Martin Sherman Movies

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, Rovi

A mournful look at the last days of opera diva Maria Callas, director Franco Zeffirelli's biographical drama attempts to explore the irresistible allure of a comeback for a fallen star who hungers for the success of her past. Weathered from the excess of the previous decade and with her best performances long behind her, Callas (Fanny Ardant) withdraws to her Paris apartment to live her final days in seclusion. Despite being ravaged by a throat disease and being stuck in an extended period of mourning following the death of her true love, Callas' manager Larry Kelly (Jeremy Irons) nevertheless suggests that the former reigning queen of opera attempt a spectacular comeback. Though she is physically unable to perform the pieces the way that she once did, the suggestion to lip-sync to recordings of her previous performances offers a tentative chance for latter day fame. Despite her belief that lip-syncing her performance would be dishonest to her fans, the prospect of performing Carmen, an opera that she once recorded but never performed on stage, offers Callas one last shot at reliving her former glory. ~ Jason Buchanan, Rovi

A dancer whose life and art were integrally connected to his body finds himself going through profound changes when he discovers that he has AIDS. Tonio (Jason Flemyng) recently inherited a plum role in the ballet Indian Summer from his friend Ramon (Anthony Higgins), who recently passed on from AIDS-related illnesses. Tonio, however, refuses all treatments that might interfere with his dancing abilities, determined that if he's going out, he's going out on his feet, doing what he loves most. Tonio meets Jack (Anthony Sher) at Ramon's funeral, and they later cross paths again at a gay dance club. Jack was once Ramon's lover and is about as different from Tonio as two people could be; while Tonio has the trim, athletic build of a dancer, Jack is a stocky guy who looks like he spends most of his day sitting down -- which he does, actually, as a counselor for HIV-positive patients. Jack becomes infatuated with Tonio and tries to win him over, although a healthier Tonio would never have given a second look to someone who lacks his obsession with the body. Indian Summer was written by Martin Sherman, best known for his play Bent; the film has also been shown under the title Alive and Kicking. ~ Mark Deming, Rovi

"Greed is Good." This is the credo of the aptly named Gordon Gekko (Michael Douglas), the antihero of Oliver Stone's Wall Street. Gekko, a high-rolling corporate raider, is idolized by young-and-hungry broker Bud Fox (Charlie Sheen). Inveigling himself into Gekko's inner circle, Fox quickly learns to rape, murder and bury his sense of ethics. Only when Gekko's wheeling and dealing causes a near-tragedy on a personal level does Fox "reform"-though his means of destroying Gekko are every bit as underhanded as his previous activities on the trading floor. Director Stone, who cowrote Wall Street with Stanley Weiser, has claimed that the film was prompted by the callous treatment afforded his stockbroker father after 50 years in the business; this may be why the film's most compelling scenes are those between Bud Fox and his airline mechanic father (played by Charlie Sheen's real-life dad Martin). Ironically, Wall Street was released just before the October, 1987 stock market crash. ~ Hal Erickson, Rovi