Francis de Wolff Movies

Richard Lester's adaptation of The Three Musketeers was only the latest of many when released in 1974, but it arrived with a spirit all its own, one influenced as much by Lester's '60s work as the Alexandre Dumas classic. Even so, it followed the plot of Dumas' novel fairly closely, its liberties in interpretation taken elsewhere. Coming off the success of Cabaret, Michael York plays D'Artagnan, the provincial, would-be swashbuckler who travels to Paris to make his name. There he encounters the eponymous heroes: cynical Athos (Oliver Reed), dashing Aramis (Richard Chamberlain), and arrogant Porthos (Frank Finlay). The trio introduces him to the world of court intrigue as they work to protect the Queen (Geraldine Chaplin) from the schemes of the villainous Richelieu (Charlton Heston) and his followers, Rochefort (Christopher Lee) and Milady (Faye Dunaway). Lester shot the film in conjunction with its sequel, The Four Musketeers. Originally intended as a single film, the split prompted a lawsuit from the cast demanding payment for both films. ~ Keith Phipps, All Movie Guide

John Frankenheimer directed this intense film adaptation of the Bernard Malamud novel. During the days of Czarist Russia, a poor but educated Jew, Yakov Bok (Alan Bates) is abandoned by his wife Raisl (Carol White). Yakov decides to leave his small village and travel to Kiev. Since it is the time of the pogroms, Yakov poses as a gentile and takes a job as a handyman for Lebedev (Hugh Griffith), a drunken anti-Semitic merchant. Yakov rises up the ladder in Lebedev's establishment, and he is eventually promoted to factory overseer-accountant. But when a neighborhood boy is murdered, Yakov's true identity is discovered. Yakov is unjustly accused of the murder and arrested. Bibikov (Dirk Bogarde), a government attorney, believes Yakov to be innocent and attempts to discover the true killer -- realizing that if a confession is forced out of Yakov, the entire Jewish population could be in dire trouble. Bravely, Yakov puts up with the brutal prison life, refusing to confess, hoping Bibikov may discover some new evidence to re-open his case. ~ Paul Brenner, All Movie Guide

Adapted from his autobiography The Eddie Chapman Story, this is the story of a British safecracker who was in prison when WWII broke out. When the Germans occupied the area, he offers to work for them if they will set him free and they do so, sending him as a spy to England. Once there, however, he offers his services to the British and becomes a double agent. ~ Tana Hobart, All Movie Guide

This staid British thriller stars John Turner as 18th-century nobleman Sir John Fordyce, whose blissful honeymoon holiday is cut brutally short by angry locals who accuse him of raping a woman from the village. Worse, they claim to have seen the ghost of his first wife riding through town on horseback, shrieking that she had died by her husband's hand. Despite Sir John's protestations of innocence, the hand of fate seems to be closing in, as more violent acts are perpetrated -- including the death of his father -- and his new bride (Heather Sears) is prepared to shoot him dead if he comes near her. All is revealed in the contrived climax -- which plays out like a Gothic version of a "Scooby-Doo" episode. The filmmakers tried to punch things up with a plethora of cheap spook-house gimmicks but fail to disguise the threadbare plot. ~ Cavett Binion, All Movie Guide

In the second episode of the four-part story "The Myth Makers," the Doctor (William Hartnell) and his companions find themselves in the unenviable position of determining the outcome of the Trojan War. For the moment, only the life of the Doctor is safe, inasmuch as he has been mistaken for the Greek god Zeus. Meanwhile, Vicki (Maureen O'Brien) assumes the identity of a Trojan woman in hopes of finding a way out of this current dilemma. Written by Donald Cotton, "Small Prophet, Quick Return" first aired on October 23, 1965; unfortunately, this episode is no longer in existence. ~ Hal Erickson, All Movie Guide

The multi-million dollar film extravaganza Cleopatra was too convenient a target for Britain's "Carry On" funsters to ignore. The plot of Carry on Cleo, if one can discern a plot amidst the sight gags and outrageous puns, involves the attempts by a bungling slave (Kenneth Connor) to rescue Julius Caesar (Kenneth Williams) from assassination. Instigators of the plot are Cleopatra (Amanda Barrie) and Mark Anthony (Sidney James), who comport themselves like a couple of Liverpool pub owners. The best bit involves Mark Anthony's "beheading" of the legendary asp. Filmed on a tight 160,000 pound budget and utilizing leftover sets from the Taylor/Burton epic, Carry On Cleo's reputation rests chiefly on a legal brouhaha involving its advertising artwork, which was deliberately patterned after the ads for the "real" Cleopatra. ~ Hal Erickson, All Movie Guide

