Eleanor Fazan

A recently widowed eccentric with money to burn and no intentions of settling down enlists the aide of a showbiz professional to transform a run-down theater in Soho into London's most innovative entertainment hot spot in director Stephen Frears' cinematic account of the groundbreaking Windmill Theater. The year is 1937 and, despite having recently lost her husband, 69-year-old Laura Henderson (Judy Dench) remains as ambitious and vital as ever. Aghast at her friend Lady Conway's (Thelma Barlow) suggestion that she take up a mundane hobby such as diamond collecting to pass the time, Mrs. Henderson instead shocks her well-to-do social circle by purchasing the ramshackle Windmill Theater in the heart of downtown Soho. Unafraid to take a risk in the venture, yet lacking the experience needed to run the theater, Mrs. Henderson brings in showbiz veteran Vivian Van Damm (Bob Hoskins) to line up an opening act that will set the stage ablaze. When the ever-curious Mrs. Henderson's intrusive spying begins to impede on Mr. Van Damm's creative progress, the frustrated theater manager has her banished from rehearsals. Though Van Damm's innovative idea to stage an unending stream of entertainment dubbed "Revudeville" proves a wild and profitable success, the Windmill begins to suffer when other local theaters quickly follow suit. Now faced with the prospect of seeing her once-lucrative endeavor fall by the wayside due to the unoriginality of the copycats who surround her, Mrs. Henderson decides to show audiences something they've never seen before by making the Windmill the first theater to feature nude female entertainers live on-stage. ~ Jason Buchanan, All Movie Guide

The German classical composer Richard Strauss (1864-1949) penned his final opera, the 1942 Capriccio, as a one-act "conversation piece," set to music - a reference to the work's heavy reliance on long monologues. The narrative, which unfolds in a salon on the outskirts of the City of Lights, follows The Countess as she weighs the value of words (represented by her suitor Oliver, the poet) against the value of melody (represented by her suitor Flamand, the composer). As Oliver and Flamand prepare for The Countess's birthday celebrations, their discussion concerns literature versus music on the surface, but on a deeper level represents their attempts to vie with one another for The Countess's heart. The home video release Capriccio constitutes a filmed performance of the work, as mounted and performed by The San Francisco Opera in 1993. The cast includes Kiri Te Kanawa, Hakan Hagegard, Tatiana Troyanos, and Victor Braun. Eleanor Fazan choreographs, Stephen Lawless directs, and The San Francisco Opera Orchestra provides musical accompaniment. ~ Nathan Southern, All Movie Guide

Director Bob Rafelson fulfilled a lifelong dream when he finally received backing to complete Mountains of the Moon. The film recreates the exploratory adventures of 19th century visionaries Sir Richard Burton (Patrick Bergin) and John Henning Speke (Iain Glen). The heart of the film is the effort by Burton and Speke to discover the true source of the Nile river. This occurs well into the film, after several torturous scenes involving the injuries sustained by the protagonists during other expeditions and their growing friendship (which, the film intimates, goes far beyond friendship). Rafaelson's fascination with this story, and his insistence upon painstaking historical accuracy, unfortunately compromises his ability to make an interesting film. There are so many starts and stops during the first half that we sincerely hope Burton and Speke will chuck it all and set up a pub in Bristol or something. What saves Mountains of the Moon is the rapport between its stars and the brilliant, epic-like cinematography of Roger Deakins. ~ Hal Erickson, All Movie Guide

While Walt Disney's 1961 filmization of Victor Herbert's Babes in Toyland pales in comparison to the 1934 movie version starring Laurel & Hardy, the Disney film is an unqualified classic when compared to the ill-starred 1986 TV version. Adapted for television by playwright Paul Zindel, the 1986 film stars Drew Barrymore as Lisa Piper, a contemporary girl whisked off Wizard of Oz fashion to Toyland. Here her friends and family from the "real" world are reincarnated as villainous Barnaby (Richard Mulligan), Old Mother Hubbard (Eileen Brennan), Jack-Be-Nimble (Keanu Reeves) et. al. Only "March of the Toys" and "Toyland" have been retained from the original Victor Herbert score; the rest of the songs were specially written for this adaptation by Leslie Bricusse-and, suffice to say, these were hardly classics. Irreparably damaging this version was its 180-minute length-over twice as long as the Laurel & Hardy version, and not even half as good. Filmed in Munich, Babes in Toyland was first telecast December 19, 1986. ~ Hal Erickson, All Movie Guide

