Zia Mohyeddin Movies

Religious and personal tensions escalate steadily in this drama, and nearly everyone in it has some sort of extra-sensitive "toes" that get stepped on by others. James Wilby would seem to have a relatively non-controversial job, for a foreigner, since he is a wildlife conservationist, and foreigners are always going on about the environment. Pakistan is, however, a pretty strange place for his Jewish wife Hannah, the daughter of an American senator. The couple are almost deranged with a desire to have a child together, and when they hear about a local shrine which is said to give the blessing of fertility, they think that it sounds harmless enough and go out to see it. In the rest of the world, eunuches are a thing of the past, but in Pakistan and India, they actually have a culture of their own; ironically enough, they run the fertility shrine. When Wilby and Hannah visit the place, they are rendered unconscious with a drugged drink, and a local boy is called in to inseminate Hannah, who does in fact become pregnant. The birth of the child, however, seems to be the trigger for a lot of strange goings-on, beginning with Hannah's conversion to Islam, which strains her marriage nearly to the breaking point. Also, Hannah has discovered that Alistair has been carrying on with a family friend, and in addition, the eunuches seem to be excessively interested in the child she has by now given birth to. ~ Clarke Fountain, All Movie Guide

The made-for-TV We are the Children stars Ally Sheedy as an idealistic doctor, working in Ethiopia. When famine hits the land, Sheedy struggles valiantly to protect the hundreds of men, women and children in the village where she works. While so doing, she falls in love with adventurous photojournalist Ted Danson. This story element smacks of contrivance and exploitation when compared to the rest of the film, which features terrific performances by Judith Ivey as a nun and Khadija Ali Ahmed as an anguished Ethiopian mother. Filmed on location in Northern Kenya, We are the Children was first telecast March 16, 1987. ~ Hal Erickson, All Movie Guide

Released simply as Ashanti, this search-and-rescue film was adapted by scenarist Stephen Geller (Slaughterhouse-Five) from Evano, a novel by Alberto Vasques-Figueroa. Odious middle-eastern slave trader Peter Ustinov sets the plot in motion by kidnapping Beverly Johnson, the wife of World Health Organization doctor Michael Caine. As Johnson is subjected to the basest of humiliations, Caine joins forces with soldier-of-fortune Rex Harrison, pilot William Holden and nomad Kabir Bedi to rescue his wife. Shiek Omar Sharif purchases Johnson, clearing the decks for an all-stops-out action finale. Aldo Tonti lensed the picture. ~ Hal Erickson, All Movie Guide

Set in a futuristic world where man and machines compete, this comical fantasy centers upon a rather eccentric man who prefers raising his special giant, euphoria-producing mushrooms to working and spending time with his fiancee. He means well, for he believes that his funny fungus will help combat the increasing dehumanization of society. However, unable to withstand his bride's pressure, he finally takes a real job in a power plant. There he knocks out the power and then feeds his mushrooms to the authorities. While they walk around in a hallucinatory daze, he and his fiancee take a baby carriage filled with mushrooms and hightail it out of town. ~ Sandra Brennan, All Movie Guide

Playwright Christopher Isherwood and co-writer/director Tony Richardson adapted the novel by Marguerite Duras into this romantic drama. Jeanne Moreau plays Anna, a Frenchwoman of means who experienced fleeting true love with a sailor many years before. In the interim, her husband killed himself and left Anna his vast fortune, and now she is sailing from port to seedy port, searching the world over in vain for her long-lost sailor. In the meantime, Alan (Ian Bannen), a young Englishman, argues with his girlfriend Sheila (Vanessa Redgrave), and leaves her. Alan encounters Anna and, intrigued, joins her on her heartbreaking quest, which takes them aboard Anna's sailboat to Africa and Greece. As Alan begins to realize that he's falling in love with his traveling companion, they meet Louis de Mozambique (Orson Welles), who joins them on their mission but suggests that Anna's elusive sailor may never have existed anywhere other than in her mind. Nevertheless, Anna and a smitten Alan continue their pursuit. Richardson and Isherwood had collaborated previously on the more successful, darkly satirical The Loved One (1965), adapted from the novel by Evelyn Waugh and considered a cult classic. ~ Karl Williams, All Movie Guide

