Laurence Harvey

Night Watch a suspenseful, under-rated thriller tells the story of a lonely, unhappily married woman who believes that she sees a murder committed in the deserted house across her courtyard. Ellen Wheeler (Elizabeth Taylor) spends her nights alone, drinking, wandering around her living room, and looking out the window. One night she witnesses a murder. She calls the police, who investigate, but find nothing. Her husband John (Laurence Harvey) believes that she has imagined the entire thing, but her friend Sarah (Billie Whitelaw), while skeptical, is sympathetic to her deeply troubled friend. Director Brian G. Hutton fills the film with a number of distracting red-herrings and directs with a leisurely pace which tends to lessen the suspense. However, Taylor is splendid in the central role of a woman who seems to be on the verge of a nervous breakdown, and she creates a sympathetic believable character. Laurence Harvey, in his final performance, is less effective but is believable as the neglectful, emotionally abusive husband. Night Watch has a bloody, surprise ending, which while stretching credibility, is perfectly in keeping with the melodramatic intensity created by Taylor. Night Watch, reminiscent in some respect of Gaslight will be of interest to fans of Elizabeth Taylor and should entertain any fan of psychological thrillers. ~ Linda Rasmussen, All Movie Guide

The ongoing plight of Russian Jewry serves as the backdrop for the Golan-Globus effort Escape to the Sun (Habricha el Hashemesh). Laurence Harvey is cast against type as Major Kirsanov, a nasty KGB officer who refuses to allow Soviet Jews Nina Kaplan (Josephine Chaplin, Charlie's daughter and Geraldine's sister) and Yasha Bazarov (Yuda Barkin) to emigrate to Israel. In desperation, Nina, Yasha and several others hijack a jetliner. Kirsanov foils the plan, but Nina and Yasha manage to escape--if you can call heading to the desolate Russian steppes an "escape." The actors are talented and the locations well chosen, but the script is a real let-down. ~ Hal Erickson, All Movie Guide

In this thriller, a London casino employee is imported to Lebanon ostensibly to work in a casino. He soon discovers that he is really there to attract a crime lord into the casino where a trap has been laid. ~ Sandra Brennan, All Movie Guide

The love-hate relationship between a poet and his mistress provides the basis for this metaphorical drama. The trouble seems to come from the fact that the two have very different approaches to their relationship. The poet is interested in a more traditional romance while his hot-blooded lover would rather spend all their time having sex. ~ Sandra Brennan, All Movie Guide

This feature is a filmed stage production of the tragedy by William Shakespeare. Laurence Harvey stars as Leontes, the jealous king who eventually repents his wrongdoings. Moira Redmond is Queen Hermione who is victimized by the indiscretions of her monarch husband. Jane Asher is the village peasant girl Perdita and Diana Churchill plays Paulina. The role of Autocylus is played admirably by Jim Dale, who also provided the music for this production. The performance comes from a television show produced at the Intertel Wembley studios. Along with Romeo and Juliet, 1968 was a good year for the immortal bard, whose timeless plays were being received by a younger, receptive audience through shrewd production and prudent casting with an eye towards capturing a more youthful audience. ~ Dan Pavlides, All Movie Guide

Director Anthony Mann's final film (Mann died during the filming, and the production was completed by the film's star, Laurence Harvey) is a kitchen-sink espionage drama with Harvey as Eberlin, a Russian spy and double-agent, homesick and pining for the Russian steppes. It is in this risky mood that Eberlin falls in love with the emaciated Caroline (Mia Farrow). Complications arise when he is directed to kill a Russian spy -- but the Russian spy happens to be himself. ~ Paul Brenner, All Movie Guide

Julie Christie won an Oscar for her portrayal of a bored, amoral fashion model in this cynical melodrama from director John Schlesinger. Following the break-up of a teenage marriage, Diana Scott (Christie) drifts into the world of modeling and acting, where she meets a television news reporter, Robert Gold (Dirk Bogarde), who leaves his family for her and introduces her to a more powerful and wealthy set. Soon Diana meets somebody more attractive: public relations mogul Miles Brand (Laurence Harvey). After briefly leaving and then drifting back into Robert's life, experiencing an orgy and even getting an abortion, Diana eventually leaves the swinging London scene behind and settles down to an unfulfilling if comfortable life as the wife of millionaire Italian widower Cesare (Jose-Luis deVillalonga). Shocking in its day, Darling (1965) won Oscars for its costumes and script from Frederic Raphael. ~ Karl Williams, All Movie Guide

