Roy Baird Movies

A young man in the '60s deals with his estranged parents and the desire to find a career in rock 'n' roll. Based on the book by Nigel Hinton, who also wrote the screenplay, this music related drama stars Chesney Hawkes, Roger Daltrey and Sharon Duce. ~ Kristie Hassen, Rovi

The autobiography of British prison-escapee John McVicar is given a no-frills screen treatment herein. Roger Daltrey, lead singer of the Who, plays McVicar, who after breaking out of prison reestablishes himself in London's seamy underworld. Another British singing star, Adam Faith, is second-billed as Probyn. Needless to say, McVicar contains quite a few songs--more than your usual gangster meller, anyway. In addition to starring, Roger Daltrey was one of the film's three producers. ~ Hal Erickson, Rovi

This audacious, vulgar, freewheeling fantasia on the life of pianist Franz Liszt ranks among director Ken Russell's most outrageous efforts. Roger Daltrey, lead singer for The Who, is awkward yet likeable as the flamboyant piano performer with a bevy of fetching mistresses and groupies, while Paul Nicholas is completely outlandish as the scheming opera composer Richard Wagner. There's no nod to reality here: Liszt and Wagner were in fact friends, and Liszt, who became Wagner's father-in-law, actually assisted in the production of Wagner's opulent productions. Russell, on the other hand, presents Wagner as Liszt's jealous rival ready to wreak havoc on the world by unleashing a cryogenic Viking (Yes keyboardist Rick Wakeman) and a horde of machine-gun wielding robot Nazis. In a finale out of Flash Gordon serials, Liszt saves the day after surviving a guillotine designed for phallic dismemberment. The film is fast and loud and wildly undisciplined, much like one of Liszt's Hungarian Rhapsodies. Look fast and you'll see Ringo Starr as the pope. ~ Les Stone, Rovi

Director Ken Russell made a number of biographical films of composers' lives including The Music Lovers, (about Tchaikovsky) and Lisztomania. Russell embellished the other films with certain characteristic flourishes, which include a focus on the composers' sexual obsessions, poetically telling anachronisms, and scenes which show Richard Wagner in a bad light. The story of Mahler is recounted in a much less complex and flamboyant manner and is a relatively reverent study of the life and work of Austrian composer Gustav Mahler, here played by Robert Powell. The film tackles the touchy dilemma of Mahler's Jewishness in the anti-Semitic atmosphere of 19th-century Vienna. He converts to Christianity, which has no effect on his brilliant musical output but which eats away at his physical and mental well-being. Gustav Mahler (1860-1911) was a conductor and composer of the late Romantic era and specialized in huge symphonic works. Though his works were performed widely during his lifetime, they were less and less-often played until Leonard Bernstein's active campaign on their behalf brought him renewed recognition as a composer of the first rank, every bit the peer of Brahms or Stravinsky. ~ Clarke Fountain, Rovi

Long before Grease was even thought of, the British came out with That'll Be The Day, the story of a young man (David Essex) growing up in the dreary working-class world of Britain who comes of age and finds his proper outlet in the first outgrowths of the rock-and-roll world in Britain. This film and its accompanying album were extremely successful in Britain. Along with an excellent (and nostalgic) soundtrack, it features acting performances by rockers David Essex, Billy Fury, Keith Moon and Ringo Starr. ~ Clarke Fountain, Rovi

Pyotr Ilyich Tchaikovsky is given the Ken Russell treatment in The Music Lovers, which means that there is plenty of music, plenty of passion, plenty of debauchery, and plenty of excess. Tame by Russell's later standards (Lisztomania), The Music Lovers nevertheless thrives on creative and sexual anguish. Richard Chamberlain plays Tchaikovsky with a bug-eyed intensity as a composer consumed by his art -- so consumed that his romantic attachments become bisexual and irrational. He falls in love with Nina (Glenda Jackson), the hysterical trollop he marries with dire consequences. As he explodes emotionally, his public performance of Piano Concerto in B flat minor becomes a cue for flashbacks to a series of discomforting childhood events that suggest incestuous relations with his sister. Back in real time, Tchaikovsky has to deal with Nina's outbursts while juggling his homosexual urges and his almost hidden desire for Count Anton Chiluvsky (Christopher Gable). The film also details the curious relationship between Tchaikovsky and his rich patroness, the middle-aged widow Madame Nadedja von Meck (Isabella Telezynska), who loves Tchaikovsky deeply, but refuses to meet him -- their only communication being through letters, even though he lives on her estate. Andre Previn and the London Symphony Orchestra perform Tchaikovsky's music. ~ Paul Brenner, Rovi

