Norman Chancer Movies

Bill Forsyth's whimsical tale of sweet-natured corporate rapacity features standout performances by Burt Lancaster and Peter Riegert. Lancaster plays Texas billionaire Felix Happer, who would rather gaze at the stars than worry about his multi-national oil company. Happer dispatches Mac MacIntyre (Peter Riegert) and Danny Oldsen (Peter Capaldi) to the small Scottish fishing village of Ferness to negotiate buying the entire town so Happer can drill for oil in the North Sea. Much to Mac's surprise, the entire town is happy to sell itself for big money, and the local innkeeper, Gordon Urquhart (Denis Lawson) -- who is also the town's accountant and mayor -- works with Mac on the negotiations. But a wrinkle appears in the deal when Ben Knox (Fulton Mackay), an old man who lives in a shack on the beach which has been owned by his family for centuries, refuses to sell. His reasons? "Who'd look after the beach then? It would go to pieces in a short manner of time." The deal stalls so seriously that Happer travels to Ferness to oversee negotiations as Mac and Danny are seduced by the charm of the Scottish town. ~ Paul Brenner, All Movie Guide

On the verge of starvation in 1930s Paris, erstwhile entertainer Victoria (Julie Andrews) is rescued by gay cabaret performer Toddy (Robert Preston). What she needs to succeed, opines Toddy, is a gimmick. What if she becomes a male impersonator? Better still: what if she becomes a male impersonator, pretending to be a female impersonator? As "Victor/Victoria," s/he becomes the toast of Paree, and an object of fascination for big-time Chicago gangster King Marchan (James Garner), who can't quite understand the teasing sensations he experiences whenever watching her in action-especially since he, like everyone else, assumes that she is a he. Enjoyable though the stars of Blake Edwards' comedy may be, the film is stolen by Lesley Ann Warren, who won an Oscar nomination as King's screechy-voiced moll, and Alex Karras as King's chief henchman, who, assuming that his boss is "that way," literally comes out of the closet. Victor/Victoria was a remake of the 1931 German film Viktor und Viktoria, which had previously be reworked in 1937 as the Jessie Mathews vehicle First a Girl. In 1996, Victor/Victoria was transformed into a Broadway musical, again directed by Edwards and starring Andrews. ~ Hal Erickson, All Movie Guide

E. L. Doctorow's novel Ragtime was a sprawling fictional account of American manners and mores in the years between 1900 and 1913. Among the mosaic of colorful factual and fictional characters in the novel were escape artist Harry Houdini and radical Emma Goldman. Both characters are all but eliminated in the film version, which only concentrates on three of Doctorow's many plot threads: The story of an immigrant artist (Mandy Patinkin) who becomes a movie director; the saga of "Gibson Girl" Evelyn Nesbit Shaw (Elizabeth McGovern), for whose sake playboy Harry K. Thaw (Robert Joy); kills architect Stanford White (Norman Mailer) and a lone black man's (Howard Rollins Jr.) quest for justice when his car is destroyed by a racist fire chief (Kenneth McMillan). This last subplot consumes most of the film's running time, to the overall detriment of the pacing. There are also several scenes involving an unnamed upper-middle-class family (headed by James Olson and Mary Steenburgen) who are evidently meant to be the audience's eyes and ears, but are frankly not terribly interesting. Back in 1981, Ragtime was given plenty of press coverage as the "comeback" picture for James Cagney, after twenty years in retirement. The problem is that Cagney's character (a police commissioner) isn't in the book, and his inclusion not only throws the story off balance, but necessitates the removal of several potentially interesting characters and events. Another detriment is the gratuitous (and illogical) nudity in the Evelyn Nesbit scenes, which earned the film its "R" rating. An ornate misfire, Ragtime is of interest today only for its remarkable cast of veterans and stars-to-be, including Pat O'Brien and Eloise O'Brien, Donald O'Connor, Debbie Allen, Moses Gunn, Jeff Daniels and Fran Drescher. ~ Hal Erickson, All Movie Guide

Few filmmakers other than Warren Beatty would have had the courage and vision to fashion an epic film from the life of famed American Communist John Reed (who is the only US citizen buried in the Kremlin). The film is an effort to humanize a political movement that has previously been depicted on screen in a series of unsubtle and prejudicial broad strokes. The film begins in 1915, when Reed (Beatty) makes the acquaintance of married Portland journalist Louise Bryant (Diane Keaton). So persuasive is Reed's point of view--and so charismatic is Reed himself-- that Bryant kicks over the traces and joins Reed and his fellow radicals. Among the famous personages depicted herein are Emma Goldman (Maureen Stapleton), Eugene O'Neill (Jack Nicholson) and Max Eastman (Richard Herrmann). The second half of this nearly-200-minute film skims through the years when Reed, now a Russian resident, becomes disillusioned by the harsh realities of Bolshevism. Despite the celebrity line-up of real-life "witnesses" to the events depicted in the film (ranging from novelist Henry Miller to comedian George Jessel!), historians took Reds to task for its oversimplification of events and its laundering of the notoriously promiscuous Louise Bryant. ~ Hal Erickson, All Movie Guide

Rudolph Valentino, born in Italy in 1895 as Alfonzo Raffaele Pierre Philibert Guglielmi, emigrated to the U.S. and became for a time the reigning male romantic lead of the silent-film era. He died in 1926, having led a short, troubled and tempestuous life which included several stints in prison. The crowds surrounding his coffin before and during his funeral were among the largest ever seen in the U.S. In this film, Ken Russell has used events from the famous actor's life as the basis for an extended meditation on the nature of stardom, and especially on what it means to be a sex idol. Beginning and ending with the funeral of Valentino (Rudolf Nureyev), the story chronicles his rise to Hollywood stardom from life as an Italian emigrant dishwasher and show-dancer. Often embroiled in controversies about his manliness (or perceived lack of ), in the film he dies as a result of internal injuries suffered in a boxing match he fought in to defend his honor. ~ Clarke Fountain, All Movie Guide