A notorious artistic and financial failure, Michael Cimino's Heaven's Gate was blamed for critically wounding the movie Western and definitively ushering out the 1970s Hollywood New Wave of young, brash, independent filmmakers. Taking a revisionist, post-Vietnam view of American imperialism, Cimino used the historical Johnson County War incident in Wyoming to create an impressionistic tapestry of Western conflict between poor immigrant settlers and rich cattle barons led by Canton (Sam Waterston) and his hired gun Nate Champion (Christopher Walken). Attempting to mediate is idealistic Harvard graduate and county marshal Averill (Kris Kristofferson), who is both Nate's friend and his romantic rival for the affections of Ella Watson (Isabelle Huppert). However, war erupts, at great cost to all involved. Flush from his success with the Oscar-winning The Deer Hunter (1978), Cimino demanded creative control, and his insistence on shooting on location and building historically accurate sets and props multiplied the film's original budget to a then-astronomical $36 million. When United Artists premiered the original 219-minute version (sight unseen), they discovered that Cimino had produced an elliptical epic, compounding the box-office difficulties of making a Western without any major stars. Critics howled about Cimino's incomprehensible self-indulgence, and United Artists pulled the film after several days. Re-released five months later, 70 minutes shorter, Heaven's Gate bombed again, and MGM bought out the financially crippled United Artists. The ailing Western genre virtually vanished during the 1980s, Cimino's career never recovered, and Hollywood studios had had enough of bankrolling financially risky ventures by "auteur" directors. Heaven's Gate's reputation recovered somewhat after its video release, as it garnered praise from some viewers for such visually remarkable sequences as the Harvard dance and the final battle, as well as for David Mansfield's haunting score. Steven Bach's book Final Cut provides a full production history. ~ Lucia Bozzola, All Movie Guide

This children's fantasy is about the "Wombles," borrowed from a British TV series, who are furry creatures (actors in suits), normally invisible to anyone but themselves, and whose mission in life is to clean up after humans -- their first chore was to pick up the forgotten apple core in the Garden of Eden. The British Wombles know something is wrong when humans start to notice them, beginning with little Kim Frogmorton (Bonnie Langford) and then her parents. In a series of vignettes, Wombles alone, or humans alone, or both together handle disconnected misadventures -- such as saving the Womble burrow at Wimbledon, fighting against pollution, and moaning over adult topics like an oil shortage, and a theater shortage, for that matter. A few Wombles are professional beasties (such as Kenny Baker of R2-D2 fame), but for the most part, the scenarios are conventional and range from ordinary to insensitive. ~ Eleanor Mannikka, All Movie Guide

An institutionalized schizophrenic with a Messiah complex inherits the position of an English Earl in this cutting satire of British society, based on a play by Peter Barnes. The film's irreverent tone is established with the disturbingly hilarious death of the thirteenth Earl of Gurney during a bizarre attempt at auto-erotic asphyxiation. To the dismay of the earl's family, the title passes to his son Jack (Peter O'Toole), who has been locked away for eight years after claiming to be the second coming of Jesus Christ. Mad but harmless, Jack is released to assume his seat. However, his embrace of Christianity proves incompatible with a position of power in "normal" society, where peace and love are considered serious weaknesses, and a somewhat unhinged psychiatrist is called to help him adjust. Meanwhile, Jack's scheming uncle, Sir Charles (William Mervyn), works on developing a complex scheme to trick Jack out of his position. Loaded with idiosyncratic touches from eccentric camera angles to unexpected outbursts of song, the film creates an experience nearly as inspired and mad as O'Toole's brilliantly hilarious central performance. The film's devilish invention may at times seem overloaded, but most drawbacks are redeemed by the sharpness of the satire, particularly during the memorably disturbing finale. ~ Judd Blaise, All Movie Guide

Screenwriter Robert Bolt's directorial debut is a lushly romantic saga concerning the 1812 love affair between the wife of William Lamb, Lord of Melbourne, and the author of the poem Childe Harold, Lord Byron. Excited and embarrassed by the attendant affections heaped upon him, Byron found his writing talent waning, and in 1813 the lovers ended their affair. In her first novel, Glenarvon in 1816, Lady Lamb included a satiric portrait of her former lover. But when she later witnessed Byron's funeral in 1828, she was so affected by his death she never mentally recovered from the trauma. The film charts the doomed romantic course for Lady Caroline Lamb (Sarah Miles), beginning with her marriage to the politically promising William Lamb (Jon Finch) and continuing with her scandalous affair with Byron (Richard Chamberlain). The film then chronicles Lady Caroline Lamb's supreme sacrifice on behalf of her husband's political career. ~ Paul Brenner, All Movie Guide

Based on a play by John Osborne, this is one of those movies where the audience pulls for the protagonist but has a hard time actually saying that he IS a protagonist. A highly unlikeable fellow, this protagonist is an attorney in all the ways that make this more an epithet than a profession. He's hated by his office personnel as much as his associates. He's unfaithful to his wife, lousy to his clients, and miserable with his children. Surprisingly, though, Nicol Williamson has taken this nasty person and made us still somewhat care what happens to him. Quite an accomplishment considering the lack of anything at all to love about this misanthrope, but somehow we see just a glimmer of humanity. ~ Tana Hobart, All Movie Guide

Based on the stage farce by Vernon Sylvanie, Will Any Gentleman? stars George Cole as milquetoast bank clerk Henry Sterling. While attending a music hall show, Sterling accidentally falls under the spell of stage hypnotist Mendoza (Alan Badel). Undergoing a complete change of character, Sterling becomes an unregenerate womanizer, much to the amazement and dismay of his wife (Veronica Hurst). Anxiously, Mendoza tries to track the latter-day Lothario down and snap him out of his spell. The plot of Will Any Gentleman? certainly wasn't new in 1953, but it was still good for a full supply of belly laughs. Featured in the cast are pair of future "Doctor Who" stars, Jon Pertwee and William Hartnell. ~ Hal Erickson, All Movie Guide