Jeremy Thomas Movies

Based on a novel by French author Michel Tournier, this drama chronicles the redemption of Abel, a French POW responsible for kidnapping dozens of young boys for recruitment by the Nazi SS during WW II. The film opens with black-and-white shots of Abel's childhood in Paris. The year is 1925 and already he has problems getting along with teachers and students. Then he is befriended by the portly young Nestor. Abel loses his only friend during a terrible fire that demolishes the school and leaves him convinced that he has been blessed by fate to survive. Fourteen years quickly pass; the story turns to color, and the now hulking Abel is seen working in a Paris garage. He also spends time with his girlfriend Rachel. It is she who playfully dubs him "ogre" because he is rather rough in bed. Abel has always loved children. He was good friends with little Martine, until she falsely accuses him of rape and he is sent to prison. During the war, he is freed by the German invaders who involve him with the upper echelons of the SS and give him a job as a hunting assistant on Goering's Bavarian estate. ~ Sandra Brennan, All Movie Guide

This third feature film version of Joseph Conrad's tragic romantic drama (the best of which remains John Cromwell's 1940 adaptation) is the one that stick's closest to the original story of a reclusive, hard-hearted fellow living on a private island in the Dutch East Indies who must protect his home, and the woman he comes to love, from two brutish villains. The story is told by a sea captain and begins at a turn-of-the century hotel in the port town of Surabaya where the Dutch entrepreneurs come to drink and wind down while listening to an all-female orchestra led by creepy conductor Sam Giancomo (Simon Callow). The joint is owned by an unpleasant, bigoted German named Schomberg (Jean Yanne) who constantly pesters the conductor to sell him Alma (Irene Jacob), the prettiest girl in the band. Eventually Sam relents, causing the frightened Alma to beseech taciturn patron Axel Heyst (Willem Dafoe) to help her escape. At first Axel refuses, but then has a change of heart and takes her with him to his lonely island where she will live with himself and his valet Wang (Ho Yi). Initially, Axel wants nothing to do with Alma, but things change and they become lovers. Meanwhile, the vengeful Schomberg plots revenge. He gets a chance to enact it with the arrival of the villainous Mr. Jones (Sam Neill) and his henchmen who turn Schomberg's bar into a gambling house. Seeing that Jones is ruthless and avaricious, Schomberg casually mentions that there is an untapped fortune lying in an abandoned mine located on Axel's island. ~ Sandra Brennan, All Movie Guide

This homage to the cinema by venerated movie-maker Agnes Varda, often dubbed the "grandmother" of the French New Wave, features an all-star international cast. The story is based upon the memories and insights of the 100-year old Mr. Simon Cinema. He lives in a magnificent house filled with movie memorabilia. To help him remember the important details of his career he hires Camille, a film student to write down his remembrances and experiences which have involved all areas of movie-making. Camille comes once a day for 101 days. Film clips, photographs and actual visitors highlight his stories. As he continues to spin his yarns, the imagery in the film smoothly morph into other images. Camille, when not recording, is involved in other exploits including a romance with a production assistant, Mica who aspires to becoming a director. She also begins plotting a way to get to Mr. Cinema's fortune by having a friend pose as his long lost heir. Many other characters are peripherally involved including Death, an Italian seeking the rights to his film catalogue, and a memory specialist. ~ Sandra Brennan, All Movie Guide

The Derek Bentley Case has been an uneasy blight on the British legal system since the early 1950s. Two young, frightened boys were caught by police trying to break into to a building. One of the boys had a gun. When the policeman reached out to the youth to turn over the gun, his friend shouted "Let him have it," and the policeman was killed by a gun blast. Whether the boy understood "Let him have it" to mean he should turn over the gun or to kill the police officer has been debated ever since. But the result was the 19-year-old boy was executed for the crime -- only to be posthumously exonerated in 1953. In this dark and biting film by Peter Medak, the life of Derek Bentley (Chris Eccleston) that led up to the crime is recreated in pitiful detail, as well as the ensuing trial and execution. The story begins in 1952, when the likable Bentley is released from reform school. Bentley is an impressionable young man who returns home to his loving family -- his parents (Tom Courtenay and Eileen Atkins) and sister (Clare Holman) -- but becomes involved with a group of friends, led by the intimidating Chris (Paul Reynolds), who live in the poverty of post-World War II Britain and escape their bleak world by emulating the American gangster films they see at the local cinema. They play-act at being gansters, but with real guns ... and tragic results. ~ Paul Brenner, All Movie Guide

From director Bernardo Bertolucci, The Sheltering Sky is a filmed adaptation of the novel of the same name by Paul Bowles. Debra Winger and John Malkovich star as Kit and Port Moresby, a married American couple who globetrot to North Africa in the late '40s with the hopes of re-sparking their love and adding some zest to their lackluster lives. Along for the ride is the pair's friend George Tunner (Campbell Scott), who soon begins having an affair with Kit. As they struggle through the numbing heat of Africa amidst the sudden love triangle, each of the trio sees his and her beliefs and lives challenged. The Sheltering Sky earned a Best Director nomination for Bertolucci at the 1991 Golden Globe Awards. ~ Matthew Tobey, All Movie Guide

