Peter Copley Movies

Director Roman Polanski gives one of Charles Dickens' best-loved stories a new and dynamic interpretation in this period drama. Oliver Twist (Barney Clark) is a young orphan in Victorian England who has been sent to a dank workhouse run by the miserly Mr. Bumble (Jeremy Swift) when it is learned there is no one to care for him. When Oliver dares to ask for more gruel, he is sent away to live with an undertaker, who treats him poorly. Preferring life on the streets to the treatment he's been receiving, Oliver runs away to London, where he falls in with the Artful Dodger (Harry Eden), a youthful pickpocket. The Artful Dodger is one of a gang of young thieves overseen by Fagin (Ben Kingsley), a paternal but sinister criminal mastermind. While Oliver finds a home of sorts with Fagin and his young cohorts, he also falls into a dangerous life made all the more threatening by the presence of Fagin's menacing overlord, Bill Sykes (Jamie Foreman). Oliver Twist was Polanski's first feature film after enjoying a major career resurgence following the international success of his Oscar-winning World War II drama The Pianist. ~ Mark Deming, Rovi

Twelfth century warrior-turned-monk Brother Cadfael (Derek Jacobi) tackles another murder mystery in the 90-minute drama "The Sanctuary Sparrow." A prominent goldsmith is robbed and murdered during his son's wedding. Accused of the crime, traveling juggler Walter (Roy Barraclough) takes refuge in Shrewbury Abbey. Believing in the juggler's innocence, Cadfael uses his scientific know-how to scrutinize the clues at hand -- and comes to the unpleasant conclusion that the actual murderer is someone he knows all too well. Adapted by Russell Lewis from the novel by Ellis Peters, "The Sanctuary Sparrow" aired in England on June 5, 1994, then ran in the U.S. as part of the PBS anthology Mystery. ~ Hal Erickson, Rovi

Adapted for television by Russell Lewis from the novel by Ellis Peters, "Monk's Hood" was the fourth in a series of 90-minute Cadfael mysteries. In 12th century Shrewsbury, a young man is murdered, apparently so that the killer can get his or her hands on the victim's inheritance. Investigating the case, warrior-turned-monk Brother Cadfael (Derek Jacobi) is enmeshed in the bureaucracy of conflicting Welsh and Norman Laws. Complicating matters is the fact that the dead man was killed by one of Cadfael's own poisonous concoctions -- and, even more intriguing, the victim's widow Aldith (Sophie Lawrence) was Cadfael's childhood sweetheart. First broadcast in England on June 19, 1994, "Monk's Hood" appeared in America a few months later as part of the PBS anthology Mystery. ~ Hal Erickson, Rovi

This informative look at T.E. Lawrence at the 1919 Paris Peace Conference, as he serves as the liaison to the Hashemite delegation in an effort to have the Allies agree to Arab independence. ~ Rovi

From its humble beginnings as a four-character short story, Agatha Christie's Witness for the Prosecution matriculated into a long-running London and Broadway stage hit, as well as a masterful 1957 film version directed by Billy Wilder. The 1982 TV version of Witness was overseen by Briton Norman Rosemont, who made remakes of earlier films his life's work in the 1980s (Hunchback of Notre Dame, Little Lord Fauntleroy). Sir Ralph Richardson heads the cast as prominent barrister Sir Wilfred Robarts, who takes on the case of Leonard Vole (Beau Bridges), a likeable chap accused of murdering a rich old lady. Sir Wilfred is shocked to discover that Vole's German-born wife (Diana Rigg) is prepared to divorce her husband and appear as witness for the prosecution; it is the first of many surprises for the aging lawyer, the cleverest of which occur just minutes before the end of the story. Deborah Kerr costars as Sir Wilfred's remonstrative nurse--a character that appears in neither the original story nor the play, but was created for Elsa Lanchester in the 1957 film version (which starred Lanchester's husband Charles Laughtonas Sir Wilfred). For playing an eleventh-hour addition, Ms. Kerr was awarded with an Emmy. Another reliable British favorite, Wendy Hiller, appears briefly as a post-deaf witness. Adapted for television by John Gay, Witness for the Prosecution was originally a Hallmark Hall of Fame presentation. ~ Hal Erickson, Rovi

Peter R. Hunt directed this World War I action-adventure, based upon the novel by Wilbur Smith. Roger Moore and Lee Marvin team up as Sebastian, a witty and cosmopolitan Englishman, and Flynn O'Flynn, a boozy and ornery Irish American, who decide to blow up a German battleship that has been hidden away for repairs in Southeast Africa. Helping the two in their quest to sink the battleship is Sebastian's wife Rosa (Barbara Parkins), who has her own reasons for seeing the ship is destroyed -- the Germans took the life of her only child. ~ Paul Brenner, Rovi

In the second episode of the four-part story "Pyramids of Mars," the body of British archeologist Marcus Scarman (Bernard Archard) has been possessed by evil Osirian criminal genius Sutekh. Acting upon Sutekh's commands, Scarman prepares to destroy the Martian force-field which holds the villain's body prisoner in an Egyptian Pyramid. Need it be added that the Doctor (Tom Baker) must prevent this, lest both Mars and the Earth be destroyed? Written by Stephen Harris, "Pyramids of Mars, Episode 2" first aired on November 1, 1975. ~ Hal Erickson, Rovi

