David Oxley Movies

This low-budget horror production from South Africa features mad scientist Mark Burns conducting hideous occult experiments at the family estate of Brattling Manor, monkeying about with things man was not meant to know, including the transfer and containment of living souls. It's only a matter of time before he begins to experiment on the souls of human beings -- including just about every member of his family. The transference process enables him to assume his brother's identity, allowing him to continue his nefarious activities in secret. This hokey horror melodrama is replete with subplots about ancient magic and family curses, and features a villain who prances around in a cape for no good reason. ~ Cavett Binion, Rovi

Life at the Top is a belated sequel to Room at the Top, John Blaine's "angry young man" British novel that was made into a film in 1959. Laurence Harvey is back as Joe Lampton, the man-on-the-rise protagonist who in Room had given up true love in favor of a career-boosting (and antiseptic) marriage to his boss' daughter. Ten years have passed: Lampton is a business success, but utterly bored by his dead-end marital setup. His wife feels the same, and it isn't long before Mr. and Mrs. Lampton begin conducting separate affairs. While the original Room was a fairly accurate evocation of its era, Life at the Top works too hard and too noisily to be "mod," in reflection of the ethereal Swinging London era. The inclusion of flashbacks from Room at the Top, in which Harvey is seen making love to Simone Signoret, only serves to emphasize the shortcomings of the sequel. The best moments in the later version can be found in the early establishing scenes set in Yorkshire. Life at the Top was followed by a TV series called Man at the Top, starring Kenneth Haigh as Lampton, which in turn was followed by a theatrical feature of the same name. ~ Hal Erickson, Rovi

In the 17th century, the arrogant, cruel Hugo Baskerville (David Oxley) brutalizes a servant and prepares to turn the man's daughter over to his equally depraved companions, but she escapes. When he catches up with the girl in a ruined abbey, he kills her and then is attacked and killed himself by a huge hound that is never seen. The audience then learns that this story is being told in flashback to Sherlock Holmes (Peter Cushing) and Dr. Watson (Andre Morell) by Dr. Richard Mortimer (Francis DeWolff). He was the physician and friend to the late Sir Charles Baskerville, who recently died -- apparently of fright -- on the Devonshire moors near that same ruined abbey. Holmes is very skeptical, but agrees to meet Sir Henry Baskerville (Christopher Lee), who has just arrived in London to claim the estate. Sir Henry is cold and aloof but becomes convinced he's in danger when he's almost bitten by a tarantula. Holmes insists that he not go to Baskerville Hall alone, so Holmes sends Watson to Devonshire with Sir Henry.

In Devonshire, Sir Henry and Watson learn that an escaped convict, Selden, is at large on the moor. Watson meets local Bishop Frankland (Miles Malleson), and later on the moor, Baskerville's neighbors, Stapleton (Ewen Solon) and his daughter, Cecile (Marla Landi). Watson is almost trapped in one of the many bogs that dot the moors, but he escapes. Later, leaving Sir Henry stricken with a mild heart attack at the hall, Watson ventures again onto the moors, and to his surprise, discovers Sherlock Holmes there. Holmes has been hiding and watching for developments. They hear the howl of the hound, and are too late to prevent the huge beast from killing a man they take for Sir Henry. But back at Baskerville Hall, they find Sir Henry alive and well: the dead man was the convict Selden, dressed in some old clothes of Sir Henry's. At the ruined abbey, they find evidence that a strange rite has been performed.

