even though Mrs. Palfrey asks Ludovic to pose as her absent grandson so her neighbors will stop asking questions about him. Mrs. Palfrey even gives her new friend romantic advice, encouraging Ludovic to ask a pretty girl he meets at the video store out on a date. Based on a novel by the British author Elizabeth Taylor, Mrs. Palfrey at the Claremont was directed by Dan Ireland. ~ Mark Deming, All Movie Guide

Directed by Harley Cokliss, An Angel for May follows a modern boy (Matthew Beard) living in Yorkshire, England, and his dog, who cross through a brick wall leading directly into the early 1940's. Tom (Beard) looks very strange to Sam Wheeler (Tom Wilkinson), who owns the property which Tom managed to land on. Sam, who lives with his adult daughter, Alison (Julie Cox), also provides shelter for a traumatized waif named May (Charlotte Wakefiled). May, who had been buried under the rubble when her entire family was killed in a bombing raid, sleeps with the dog outside and refuses to come inside the house even for meals. However, after she spends some time with Tom, she quickly progresses. Tom, meanwhile, is intent on finding his way back to the future. However, once he gets there, he realizes that he left something very important back in the past. ~ Tracie Cooper, All Movie Guide

In Neil LaBute's film adaptation of A.S. Byatt's Booker Prize-winning 1990 novel, Aaron Eckhart (who has starred in all of LaBute's films) plays Roland Michell, an American academic researcher, working in London, who discovers some important letters written by a famous Victorian poet, Randolph Henry Ash (Jeremy Northam [Gosford Park]). Ash was presumed to have been totally devoted to his wife, but Roland finds letters written to another unnamed woman, and soon determines that the intended recipient was another, less well-known poet, Christabel LaMotte (Jennifer Ehle of Sunshine). Roland contacts Maud Bailey (Gwyneth Paltrow), an expert on LaMotte's life and work, who tells him that LaMotte couldn't have had an affair with Ash because she lived most of her life with a female companion, Blanche Glover (Lena Headey), in what was apparently a romantic relationship. Despite Maud's skepticism, the two begin to investigate, and uncover a wealth of information about the affair between the two poets. Period scenes of the illicit relationship between Ash and LaMotte are intercut with the contemporary investigation of the two academics. Roland and Maud initially fight their attraction to each other, but as the pair find more evidence of the historical and tragic romance, they find themselves overcoming their own resistance to romantic entanglement. Possession was kicked around as a film project for a long time before LaBute became interested. Director Sydney Pollack originally was slated to film a screenplay by David Henry Hwang (M. Butterfly), who receives a credit on the finished film. When LaBute took over the project years later, he reworked the screenplay with Laura Jones (The Portrait of a Lady). ~ Josh Ralske, All Movie Guide

One man's pursuit of life, liberty, and a green card sets the stage for this comedy-drama. Ali (Said Taghmaoui) was born in Egypt but has come to England in hopes of finding his fortune. Nothing if not industrious, Ali juggles several low-paying jobs: He works in a Middle Eastern restaurant, writes screenplays, helps redub Arabic-language movies into English, and gives belly dancing lessons. In the grand tradition of dance instructors, Ali is also having an affair with one of his students, Vivienne (Clementine Celarie), a middle-aged art dealer who refuses to take no for an answer. Ali is kicked out of his rooming house after several of his neighbor's sexual peccadilloes pop up in one of his scripts, and to add insult to injury, Ali is informed that his visa is about to run out and may not be extended. Needing a place to stay, Ali accepts an offer from Mark (Rupert Graves), a photographer who will give him a room and some cash in exchange for posing for photos to be used in a gay-themed magazine. Wanting to stay in England, Ali's less than scrupulous friend Ahmed (Karim Belkhadra) says he can arrange a marriage with a British citizen that would help him gain citizenship, but the price is 5,000 pounds, more than Ali can afford. Ali soon meets Linda (Juliette Lewis), an American expatriate who does a nightclub act as Marilyn Monroe; Linda likes Ali, and is willing to marry him for a mere 3,000 pounds, though Ali still has no idea how to come up with the money. Room to Rent was the first feature from writer/director Khaled Al Haggar, who is himself an Egyptian immigrant living and working in London. ~ Mark Deming, All Movie Guide

Based on the novel by Philippa Gregory, the British miniseries A Respectable Trade was what is known in the business as a "bodice ripper." The story began in 1788, when well-bred governess Frances Scott (Emma Fielding) married her rough-hewn employer Josiah Cole (Warren Clarke). It didn't take long for Frances to become disgusted by the fact that her husband was in the slave-trading profession, and to take steps to get him out of the filthy business. Complicating matters was Frances' ever-increasing attraction to one of Josiah's "possessions," a handsome and cultured African slave named Mehuru (Ariyon Bakare). First broadcast over the BBC on April 19, 1998, the four-part A Respectable Trade was telecast in America as part of PBS Masterpiece Theatre anthology, beginning on October 25 of that same year. ~ Hal Erickson, All Movie Guide