In this historical fantasy, based on the classic medieval poem during the days of King Arthur, the gallant Green Knight gallops into the court and makes a gruesome challenge to the Round Table Knights. He dares any of them to successfully chop off his head. If they fail, he gets to hack off theirs. Brave Gawain accepts the challenge and with a mighty swing slices off the Green Knight's noggin. Unfortunately, the headless body calmly picks up the head and places it back on his shoulders. The honor-bound Gawain then must fulfill his destiny at the palace of the Green Knight. ~ Sandra Brennan, Rovi

Charlotte Bronte's classic Victorian novel is once again put through the paces, this time by Delbert Mann, in this stodgy Masterpiece Theater style television adaptation. Susannah York is Jane Eyre, the orphan girl who secures a position as a governess to the ward of Edward Rochester (George C. Scott), lord of an English manor house called Thornfield, whose halls hide a dark and sinister secret. Jane and the moody and the tyrannical Rochester fall in love and agree to marry. But at their wedding ceremony, Rochester is revealed to have been already married. Suddenly his dark past comes crashing in on both himself and the innocent Jane. ~ Paul Brenner, Rovi

The Mosquito bomber was one of the more extraordinary developments of the Royal Air Force during World War II. A twin-engine plane made largely of wood, it flew faster than almost any fighter on the German side, carrying a maximum load of two bombs, and was employed on specialized missions that required pinpoint accuracy on a precise target -- obliterating a building or a small cluster of buildings rather than large tracts of enemy real estate. The men who flew them were among the elites of the Royal Air Force, some of the best of the best. Mosquito Squadron deals with such men and the kinds of missions they were assigned and the sacrifices they made. Quint Munroe (David McCallum) loses his oldest friend, Squadron Leader David Scott (David Buck), on a mission to destroy a group of German V-1 launchers -- he was like a brother to Scott, and must break the news to his wife Beth (Suzanne Neve), with whom Quint had once been involved. In the months that follow, he and Beth slowly rekindle their romance -- meanwhile, the German V-weapon program continues to advance, and they are getting ready to unveil the V-3. Quint is given the task of destroying the V-weapon plant at Charlon, a mission made possible by a new "bouncing bomb" called the "highball," invented by Dr. Barnes Wallis (of "Dambusters" fame). Just before the mission is to be undertaken, however, the Germans drop a film showing air prisoners, including a still-alive Scott, being moved to Charlon. Now the Mosquito crews will be killing their own colleagues and friends, and Quint must carry out his orders, which include hiding the fact that Scott is alive from Beth. The secret gets out to the squadron pilots, however, and a rebellion starts brewing in their ranks. Try as he might to find a way to save the lives of the prisoners, there seems to be no way for Munroe to avoid killing British pilots with British bombs. ~ Bruce Eder, Rovi

Steed is held on suspicion when several secrets are smuggled out of a tightly secured communications facility. While Steed is under "house arrest" at the luxurious digs of his superior Mother (Patrick Newell, making his series debut), Tara tries to trap the real traitor. She is "assisted" by an incredibly incompetent operative named Watney (Dinsdale Landen). Written by Leigh Vance, "All Done with Mirrors" first aired in England on November 13, 1968, and in America on December 2 of that year. ~ Hal Erickson, Rovi

The key image of this film occurs early on, as a hideous monster removes its face, only to reveal itself as Baron Frankenstein in a mask. Hammer's fifth installment in the series sees the transformation of doctor into monster complete. Peter Cushing's portrayal of the Baron here is all insanity and hatred, rather than the misunderstood (if unethical) genius of previous entries. Frankenstein transplants the brain of an insane doctor into Freddie Jones' body, creating a pathetic, misshapen beast, while using blackmail and rape to control the people around him. This was director Terence Fisher's favorite film, and his pacing and composition have rarely been better. Jones (the nasty showman in The Elephant Man) is great at communicating the disorientation and helpless agony of his condition, and while Cushing's character is more one-dimensional than usual, he does his normal excellent job as the Baron. Hammer's next installment was the silly Horror of Frankenstein before Fisher returned to end the series with Frankenstein and the Monster from Hell. ~ Robert Firsching, Rovi

Nigel Kneale's Quatermass TV series spawned a brief film series produced over an eleven-year period; 1967's Quatermass and the Pit, released in the US as Five Million Years to Earth, was the third and (until 1979's Quatermass Conclusion) last of the features. As with previous chapters in the Kneale saga, the film begins with a baffling scientific discovery. This time it's an alien ship, alive after 5,000,000 years, discovered during the excavation of a new subway line. The craft is able to cause psychic disturbances in individuals genetically connected to the machine; it also prompts them to see dead Martians as ghostly entitites nearby. In time, conclusions drawn from these events lead scientists to shocking conclusions about the origins of the human race.
~ Hal Erickson, Rovi