The Last Emperor is the true story of Aisin-Gioro Pu Yi, the last ruler of the Chinese Ching Dynasty. Told in flashback, the film covers the years 1908 to 1967. We first see the three-year-old Pu Yi being installed in the Forbidden City by ruthless, dying dowager Empress Tzu-Hsui (Lisa Lu). Though he'd prefer to lark about like other boys, the infant emperor is cossetted and cajoled into accepting the responsibilities and privileges of his office. In 1912, the young emperor (Tijer Tsou) forced to abdicate when China is declared a republic, is a prisoner in his own palace, "protected" from the outside world. Fascinated by the worldliness of his Scottish tutor (Peter O'Toole), Pu Yi plots an escape from his cocoon by means of marriage. He selects Manchu descendant Wan Jung (Joan Chen), who likewise is anxious to experience the 20th century rather than be locked into the past by tradition. Played as an adult by John Lone, Pu Yi puts into effect several social reforms, and also clears the palace of the corrupt eunuchs who've been shielding him from life. In 1924, an invading warlord expels the denizens of the Forbidden City, allowing Pu Yi to "westernize" himself by embracing popular music and the latest dances as a guest of the Japanese Concession in Tientsin. Six years later, his power all but gone, Pu Yi escapes to Manchuria, where he unwittingly becomes a political pawn for the now-militant Japanese government. Humiliating his faithful wife, Pu Yi falls into bad romantic company, carrying on affairs with a variety of parasitic females. During World War II, the Japanese force Pu Yi to sign a series of documents which endorse their despotic military activities. At war's end, the emperor is taken prisoner by the Russians; while incarcerated, he is forced to fend for himself without servants at his beck and call for the first time. He is finally released in 1959 and displayed publicly as proof of the efficacy of Communist re-education. We last see him in 1967, the year of his death; now employed by the State as a gardener, Pu Yi makes one last visit to the Forbidden City...as a tourist. Bernardo Bertolucci's first film after a six-year self-imposed exile, The Last Emperor was released in two separate versions: the 160-minute theatrical release, and a 4-hour TV miniseries. Lensed on location, the film won nine Academy Awards, including Best Picture and Best Director. ~ Hal Erickson, All Movie Guide

Using four famous but unnamed individuals to symbolize a notorious era in American politics, as well as to explore the nature of despair, director Nicolas Roeg has created an intriguing drama. Based on a play by Terry Johnson, the story begins with the blond Theresa Russell as a sex-goddess actress working on a scene over a subway grate, with her skirts billowing out in the updraft. A famous Professor from Princeton with white hair opens his door to the actress, who takes out a few props and goes through her rendition of the theory of relativity. Between her theatrical mode of speech and his world of mathematics, there is a certain entente. Enter the ballplayer who is her husband (Gary Busey), in love but without a clue as to the actress' inner sadness. Throw in the senator from Wisconsin (Tony Curtis) before whose sub-committee on Unamerican Activities the Professor has to appear, and the undercurrent of a societal witch-hunt that ruined many careers in Hollywood, in academics, in sports, and in politics is churned into the story. ~ Eleanor Mannikka, All Movie Guide

Merry Christmas, Mr. Lawrence was the first English-language project of Japanese director Nagisa Oshima (Death by Hanging, In the Realm of the Senses). In tune with his previous filmic essays on racism and brutality, Merry Christmas concentrates on a war of wills between rebellious POW David Bowie and camp commandant Ryuichi Sakomoto. Assuming that his other prisoners' unwillingness to protest their cruel treatment is a sign of weakness, Sakomoto is most impressed by Bowie's enigmatic defiance. While Bowie and Sakomoto seem to be operating on a high spiritual and intellectual plane, bilingual prisoner Tom Conti (the "Mr. Lawrence" of the title) engages in a more standard adversarial relationship with sadistic sergeant Takeshi Kitano. ~ Hal Erickson, All Movie Guide

Let Malcolm McLaren show you how to achieve fame and fortune by making your pop group the most despised band in the world! This film about the brief but eventful career of The Sex Pistols primarily focuses on McLaren, their manager, as he presents his ten-point program on how to achieve success through chaos, ineptitude, and abusing the music industry. Despite some remarkable footage of The Sex Pistols' infamous Jubilee Day performance and clips from their final concert in San Francisco, there's surprisingly little screen time devoted to the group actually performing. Instead, The Great Rock 'n' Roll Swindle offers McLaren's agit-prop philosophies on music, culture, politics, and the entertainment industry, as well as an amusing (if often inaccurate) account of the band's rise and fall. Along the way, we're also offered some curious animated sequences, "film noir" episodes starring guitarist Steve Jones, footage of the band recording with exiled British train robber Ronnie Biggs, and Sid Vicious singing "My Way" (he had been dead for over a year by the time the movie was released). The Great Rock 'n' Roll Swindle began life as "Who Killed Bambi?", a project written by Roger Ebert and directed by Russ Meyer, which closed down after two days of shooting when funding fell through. By the time McLaren and Julien Temple got it off the ground (with a radically different script), Johnny Rotten had left the group, which explains why the band's front man is hardly in the movie. The rest of the group broke up a few months later. ~ Mark Deming, All Movie Guide

An asylum director begins telling a visitor to a cricket game the story of one of his "better" patients, Crossley (Alan Bates) who is able to compete. Some time previously, Crossley accosted Anthony (John Hurt), a composer, just after church and was for some reason invited to dinner. Once at the composer's home, he tells the story of his unusual upbringing among Australian Aborigines, and of the awful and strange gifts this has left him with. Among them is the ability to bring about another's death by using a certain kind of shout. The next morning, he begins to weave an erotic spell on the composer's wife Rachel (Susannah York), and then proves his killing ability on a sheep in a field. His influence increasingly disrupts their peaceful lives, until in a confrontation, the composer finds a way to best Crossley - but which results in his being placed in a mental institution. ~ Clarke Fountain, All Movie Guide