Windsor Davies Movies

Britain's Confessions series, like the Carry On films, were episodic slapstickfests with emphasis on questionable taste. Based on an autobiographical novel by Timothy Lea, the film stars Robin Askwith as a feckless driving teacher named...Tom Lea. His customers range from inept to dangerous. Their "victims" include golfing dowagers, violinists and boy hikers. Somehow or other, a group of former borstal boys (reform school students) gets mixed up with Lea and his reckless charges. Chronologically, Confessions of a Driving Instructor was wedged between Confessions of a Window Cleaner (one of the few series entries to get an American release) and Confessions of Holiday Camp. ~ Hal Erickson, All Movie Guide

The musical Mr. Quilp was based on one of Dickens' grimmest works, The Old Curiosity Shop, which has as its highlight the death of its heroine. The principal character is a villain, a hunchbacked usurer who wishes to take over the business of an antique dealer. Anthony Newley plays the horrid Mr. Quilp, and is also responsible for the music. Mr. Quilp was produced by Readers Digest Magazine. ~ Hal Erickson, All Movie Guide

Lewis Flander and Carol Hawkins star in the hectic British farce Not Now Comrade. Flander plays a Russian ballet dancer who decides to defect. Unable to reach the British embassy, Flander hides out with London stripteaser Hawkins. There's an abundance of female flesh in this one, a fact that necessitated numerous snips in the TV version that made the UHF rounds in the 1980s. Watch for Not Now Comrade codirector Ray Cooney and veteran British funster Roy Kinnear in cameo roles. ~ Hal Erickson, All Movie Guide

If you've never sampled the off-the-beam humor of British comic-giant Spike Milligan, by all means look up Adolf Hitler: My Part in His Downfall. Milligan stars as a long-in-tooth Army rookie, going through basic training in the early war years. "God smiles on the incompetent" seems to be the message here, as Milligan escapes certain death at several junctures thanks to his ingrained stupidity. Also appearing are Carry On stalwart Jim Dale and Dad's Army regular Arthur Lowe. Based on Milligan's own novel, Adolf Hitler: My Part in His Downfall was released worldwide by United Artists. ~ Hal Erickson, All Movie Guide

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, All Movie Guide

In the third episode of the seven-part story "The Evil of the Daleks," the Doctor (Patrick Troughton) and Jamie (Frazer Hines, here with Deborah Watling) are trapped in the Victorian era, prisoners of the Doctor's perennial enemies, the Daleks. Hoping to create a super-race, the Daleks intend to use their captives in obtaining the elusive "human factor" -- that is, the element of human unpredictability. Written by David Whitaker, "The Evil of the Daleks, Episode 3" was first shown on June 3, 1967. This episode apparently no longer exists. ~ Hal Erickson, All Movie Guide

This uneven black comedy went into production as My Last Duchess. It then went through three title changes, representing, in the words of historian Leslie Halliwell, "a descending order of wit": Arrividerci, Baby, Drop Dead, Darling, and You Just Kill Me! Tony Curtis plays a charming contemporary Bluebeard who murders a succession of wives in order to fatten his bank account. At the beginning of the film, the 42-year-old Curtis, decked out in Buster Browns, does in his own stepmother. The remaining murders alternate between moderately amusing and just plain silly; our favorite scene is the disposal of Zsa Zsa Gabor, but that's just on basic principles. Curtis finally meets his match in a much-married widow who plots his demise (a plot point which, incidentally, was planned and abandoned for Chaplin's far superior Monsieur Verdoux). Director Ken Hughes and Ronald Harwood based their screenplay upon the Richard Deming novel The Careful Man. ~ Hal Erickson, All Movie Guide

The last of Margaret Rutherford's "Miss Marple" films, Murder Ahoy is the only one of the series not based on an Agatha Christie original. The setting this time is a boat that has been purchased by a trusteeship to serve as a home for wayward kids. One of the trustees, Cecil Ffolly-Hardwicke (Henry Longhurst), dies while attending a meeting held aboard the boat. The police write the death off as "natural causes," but another trustee, our Miss Marple (Rutherford), suspects otherwise. Doing a little sleuthing on her own, she discovers that outwardly respectable Lionel Jeffries is using the boat as a "training school" for aspiring criminals, a la Fagin. This would seem to explain why Hardwicke was murdered, but Jeffries is much too obvious a suspect--as Miss Marple discovers nearly too late. Margaret Rutherford's husband Stringer Davis is back again as Miss Marple's platonic middle-aged friend Mr. Stringer. ~ Hal Erickson, All Movie Guide