The attempted assassination of a Middle Eastern potentate is tied in with a company specializing in making fantasies come true. In order to verify this link, Steed becomes a boon companion to the potentate, while Emma joins the ruler's harem. The sight of Diana Rigg in a flimsy harem costume performing "the dance of the six veils" was too much for American censors, which is why "Honey for the Prince" was yanked from ABC's Avengers package. English viewers were privileged to see this Brian Clemens-scripted installment on March 23, 1966. ~ Hal Erickson, All Movie Guide

By 1964, it was possible for a major studio to make a film touching upon the Spanish Civil War without having to answer to some senate investigating committee or other. Based on Emeric Pressburger's novel A Mouse on Sunday, Behold a Pale Horse stars Gregory Peck as a war veteran who continues waging a one-man offensive years after hostilities have officially ceased. Exiled to France, Peck is lured back to Spain by vengeful police captain Anthony Quinn. Priest Omar Sharif advises Peck that he's being tricked, but Peck is determined to return to Spain to bid farewell to his dying mother Mildred Dunnock. Halfway through, the film bogs down into ponderous preachifying and moralizing, but overall the film is worth a glance. In 1966, Behold a Pale Horse was scheduled to be telecast on a major American network, but was cancelled at the last minute, reportedly at the behest of the Spanish government. ~ Hal Erickson, All Movie Guide

This sweeping, highly literate historical epic covers the Allies' mideastern campaign during World War I as seen through the eyes of the enigmatic T. E. Lawrence (Peter O'Toole, in the role that made him a star). After a prologue showing us Lawrence's ultimate fate, we flash back to Cairo in 1917. A bored general staffer, Lawrence talks his way into a transfer to Arabia. Once in the desert, he befriends Sherif Ali Ben El Kharish (Omar Sharif, making one of the most spectacular entrances in movie history) and draws up plans to aid the Arabs in their rebellion against the Turks. No one is ever able to discern Lawrence's motives in this matter: Prince Feisal (Alec Guinness) dismisses him as yet another "desert-loving Englishman," and his British superiors assume that he's either arrogant or mad. Using a combination of diplomacy and bribery, Lawrence unites the rival Arab factions of Feisal and Auda Abu Tayi (Anthony Quinn). After successfully completing his mission, Lawrence becomes an unwitting pawn of the Allies, as represented by Gen. Allenby (Jack Hawkins) and Dryden (Claude Rains), who decide to keep using Lawrence to secure Arab cooperation against the Imperial Powers. While on a spying mission to Deraa, Lawrence is captured and tortured by a sadistic Turkish Bey (Jose Ferrer). In the heat of the next battle, a wild-eyed Lawrence screams "No prisoners!" and fights more ruthlessly than ever. Screenwriters Robert Bolt and Michael Wilson used T. E. Lawrence's own self-published memoir The Seven Pillars of Wisdom as their principal source, although some of the characters are composites, and many of the "historical" incidents are of unconfirmed origin. Two years in the making (you can see O'Toole's weight fluctuate from scene to scene), the movie, lensed in Spain and Jordan, ended up costing a then-staggering $13 million and won seven Academy Awards, including Best Picture and Best Director. The 1962 Royal Premiere in London was virtually the last time that David Lean's director's cut was seen: 20 minutes were edited from the film's general release, and 15 more from the 1971 reissue. This abbreviated version was all that was available for public exhibition until a massive 1989 restoration, at 216 minutes that returned several of Lean's favorite scenes while removing others with which he had never been satisfied. ~ Hal Erickson, All Movie Guide