Shirley Douglas Movies

This historical drama, based on a true story, is set in Georgia in the mid-1800s. David Dickson (Sam Waterston) owns a large plantation, as well as a number of slaves who do the labor required to run it. Dickson finds himself attracted to one of his new slaves, a bright and willful teenager named Julia (Lisa Gay Hamilton); Dickson rapes Julia, and nine months later she gives birth to a daughter, Amanda. Amanda is fair-skinned and can pass for white, so Dickson raises her as his daughter without acknowledging Julia as the mother, fabricating a story that Amanda's mother died in childbirth. After Amanda (now played by Jennifer Beals) has grown to adulthood, Dickson dies, leaving his entire estate to her. However, Henry (Ron White), Dickson's younger brother, knows the truth about Amanda's heritage and questions the will in court; a high-minded lawyer named Charles Dubose (Tim Daly) agrees to represent Amanda in court as the sordid secrets of the Dickson family air in a public courtroom. Sam Waterston served as co-producer as well as male lead for A House Divided, which was produced for (and first aired by) the Showtime premium cable network. ~ Mark Deming, Rovi

This is the large-screen debut of famous (or infamous, depending on your POV) fuzzy purple dinosaur Barney, the oafish character who began a decade earlier on video (selling 45 million units) and then became a top-ranked public TV preschooler show in 1992, followed by 15 million stuffed toys and 25 million copies of Barney books, plus his own attraction at the Universal theme park. The story in this $15 million movie has Mom and Dad leaving son Cody and daughter Abby, plus Abby's friend Marcella, and a baby with Grandpa and Grandma down on the farm -- where a shooting star deposits a large colorful egg. After it's accidentally taken away, Cody and others chase after the egg, intersecting a Main Street parade and then continuing on through a French restaurant, a circus, and a big hot-air balloon launch, eventually returning to the farm. Music features more than a dozen songs, including "Old MacDonald" and "Twinkle, Twinkle, Little Star". Dances devised by Cirque du Soleil choreographer Debra Brown. Filmed in the countryside near Montreal. ~ Bhob Stewart, Rovi

This historical drama is based on the true story of controversial medical pioneer Franz Anton Mesmer. In 18th century Vienna, Mesmer (Alan Rickman) believes that many of the favored medical treatments of the day -- most notoriously the inducement of bleeding to remove harmful "humors" from the body -- are both dangerous and ineffective to the patients they are intended to treat. Mesmer believes that gentler methods could have a more positive impact on his patients. Believing in what he calls "animal magnetism," Mesmer uses magnetic currents and the power of suggestion to treat patients; the medical establishment of the time regards him as a lunatic, so he performs most of his treatments on the poor, who cannot afford to pay a doctor, forcing Mesmer's well-to-do wife (Gillian Barge) to support the family. Mesmer receives a great deal of publicity when well-known pianist Maria Theresa Paradies (Amanda Ooms) suffers a severe seizure during a recital; while several physicians in attendance want to submit Paradies to an immediate bleeding, Mesmer applies his magnetism techniques, which prove to be effective in calming the young woman. Paradies was tremendously grateful to Mesmer and began seeing him regularly as a patient; she soon developed an emotional attachment to the doctor that became something of a public scandal. In time, the public's anger over Mesmer's unorthodox techniques and his perceived affair with Paradies forced him to leave Vienna for Paris, where he became the toast of the city's wealthy and privileged -- until the French medical community demanded that Mesmer prove the effectiveness of his techniques. Noted playwright Dennis Potter wrote the screenplay. ~ Mark Deming, Rovi

Two twin brothers, both renowned gynecologists, descend into madness after becoming romantically involved with the same woman in this disturbing, horrific drama. Jeremy Irons delivers a bravura performance as both Beverly and Elliot Mantle, Toronto-based surgeons who operate an exclusive gynecological clinic and share a reputation as brilliant innovators. They also share lovers, as the more aggressive, confident Elliott seduces women and later secretly allows the shier, more intellectual Beverly to reap the benefits. This arrangement is disturbed when Beverly falls in love with their newest conquest, Claire Niveau (Genevieve Bujold), a famous actress with an unusual gynecological deformity. Beverly's relationship with the hard-living Claire leads to him to turn away from Elliot and begin a dangerous involvement with drugs and alcohol. Elliot senses his brother's rapid decline into addiction and paranoia and attempts to save him, only to start falling victim to the same urges. Director David Cronenberg adapted the loosely fact-based tale to his own creepy purposes, tapping into primal fears regarding the uncanniness of twins and male sexual panic. His notorious gore was used sparingly here, however, with the film's most disturbing moments coming through suggestion, as in the display of a group of terrifying surgical instruments created by Beverly in his madness. Cronenberg's expertise with special effects proves crucial, however, as he and his regular cinematographer Peter Suschitzsky seamlessly combine Irons' two performances in a manner unrivalled by any previous depiction of twins. This visual achievement is more than matched by Irons, who delivers what may be his career performance, delineating the twins' differences and similarities and embodying their collapse in frighteningly believable fashion. The subject matter and chilly tone may be too intense for some viewers, but the brilliant central performance and intellectually provocative approach will prove thoroughly absorbing for others. ~ Judd Blaise, Rovi

Turning to Stone is a Canadian drama set in a women's prison, but you'll find no Linda Blair excesses this time around. Nicky Guadagni stars as a pretty and pleasant young woman who becomes involved in the drug culture. Busted for smuggling, Guadagni is tossed into the slammer. While Judith Thompson's script is unsparing in depicting the bleakness and degradation of prison life, this is no mindless, torn-blouse exploitation film. Turning to Stone is in the same league as the landmark women's-prison picture Caged in chronicling the depersonalization process inherent in life behind bars. ~ Hal Erickson, Rovi

"How did they make a movie out of Lolita?" teased the print ads of this Stanley Kubrick production. The answer: by adding three years to the title character's age. The original Vladimir Nabokov novel caused no end of scandal by detailing the romance between a middle-aged intellectual and a 12-year-old nymphet. The affair is "cleansed" ever so slightly in the film by making Lolita a 15-year-old (portrayed by 16-year-old Sue Lyon). In adapting his novel to film, Nabokov downplayed the wicked satire and sensuality of the material, concentrating instead on the story's farcical aspects. James Mason plays professor Humbert Humbert, who while waiting to begin a teaching post in the United States rents a room from blowzy Shelley Winters. Winters immediately falls for the worldly Humbert, but he only has eyes for his landlady's nubile daughter Lolita. The professor goes so far as to marry Winters so that he can remain near to the object of his ardor. Turning up like a bad penny at every opportunity is smarmy TV writer Quilty (Peter Sellers), who seems inordinately interested in Humbert's behavior. When Winters happens to read Humbert's diary, she is so revolted by his lustful thoughts that she runs blindly into the street, where she is struck and killed by a car. Without telling Lolita that her mother is dead, Humbert packs her into the car and goes on a cross-country trip, dogged every inch of the way by a mysterious pursuer. Once she gets over the shock of her mother's death, Lolita is agreeable to inaugurating an affair with her stepfather (this is handled very, very discreetly, despite the slavering critical assessments of 1962). But when the girl begins discovering boys her own age, she drifts away from Humbert. One day, she leaves without warning. This is humiliation enough for Humbert; but when he discovers who her secret lover really is, the results are fatal. We are prepared for the ending because the film has been framed as a flashback; what we are not prepared for is Stanley Kubrick's adroit manipulation of our sympathies and expectations. An incredibly long film considering its subject matter, Lolita is never dull, nor does it ever stoop to the sensationalism prevalent in the film's ad campaign. ~ Hal Erickson, Rovi