Victor Platt Movies

Originally written as the second episode of The Prisoner, "Checkmate" was then slated to be shown as episode #11. Instead, it was telecast out of chronological order as the 10th episode on December 3, 1967. One of the series' most fondly remembered installments ---and the one that posted the highest ratings when first broadcast in England --- this exercise in surrealism takes place on a giant chess board, wherein all the "pieces" are people. One of the participants is Number Six, who cannot determine if the other players are making moves of their own free will, or if they are being manipulated by a unseen force. Crucial players in this bizarre game are an icy psychiatrist (Patricia Jessel) and the (apparently) independently minded Queen (Rosalie Crutchley). As originally written by Gerald Kelsey), the script for "Checkmate" came up seven minutes short, compelling series star Patrick McGoohan to hastily compose an extra scene. The episode was restored to its proper Prisoner chronology when it was first shown in America on August 17, 1968. ~ Hal Erickson, All Movie Guide

In this suspenseful espionage film a British agent and a man from NATO attempt to bust a communist spy ring. Following the discovery of a roll of top secret microfilm following a plane crash, the two finds themselves embroiled in a complex web of treachery and double agents. Fortunately, they survive all and bring the rogue spies to justice. ~ Sandra Brennan, All Movie Guide

In this drama, based on a story by Edgar Wallace, a prominent business man is robbed and killed. ~ Sandra Brennan, All Movie Guide

Throughout his life, Stephen Bolt (Sean Kelly) has been tortured by a recurring nightmare, in which he is murdered at the hands of a stranger. This horrible dream has made a nervous wreck of Bolt, losing him the respect of his father and the love of his sweetheart. To purge himself of his inner demons, Stephen describes the face of his "nightmare killer" to a sketch artist, then sets out sea in hopes of finding his murderer and stopping him before the premonition comes true. This is one of several One Step Beyond episodes filmed in England. ~ Hal Erickson, All Movie Guide

Zany British comedian Tony Hancock was briefly a major draw in the 1960s, with several popular TV series, sellout personal appearances, and a string of theatrical films to his credit. In The Rebel (released in the US as Call Me Genius), Hancock plays a middle-class businessman who decides to chuck it all and become a painter. He heads for Paris, there to starve in an attic until fame and fortune comes calling. Like many British comedies of the era, The Rebel has great fun at expense of modern art and bohemian artistes; Hancock takes full advantage of every humorous possibility, with suave George Sanders acting as his dignified foil. Alas, by the end of the 1960s, Tony Hancock was dead by his own hand, a victim of alcohol and acute depression. ~ Hal Erickson, All Movie Guide

When the English Civil War is winding down but the Roundheads and Royalists are still at odds with each other, it is decided that the King, Raymond, should be moved from England to France for safekeeping. When the Cavalier assigned the task is thwarted by the discovery of the scheme, other measures must be taken. Good action scenes with a smidgen of romance thrown in for good measure. ~ Tana Hobart, All Movie Guide

The original 1958 BBC television production of the last of Nigel Kneale's classic Quatermass scripts -- which is best known in association with the 1967 Hammer Films adaptation by Roy Ward Baker -- runs circles around the feature-film version. As with the other Quatermass serials, Kneale's original script goes a lot deeper into meanings, motivations, and consequences of the events depicted, as well as characterization and plot developments. That's understandable, as the producers had six episodes running over 30 minutes each in which to work, instead of the 98-minute running time of the movie. The result is a storyline in which the mystery is developed as much as the horror and science-fiction elements, and is worthy of Sherlock Holmes, one might add. An excavation for a London subway turns up mysterious skeletons, that are almost -- but not quite -- human. An investigation by Dr. Roney (Cec Linder), a paleontologist, reveals that these creatures had abnormally large brain cavities, much larger than was the norm for any known prehistoric proto-human species. There are other specimens as well, large insect-like creatures, and all were clustered around what seems to be a spacecraft buried at the same time as these skeletons, possibly as long as five million years. The unearthing of the space vehicle brings into the case England's greatest rocket expert, Professor Benard Quatermass (Andre Morell), who comes to believe from the evidence that the vehicle is from Mars, as were the insect-like beings. Even as Quatermass and Roney continue to investigate, they run up against resistance from government officials eager to avoid a panic, and from Quatermass' new superior, Colonel Breen (Anthony Bushell), a weapons expert who doesn't trust intellectuals or idealistic scientists, and wants to believe that the spaceship was part of a World War II Nazi hoax intended to raise hysteria among the public. Meanwhile, hysteria seems called for, as strange and potentially deadly manifestations of telekinetic power and other paranormal phenomenon start to overtake workers at the site of the excavation. Quatermass and Roney are convinced that some potentially catastrophic forces are being tampered with, but no one in the government will listen to them until it is too late, and all hell, literally, starts to break loose. ~ Bruce Eder, All Movie Guide

A dead man offers an escape for prison fugitive, Jones, who discovers the look-alike body and exchanges identities only to find out later that the dead man was a spy. ~ All Movie Guide

H. G. Wells' non-fantasy efforts have, with the exception of Kipps, proven traditionally difficult to transfer to film. History of Mr. Polly occasionally suffers from too-close fidelity to its Wellsian source; one wishes that adaptor/director Anthony Pelissier could have "opened up" the story a bit more. Still, the film is impeccably cast: particularly good is John Mills as Alfred Polly, whose efforts to make a go in the business world continually come acropper. A humble draper's clerk, Polly is profoundly affected by a variety of personal relationships, most notably with colorful Uncle Jim (Finlay Currie) and his nagging wife Miriam (Betty Ann Davies). Ultimately, he finds happiness in an even humbler pursuit than the drapery business. Star John Mills' daughter Juliet shows up in a very minor role. ~ Hal Erickson, All Movie Guide