Screenwriter and director John Byrne transformed his own 1983 off-Broadway play into this coming-of-age comedy-drama that is divided into six segments, each one a different day during one week in the lives of its main characters. Spanky Farrell (Russell Barr), Hector McKenzie (Bill Gardiner), and Phil McCann (Robin Laing) are a trio of working class teenage boys who labor in a drab Scottish carpet factory in 1957. Each of the lads dreams of a way out of his dreary life: Spanky desires to relocate to the U.S., Hector plans to marry a coworker -- Lucille (Louise Berry), who works in the mailroom -- and Phil toils as an artist, assembling a portfolio that he hopes will earn him an art school admission. While they plan for the future, the three young men are also eagerly anticipating a staff-sponsored dance that's going to be held that weekend by their company. Byrne's original stage production starred Kevin Bacon, Sean Penn and Val Kilmer in the leads. ~ Karl Williams, All Movie Guide

A 19th-century British naturalist falls in love with the beautiful daughter of a wealthy aristocrat, but he soon discovers that her family's perfect facade disguises unexpectedly grim secrets. Director and co-screenwriter Philip Haas's adaptation of A.S. Byatt's Morpho Eugenio eschews the usual gentility of Victorian period pieces in favor of subtle creepiness. The unsettling mood is emphasized by the film's detailed attention to its protagonist's scientific endeavors, which center on the study of insects and their behavior. In fact, it is his love of insects that brings William (Mark Rylance) to the well-heeled Reverend Alabaster (Jeremy Kemp), who takes a personal interest in William's welfare when a shipwreck leaves William practically penniless. William is welcomed into the Alabaster home, and he resumes his entomological studies while courting the reverend's daughter, Eugenia (Patsy Kensit). Close-up glimpses of insect society parallel this aristocratic world and hint at the dark secrets with which William soon becomes unexpectedly familiar. As in Haas's previous film, The Music of Chance, an unusual, highly symbolic filmmaking approach creates an effective drama, with the potentially detached intellectualism balanced by unusual characterizations and an absorbing attention to detail. ~ Judd Blaise, All Movie Guide

The Grotesque (aka Grave Indiscretion, aka Gentleman Don't Eat Poets) is a very black, very British comedy that puts an unusual and perversely entertaining spin on the classic tea-cup-and-intrigue mystery. Sir Hugo Coal (Alan Bates) is a grumpy, eccentric English gentleman (and self-styled paleontologist) obsessed with reconstructing a dinosaur skeleton with bones dredged up from a nearby moor. He is also penniless, and so must live vicariously off the inheritance of his smoldering American wife Harriet (Theresa Russell). Enter: the crafty and secretive Fledge (Sting) and his wife and co-conspirator Doris (Trudie Styler) the new Coal family servants. Fledge immediately sets his sights on Harriet and the Coal fortune, Doris on the household wine cellar. When Hugo and Harriet's daughter Cleo (Lena Headey) announces her engagement to demure poet Sidney Giblet (Steven Mackintosh), Hugo is less than pleased, but not for long, since Sidney is murdered soon after and, we learn, his body gruesomely disposed of. As the rivalry between Fledge and Hugo escalates, Cleo, the police, and the poet's shrewd mother Mrs. Giblet (Anna Massey) follow a trail of clues from the swampy, bone-littered moor to the Coal pig sties and finally (rather horribly) back to the Coal dinner table. Though criticized for its irreverent humor and somewhat ambiguous ending, The Grotesque is worth a watch. Sting and his real-life partner Trudie Styler (who co-produced the film) are both wonderful as the loathsome, manipulative servants, as is Anna Massey as the poet's investigative mother. The real stars of the film, however, are not the actors, but the dense, ornamental interiors provided by Jan Roelfs and Michael Seirton. Every corner of the Coal mansion is littered with artifacts and art objects, every frame crawling with worms, frogs, and reptiles. Like a Dutch still life, The Grotesque is simultaneously repellent and attractive, a painterly assemblage of morbidity and dramatic artifice. ~ Anthony Reed, All Movie Guide

Amandine Aurore Lucie Dupin, better known in the literary world as George Sand, not only took a man's name, but trotted around wearing pants and smoking cigars in public. No great shakes today, but in the 1800s she was perhaps the most famous (or infamous) woman in the world. One of the first original celebrities, aside from her garb and literary output, she was known to inspire many duels and broken hearts among other famous hedonist artists. One character describes her in Impromptu, as "that graveyard." The film engages in a sexual roundelay among Sand's (Judy Davis) many friends -- Eugene Delacroix (Ralph Brown), Alfred DeMusset (Mandy Patinkin), Franz Liszt (Julian Sands), and Frederick Chopin (Hugh Grant). The entire crew heads off to the summer estate of the Duke and Duchess d'Antan (Anton Rodgers and Emma Thompson), invited there by the culture-vulture hosts. Sand takes a bead on the sickly Chopin and spends her time throwing herself at him. Also on hand is Liszt's mistress Marie d'Agoult (Bernadette Peters) and Felicien Mallefille (Georges Corraface), Sand's recently jilted lover. Mallefille is jealous of any of the other guests who glance in Sand's direction and continually challenges them to duels. Marie, on the other hand, is enlisted by Sand to deliver a note to Chopin. But Marie, jealous of Sand, delivers the note substituting her name for Sand's. And as the weekend continues, the sexual merry-go-round continues at full tilt. ~ Paul Brenner, All Movie Guide