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Charles Hart Movies

1996  
R  
In 1954, all of England was rocked by a shocking crime that took place in a quiet coastal town and involved a socially upstanding landlady, her smart, newly blossomed teenage daughter, and a handsome but troubled Australian in search of family he had never known. In retelling this true story, first-time filmmaker Philip Goodhew offers a blackly comic and ironic look behind the proper lace curtains of a seemingly normal British household and reveals a seething pit of repressed lust, jealousy and deadly obsession. The tale begins as Harold Guppy (Rupert Graves) leaves a ship and ambles toward the home of his long-lost brother Maurice Guppy (Les Dennis). The reunion is tepid, for Maurice's wife Iris (Elizabeth McKechnie) is suspicious of Harold and unwilling to welcome him into her home. It doesn't help that the callow Harold reveals a troubled, though somewhat cloaked past. Unable to stay with his brother, Harold finds lodging in the home of friendly, late-middle-aged Mrs. Beasley (Julie Walters). With her rhinestoned glasses, boxy dresses, short bouffant, and prim take-charge manner, Mrs. Beasley seems the epitome of 1950s motherhood and good housekeeping. Harold soon meets the rest of the family, the fresh-faced, bright, but rather macabre Joyce (Laura Sadler in her feature-film debut), and Mr. Beasley, a quiet, hen-pecked (the Mrs. hasn't had relations with him in years and forces him to sleep in his own room) WW I survivor who despite his missing leg, still supports his family. Things seem normal enough until a fateful game of spin-the-bottle during Joyce's 14th birthday party reveals an entirely different side to Mrs. Beasley. That night she creeps to Harold's bedroom and pleads with him until he weakens and accepts her advances and they begin to make wild love. The row awakens Joyce who pops into Harold's room and refuses to leave until the would-be lovers allow her into the bed. Thinking her asleep and unaware, Mrs. Beasley and Harold quietly resume their cavorting. Joyce is very much awake and spends the night scheming to get Harold to come to her. Thus begins an inescapable downward spiral for the weak-willed Harold that culminates in a desperate and horrific act of violence. Though it is not difficult to guess that none of the three protagonists will come to a good end, the graphic nature of the story's climax is jarring and out of place in the otherwise low-key and rather dry comedy. That the trio's characters are so broadly drawn, even bordering on cariactures, lessens the impact and the actual horror of the case. Still, Intimate Relations is a well-made film that aptly captures the flavor of post WW II England and contains many memorable lines.That the three try so hard to keep up the appearances of a normal household (Mrs. Beasley insists that Harold call her "Mum," a word he later has tattooed upon his arm) only adds to the bitter humor. ~ Sandra Brennan, Rovi

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Starring:
Julie WaltersRupert Graves, (more)
 
 
1948  
 
In this drama, based on a novel by Mary O'Hara, the relationship between humans and animals is paralleled as they struggle to live and find love on a wild ranch in Wyoming. The human story centers around a rancher's niece who falls in love with a neighboring rancher's son. The equine story follows the romantic exploits of a wild-eyed black mare and a wild white stallion, Thunderhead. One night, the sly stud sneaks upon the other's land and steals the mare. The rancher's boy brings them back. The rival ranchers get involved in a horse race and the niece's uncle wins over the other's pregnant mare. The two youngsters find love and as Thunderhead's baby is foaled, happiness ensues. ~ Sandra Brennan, Rovi

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Starring:
Peggy CumminsCharles Coburn, (more)
 
1940  
 
The once-in-a-lifetime teaming of Mae West and W.C. Fields in My Little Chickadee had the potential for comic greatness: what emerged, though generally entertaining, was, in the words of critic Andrew Sarris, "more funny strange than funny ha-ha." Mae West dominates the film's first reel as Flowerbelle Lee, a self-reliant woman who is abducted by a mysterious masked bandit during a stagecoach holdup. Because she refuses to tell anyone what happened during her nocturnal rendezvous with the bandit, Flowerbelle is invited to leave her prudish hometown and move to Greasewood City. En route by train, Flowerbelle makes the acquaintance of con-artist Cuthbert J. Twillie (W.C. Fields), who carries a suitcase full of what seems to be large-denomination monetary notes. After a lively clash with marauding Indians, Flowerbelle tricks Twillie into a phony marriage; she does this so that she can arrive in Greasewood City with a modicum of respectability, and incidentally to get her hands on Twillie's bankroll. Once she discovers that Twillie's "fortune" consists of nothing but phony oil-well coupons, Flowerbelle refuses to allow Twillie into the bridal chamber (he unwittingly crawls into the marriage bed with a goat, muttering "Darling, have you changed your perfume?") Through a fluke, the cowardly Twillie is appointed sheriff of Greasewood City by town boss Joseph Calleila. The plot is put on hold for two reels while La West does a "schoolroom" routine with a class full of markedly overage students, and while Fields performs a bartender bit wherein he explains how he once knocked down the notorious Chicago Mollie. Jealous over the attentions paid to his "wife" by Calleila and honest newspaper-editor Dick Foran, Twillie decides to gain entry into his wife's boudoir by posing as the still-at-large masked bandit. His ruse is soon discovered by Flowerbelle, but the townsfolk capture Twillie as he makes his escape. They are about to lynch the hapless Twillie when Flowerbelle discovers that Calleia is the genuine masked bandit. She urges Calleia to save Twillie's life by making a surprise appearance at the lynching and by returning the money he's stolen. When all plot lines are ironed out, Flowerbelle and Twillie bid goodbye to one another. Borrowing a device utilized by ZaSu Pitts and Hugh Herbert in 1939's The Lady's From Kentucky, W.C. Fields invites Mae West to "come up and see me sometime," whereupon West appropriates Fields' tagline and calls him "My Little Chickadee." The script for this uneven comedy western was credited to Mae West and W.C. Fields, though in fact West was responsible for most of it. Fields willingly conceded this, noting that West had captured his character better than any other writer he'd ever met. Despite this seeming gallantry, it was no secret that West and Fields disliked each other intensely, a fact that had an injurious effect on their scenes together. My Little Chickadee has assumed legendary status thanks to its stars, and it certainly does deliver the laughs when necessary: still, it is hardly the best-ever vehicle for either Fields or West, two uniquely individual performers who should never have been required to duke it out for the same spotlight. ~ Hal Erickson, Rovi

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Starring:
Mae WestW.C. Fields, (more)
 
1938  
 
Rising star Rita Hayworth puts in a little box-office duty in the Columbia "B" Juvenile Court. The star of the proceedings is Paul Kelly as crusading public defender Gary Franklin, who hopes to establish a Police Athletic League to give street kids a new chance in life. His toughest charge is Stubby (Frankie Darro), a born leader with potential for either the White House or the Electric Chair. Once he's won over Stubby, Franklin is able to get the rest of the neighborhood kids to attend his new athletic outfit. The far- reaching influence of Franklin's pet project is proven when a group of young punks change their minds about committing a robbery. As Franklin's girl friend Marcia Kelly, Rita Hayworth has virtually nothing to do but stand around and look pretty. ~ Hal Erickson, Rovi

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Starring:
Paul KellyRita Hayworth, (more)