A Lancashire lass refuses to eat the meal her mother has prepared for her. Her thick-eared father (James Mason) insists that she ingest every bite. This seemingly minor incident snowballs into big trouble for everyone concerned. Hard to believe, but this was based on a very popular stage play by Bill Naughton. The comic edge is blunted by the film's use of real Bolton locations, which tend to make the exaggerated passions and gesticulations of Mason and his family seem more pathetic than humorous. ~ Hal Erickson, Rovi

Rebellious students at an English private school plan a violent revolt against their repressive environment in director Lindsay Anderson's highly acclaimed but extremely controversial drama. Centering on a small group of non-conformists led by Mick Travis (Malcolm McDowell), the film paints a distinctly negative picture of the British school system and, by extension, English society. Seeing the powers-that-be as humorless, bureaucratic, and needlessly restrictive, Mick and his cohorts indulge in small acts of rebellion, including sneaking into town to romance a local waitress. Their actions are discovered and punished with harsh beatings, leading the students to plot revenge. This effort culminates in the film's most famous sequence, a surrealistic depiction of a bloody uprising by the students against the adult world. Daring and unpredictable in content and form, If... mixes color and black-and-white cinematography as easily as it mingles satire with dark fantasy. The film's ambiguous attitude toward violence caused controversy at the time, as many commentators saw the film as a potential incitement to violence. It became a great success among younger, counter-culture audiences who appreciated the audacious shock tactics and embraced the satirical, anti-establishment message. Often compared to Jean Vigo's French classic Zéro de conduite, which also featured surrealistic boarding-school rebellion, If... has become a high point in the cinema of youth rebellion. Anderson and McDowell later collaborated on O Lucky Man! (1973), Look Back in Anger (1980), and Britannia Hospital (1982). ~ Judd Blaise, Rovi

Retired after years of international espionage, Agent 007 is lured back into action to battle the evil spy organization SMERSH in this notoriously incoherent parody of the James Bond films. David Niven portrays the aging Bond, who atypically rejects the advances of a variety of women, and agrees to battle SMERSH's hold on the lavish Casino Royale only after organization head M is murdered. Also mixed up in the affair are several other secret agents, all named James Bond, played by everyone from Peter Sellers and Woody Allen to a chimpanzee. Despite a star-studded cast, a large production budget, and a hit score by Burt Bacharach, the film was universally panned as a muddled, overlong failure, with the occasional amusing sequence lost in the unintelligible surroundings. The participation of several screenwriters and five different directors, including John Huston, only adds to the confusion. ~ Judd Blaise, Rovi

When a gang of London thieves, disguised as policemen, begin robbing other thieves....well, that's just not cricket. Benevolent burglar Peter Sellers, the man in charge of all "respectable" crooks in town (he even offers such incentives as a vacation plan and filmed training sessions!), sets about to ascertain how the renegade criminals have received inside information concerning upcoming robberies. He arranges a temporary truce with Scotland Yard so that both criminal and constable can work together in nabbing the miscreants. Alas, he must now contend with incompetent peacekeeper Lionel Jeffries, who poses an even greater threat than the "mole" who's been tipping off the phony cops (who is closer to Sellers than he'd ever suspect). Short, simple and sweet, the black-and-white Wrong Arm of the Law manages to pack more solid laughs than any three of Sellers' later overproduced Technicolor vehicles combined. ~ Hal Erickson, Rovi