Hugo is mad as heck, and he's not going to take it any more! Hugo is the dummy used by the Great Vorelli, a ventriloquist and hypnotist who wows London with his amazing act. Hugo can walk as well as talk, and he does other interesting things. Neglecting his statuesque mistress Magda, Vorelli pursues a pretty volunteer from the audience named Marianne; he know she is a wealthy heiress, and is after her money as well as her charms. Following a charity concert at Marianne's country estate, he mesmerizes the girl, who then falls into a baffling coma. When (in one of the movie's best sequences) a jealous Magda challenges the hypnotist over his attentions to the younger woman, Vorelli lulls her into submission, then gets rid of her, using Hugo to ensure his own alibi. Marianne's journalist boyfriend Mark investigates the mysterious murder and discovers another killing in Vorelli's past with interesting connections to the present. This underrated British horror story could be the best filmed variation on the "dummy with a soul" theme inaugurated by a brief sequence in Alberto Cavalcanti's classic 1945 anthology Dead of Night and continuing more recently with Magic (1978.) Fine photography by Gerald Gibbs, convincing performances by Bryant Halliday, Sandra Dorne and Yvonne Romain and flawless animation and editing of Hugo's scenes provide a galvanizing elaboration of the original, somewhat skeletal, concept. A rental video is hard to find, but available. ~ Michael P. Rogers, All Movie Guide

In the fifth episode of the six-part story arc "The Keys of Marinus," the Doctor (William Hartnell) and his companions have managed to locate three of the four keys needed to sustain the omnipotent Conscience of Marinus. It hasn't been easy, what with the terrors inherent in the city of Morphoton, the Screaming Jungle, and the snowy Marinus wilderness. But worse is still to come; upon arriving in the city of Millenius, the time travellers are arrested for murder and sentenced to immediate execution. Written by Terry Nation, "Sentence of Death" originally aired on May 9, 1964. ~ Hal Erickson, All Movie Guide

From Russia With Love, the second in the series of James Bond films, is the film that solidifies all the Bond film elements into a formula -- the action sequences are intensified and lend greater tension to the proceedings; John Barry's inimitable score makes its first appearance; Q is seen for the first time; and Sean Connery as Bond has nailed down his role as 007 -- accentuating Bond's stylishness and sophistication, while toning down his cold-bloodedness. In From Russia With Love, the bad guys don't want to take over the world. They want something more mundane -- a Russian decoding device. Assigned to the mission of stealing the decoding device are No. 3, former KGB agent Rosa Klebb (Lotte Lenya), and No. 5, Kronsteen (Vladek Sheybal), an expert chess player who has plotted every move of the mission. Kronsteen's plan requires using Bond's weakness for women as an element in acquiring the decoding device. Once Bond obtains the decoding device from Russian cipher clerk Tatiana Romanova (Daniela Bianchi), SPECTRE muscleman Red Grant (Robert Shaw) is to forcibly take it from Bond and kill him. But Bond suspects a trap. Being Bond, however, he can't resist the lure of a beautiful woman. So, flaunting danger, Bond travels to Istanbul to meet Tatiana. The centerpiece of this 007 feature is the thrilling fight to the death between Bond and enemy agent Red Grant aboard the Orient Express. ~ Paul Brenner, All Movie Guide

In this epic medieval adventure, King Arthur is in his second decade of ruling Camelot when he becomes gravely ill and must journey to the castle of a good Saxon friend to recuperate. The ailing king does not know that the treacherous Saxons there are planning to kill him and commandeer the throne. At first the traitors' plans are foiled by a dashing outlaw who saves the king. Unfortunately, the Saxon dogs eventually succeed. Their leader tries to insure that he gets the crown by marrying Arthur's daughter. But instead, she goes off with another, causing the usurper to proclaim that she has died and that he is now the rightful king. Fortunately, she is not dead but off in the country seeking Merlin. She and her lover succeed and with the mighty magician manage to return to Camelot just as the new king is to be crowned. At this point the crusty Merlin demands that the Saxon prove his fitness to reign by removing Arthur's beloved Excalibur from its scabbard. Of course he fails. And of course the good princess succeeds. Immediately, the usurper and his band flee the country, but not before they are vanquished by the newly united British army. ~ Sandra Brennan, All Movie Guide

In this courtroom melodrama, a single woman, born of an unwed mother, allows a solicitor to contest her mother's will. ~ Sandra Brennan, All Movie Guide

While returning from a vacation in Chile, Dr. Keel tries to help the victims of a cyclone in Mexico. He soon stumbles onto a particularly nasty example of industrial pollution. Another doctor swears vengeance against the wealthy financier responsible for this ecological outrage, forcing Keel to put his return-to-England plans on hold and to prevent a brutal (if somewhat justified) murder. Written by John Lucarotti, "The Far Distant Dead" was originally broadcast August 19, 1961. ~ Hal Erickson, All Movie Guide

This is the film version of Robert Louis Stevenson's The Strange Case of Dr. Jekyll and Mr. Hyde in which Hyde is the handsome, clean-shaven one. Though top-billed Christopher Lee, portraying a caddish playboy, was the beneficiary of all the ad publicity, it is Paul Massie who plays Dr. Jekyll and Mr. Hyde. The "horror" in the film is mostly sociological, with Jekyll learning first hand of the corruption lurking beneath the respectable facade of the Victorian Era. His metamorphosis into Hyde is meant as an allegory to the evils of drug addiction, another "don't ask--don't tell" element of 19th century London. In still another departure from the Stevenson original, Jekyll becomes Hyde not because he can't control his alter ego, but because he wants to exact revenge on Christopher Lee, who has been siphoning off Jekyll's savings to finance his own gambling and womanizing. In contrast to Stevenson's story, Jekyll/Hyde does not die--though the strain of being Hyde has permanently scarred Jekyll's psyche. Two Faces of Dr. Jekyll was originally released in Britain as House of Fright. ~ Hal Erickson, All Movie Guide