This third screen adaptation of Somerset Maugham's novel about the destructiveness of sexual obsession stars Laurence Harvey as Philip Carey, a club-footed artist who after two unsuccessful years in Paris decides to pursue a career in medicine instead. During his medical studies he falls in love with a waitress, Mildred Rogers (Kim Novak), who takes advantage of his attraction to her. When Mildred leaves him to marry another man, Philip falls in love with a writer (Siobhan McKenna), who encourages him to complete his studies. Under her tutelage, Philip excels in medical school. But when Mildred returns, pregnant and abandoned by her husband, Philip takes her in and cares for her, breaking off with the kind-hearted writer. Staying with Philip at his flat, Mildred has an affair with his best friend. Confronting her with her indiscretions, Mildred tells Philip how repulsed she is by his club foot and walks out on him. Philip once again throws himself into his studies, passing his examinations and taking an internship at a London hospital. There he hears Mildred has become a cheap prostitute. Philip travels to the brothel where she is living in poverty with her child and takes her under his wing once again. As before, Mildred walks out on Philip, trashing his apartment and taking to the streets. When Philip comes upon her again, he finds that her child has died and she is suffering from the advanced stages of syphilis. ~ Paul Brenner, All Movie Guide

Actor Lawrence Harvey made his debut as a writer and director with this downbeat drama. Sean McKenna (Harvey) is awaiting execution in a prison in Tangiers after being convicted of murder. McKenna was trying to prevent the crime in question but was instead made the scapegoat. With his life hanging in the balance, McKenna's girlfriend Catherine (Sarah Miles) and his brother Dominic (Robert Walker Jr.) engineer an escape plan, and McKenna is able to beat his date with the hangman. However, McKenna's reunion with Dominic and Catherine proves not to be as joyous as he had expected when he discovers that they have been having an affair. Harvey was to direct only two more films, the second of which, Welcome to Arrow Beach, would prove to be his final work. ~ Mark Deming, All Movie Guide

This moody and controversial drama takes place in Depression-era New Orleans. Dove (Laurence Harvey) has traveled by bus from Texas to find his wayward lover Hallie (Capucine). He meets young Kitty Twist (Jane Fonda) as the two get off in the crescent city. Teresina (Anne Baxter) gives him a job at her small cafe. In his free time, Dove searches for Hallie and finds her at work as a prostitute in the Doll's House. Dove implores Hallie to return to him but she refuses. When the lecherous lesbian madame Jo (Barbara Stanwyck) discovers Dove's intentions towards Hallie, she has him beaten to a bloody pulp by her hired goons. He is found by Kitty, now a happy hooker at the Doll House, and is taken back to the cafe where the compassionate Teresina heals his physical and emotional wounds. The film taken from the novel by Nelson Algren is much tamer than the original text. The title track, sung by Brook Benton, was nominated for an Academy Award. The "black-cat stalking" opening and closing sequences (by designer Saul Bass) is a perfect little "film-within-a-film." This footage, with its superb lighting, framing, panning, and editing, should be appreciated by anyone who wants to know more about the art of cinematography. ~ Dan Pavlides, All Movie Guide

An unusually tense and intelligent political thriller, The Manchurian Candidate was a film far ahead of its time. Its themes of thought control, political assassination, and multinational conspiracy were hardly common currency in 1962, and while its outlook is sometimes informed by Cold War paranoia, the film seemed nearly as timely when it was reissued in 1987 as it did on its original release. It opens with a group of soldiers whooping it up in a bar in Korea as their commander, Sgt. Raymond Shaw (Laurence Harvey), arrives to inform them that they're back on duty. These men obviously have no fondness for Shaw, and he feels no empathy for them. While on patrol, Shaw and his platoon are ambushed by Korean troops. Months later, Shaw is receiving a hero's welcome as he returns to the United States to accept the Congressional Medal of Honor, and several of the soldiers who served under Shaw repeatedly refer to him as "the bravest, finest, most lovable man I ever met." It soon becomes evident that after their capture by the Koreans, Shaw and his men were subjected to an intense program of brainwashing prior to their release. While several are troubled by bad dreams and inexplicable behavior, it's Capt. Bennett Marco (Frank Sinatra) who seems the most haunted by the experience. In time, Marco is able to piece together what happened; it seems Raymond Shaw was programmed by a shadowy cadre of Russian and Chinese agents into a killing machine who will assassinate anyone, even a close friend, when given the proper commands. On the other side of the coin, Shaw is also used for political gain by his harridan mother (Angela Lansbury), who guides the career of her second husband, John Iselin (James Gregory), a bone-headed congressman hoping to win the vice-presidential nomination through a campaign of anti-Communist hysteria.

The Manchurian Candidate features a host of remarkable performances, several from actors cast cleverly against type. Frank Sinatra's edgy, aggressive turn as Marco may be the finest dramatic work of his career; Laurence Harvey's chilly onscreen demeanor was rarely used to s better advantage than as Raymond Shaw; James Gregory is great as the oft-befuddled Senator Iselin; and Angela Lansbury's ultimate bad mom will be a shock to those who know her as the lovable mystery writer from Murder, She Wrote. George Axelrod's screenplay (based on Richard Condon's novel) is by turns compelling, witty, and horrifying in its implications, and John Frankenheimer's direction milks it for all the tension it can muster. While Frankenheimer's career has had its ups and downs, The Manchurian Candidate and Seconds (1966) suggest that he deserves to be recognized as one of the most brilliantly paranoid American filmmakers of the '60s. Entertaining yet unsettling, both films indicate that things in the '60s were not what they seemed, with a resonance that still echoes uncomfortably in the present. ~ Mark Deming, All Movie Guide