When Holmes visits Frankland for information, he learns that someone has stolen the bishop's tarantula. (He's an amateur naturalist.) Meanwhile, near Baskerville Hall, Sir Henry meets Cecile, and they are attracted to one another. Holmes, Mortimer and Stapleton descend into a disused tin mine in search of evidence, but a cave-in almost traps Holmes. That evening, when Sir Henry goes to meet Cecile on the moors, he learns that she actually hates him, and that the hound is now on his trail. Holmes and Watson arrive almost too late to save him, but Holmes kills the hound and reveals it's an ordinary, if large, dog in a mask. The villain is a descendant of Sir Hugo's from "the wrong side of the sheets"; he and his daughter were determined to use the legend of the Hound to kill those standing between them and Baskerville Hall.
No movie version of Sir Arthur Conan Doyle's most famous novel follows its source very closely, and this colorful Hammer film is no exception. An extra killer is added, events are compressed, and even the novel's most famous line -- "they were the tracks of an enormous hound!" -- is omitted. The film also suffers at times from a budget too low for its ambitions and by extraneous elements aimed at making it more like a Hammer movie, such as the unexplained "rite." However, the movie has a brisk pace and particularly strong characters. Lee, initially icy and arrogant -- perhaps to remind us of Sir Hugo -- thaws into a likable person romantic enough to fall in love, atypically for Lee. Andre Morell is one of the most solid and realistic Watsons ever; there's nothing whatever of the harrumphing Nigel Bruce, no comedy elements to the role at all. He's straightforward, heroic in his own right. But the triumph of the film
was the casting of Peter Cushing as Sherlock Holmes. Cushing's Holmes is vivid, dynamic and arrogant; the actor does not even attempt to make Holmes likable, but instead plays the character exactly as Doyle wrote him. It's a performance of steely integrity and terrific skill, one of the greatest Holmes performances ever. Cushing later played Holmes in a television series, and became as identified with the role in England as Basil Rathbone was in the United States. Cushing returned once again to the role late in life, in the TV movie The Masks of Death, as well as writing about Holmes for several books. ~ Bill Warren, Rovi

Francoise Sagan's bittersweet novel Bonjour Tristesse is given a sumptuous Riviera-filmed screen treatment. David Niven plays a wealthy playboy, the father of teenaged libertine-in-the-making Jean Seberg. Seberg tolerates most of her father's mistresses, but doesn't know what to make of the prudish Deborah Kerr, who will not cohabit with Niven until after they're married. Feeling that her own relation with her father will be disrupted by Kerr's presence, Seberg does her malicious best to break up the relationship--only to be beaten to the punch by Niven, who despite his promises of fidelity to Kerr cannot give up his hedonistic lifestyle. The combination of the daughter's disdain and the father's rakishness drive Kerr to suicide. Niven and Seberg continue pursuing their lavish but empty lifestyle, though both realize that their lack of moral fibre has destroyed a life. The incestuous undertones of the original Sagan novel are only slightly downplayed in the film version; the "tristesse" (sadness) is visually conveyed by filming the Deborah Kerr flashback scenes in color and the opening and closing of the film in bleak black and white. Bonjour Tristesse was codirected by Otto Preminger, who'd previously discovered Jean Seberg for his benighted 1957 filmization of Saint Joan. ~ Hal Erickson, Rovi

The 51-minute length of Black Ice imposes a tense tautness that would not have been possible in a film of any longer duration. Paul Carpenter stars as a trawler captain making his way through treacherously icy waters. His vessel becomes trapped in the ice, far beyond human help. With no contact to the outside world, captain Carpenter must literally chop his way out of his life-threatening dilemma. Black Ice was a British program film designed for the lower berths of double-feature presentations. ~ Hal Erickson, Rovi

In Svengali, the 1955 adaptation of George DuMaurier's classic novel Trilby, Donald Wolfit achieves the near-impossible: he out-hams John Barrymore, who'd played Svengali in the 1931 version. A last-minute replacement for the equally flamboyant Robert Newton, Wolfit pulls out all the stops as the scroungy, sinister musician/mesmerist who hypnotizes lovely artist's model Trilby (Hildegarde Neff) and transforms her into a world-famous singer. While under Svengali's spell, Trilby forgets all about "Little" Billy (Terence Morgan) the starving artist who loves her fervently. But Billy doesn't forget, and follows Svengali and Trilby all over the world. The film's best moment is the celebrated Covent Garden climax, wherein Svengali finally, and fatally, relaxes his hold on Trilby. ~ Hal Erickson, Rovi

In this costume adventure set in France during the Reign of Terror, a mysterious man known only as the Scarlet Pimpernel rescues noblemen from the guillotine and leads them to safety across the English Channel. Chauvelin (Cyril Cusack) is determined to unmask the Pimpernel and bring him to justice. When evidence begins to suggest that the hero is actually foppish Sir Percey Blakeney (David Niven), Chauvelin blackmails Percey's wife, Marguerite (Margaret Leighton), into cooperating on the threat that he'll expose the criminal activities of her brother Armand (Edmund Audran). However, Marguerite doesn't much care for her husband, hardly believes he could be the heroic Pimpernel, and is startled when she finds out that he truly is the masked vigilante. The Elusive Pimpernel was originally shot in color as a musical, but the musical numbers were cut before the film was released, and the picture's American distributor chose to make only black-and-white prints (though the current home-video release is in color). ~ Mark Deming, Rovi