Iain Quarrier Movies

Jean-Luc Godard's Sympathy for the Devil, also known as One Plus One, uses both documentary and staged sequences, alternating between an inside look at a rock band's recording process and reflections on contemporary politics and aesthetics. One half of the film focuses on the Rolling Stones, as they rehearse and ultimately record the song that would become "Sympathy for the Devil." By presenting repeated takes of the entire composition, the film allows the viewer to witness the progressive evolution of the song from its original, slower conception to the more percussive version that became the final recording. The other half of the film -- which is occasionally accompanied by the song -- presents a series of sequences dealing with issues like black power, pornography, racism, and Marxism, amongst others. These sequences, which often focus on a group of revolutionary youth in Paris, provide a chance for Godard to inject political commentary and meta-fictional musings on the nature of cinema. These more cerebral scenes serve as counterpoint to the direct presentation of the creative process seen in the Stones' studio sessions, and provide oblique commentary on the political meanings of popular music. ~ Judd Blaise, Rovi

A pair of bumbling vampire-hunters attempts to destroy an undead nobleman and his cronies and rescue a buxom maiden in actor/director Roman Polanski's playful update of the venerable vampire genre. Bat expert and vampire obsessive Professor Abronsius (Jack MacGowran) barely survives his journey through the Alps into snowy Slovenia to continue his oft-maligned research into the undead. Thawed out by his hapless assistant, Alfred (Polanski), and the frisky local innkeeper, Shagal (Alfie Bass), Abronsius quickly notices the overabundance of raw garlic as a decorating motif in the inn and its environs. Too ineffectual to save Shagal from having his blood sucked, the professor and Alfred miss the boat again when the mysterious Count Von Krolock (Ferdinand Mayne) kidnaps Shagal's built, beautiful daughter, Sarah (Sharon Tate). The itinerant vampire hunters must travel through the icy wilderness to Von Krolock's abode and evade his manservant and his effete son Herbert (Iain Quarrier) before Sarah joins the ranks of the ghouls. They soon learn, however, that the luxury-starved lass actually enjoys her captors' lavish attentions. The action climaxes during a costume ball attended by a phalanx of blood-suckers, although the laughs and surprises continue until the very end. Sixteen minutes of unauthorized cuts have been restored in some video editions of The Fearless Vampire Hunters, although the animated credits sequence that replaced them is also retained. The film marks the feature debut of Tate, who replaced Polanski's original choice, Jill St. John, on the advice of producer Martin Ransohoff. ~ Brian J. Dillard, Rovi

The Fledglings are two-bit filmmakers Mike Ross and Iain Quarrier. Hoping to persuade American producer Victor Lowndes to bankroll their latest project, Ross and Quarrier enlist the aid of model Julia White. Reluctantly, White agrees to bed the lascivious Lowndes in order to wheedle the necessary funds from him. If we were prone to punning, we'd offer a variation on the old adage about the best-laid plans. Fledglings is some distance removed from good, but it has its moments here and there. ~ Hal Erickson, Rovi