Peter Eyre Movies

The fascinating story of King George VI and Queen Elizabeth is recounted in this British made-for-TV effort. It all begins in 1920, when the then-Duke of York Albert (James Wilby), known affectionately as Bertie, meets and falls in love with the aristocratic, 19-year-old Elizabeth Bowes-Lytton (Juliet Aubrey). Although their marriage makes international headlines, the mild, unprepossessing Bertie knows that he will always play second fiddle to his dashing older brother, the Prince of Wales, in the hearts and minds of the British people. This is never more true than when Bertie's brother ascends to the throne as King Edward VIII in 1936. That same year, however, the new King abdicates so that he may marry the woman of his choice, thereby thrusting the reluctant Bertie into the limelight as Monarch of the British Isles. Spurred on by the love and devotion of his lifelong helpmate Elizabeth, Bertie -- now King George -- proves more than worthy of his new burdens and responsibilities, especially during the darkest days of WWII. Although the King passes on in 1952 (a death hastened by his fondness for tobacco), Elizabeth lives well past the century mark, beloved by her subjects as the mother of the future Queen Elizabeth II and the impulsive Princess Margaret. A co-production of Carlton Television and PBS, Bertie and Elizabeth was telecast in America as part of the Masterpiece Theater anthology on February 4, 2002. ~ Hal Erickson, Rovi

Marshall Herskovitz directed this look at life in 16th-century Venice, based on Margaret Rosenthal's 1994 book The Honest Courtesan. Positioned outside of the Venetian court, Veronica Franco (Catherine McCormack) hopes to rise above her station, but her interest in nobleman's son Marco Venier (Rufus Sewell) is blocked since his parents forbid their marriage. Following the path taken by her mother, Paola (Jacqueline Bisset), Veronica becomes a courtesan, finding this gives her a niche in the male-dominated society. When Vatican emissaries accuse her of witchcraft, she lashes back, using the trial as a feminist forum to expose the hypocrisies of the period. Filmed in 1996 in Venice and Rome with a variety of working titles (Courtesan, Venice, and The Honest Courtesan). ~ Bhob Stewart, Rovi

A crusade for decency and truth is mounted by a man gone mad (or has he?) in this made-for-TV adaptation of the classic novel by Miguel de Cervantes. Alonso Quijano decides that it is time to devote his life to battling evil in all its forms; he dubs himself Don Quixote (John Lithgow), obtains a suit of armor, and with the help of his loyal friend and squire Sancho Panza (Bon Hoskins), he sets out to confront the world's ills. Inspired by the lovely Dulcinea (Vanessa Williams) and pursued by a mysterious Duchess (Isabella Rossellini), Quixote fights his battles as he finds them, with Sanson Carrasco (James Purefoy) attempting to find the eccentric old man and send him home before he can do any serious damage to himself or others. Don Quixote was something of a labor of love for John Lithgow, who had been attempting to get a feature film version of the story off the ground for several years. This production received its American premier on the TNT cable television network. ~ Mark Deming, Rovi

Season five of Friends begins in London, a few moments after the wedding of Ross (David Schwimmer) and Emily (Helen Baxendale) -- and a few more moments after Ross nearly wrecked the ceremony by invoking Rachel's (Jennifer Aniston) name. As Emily expresses her desire to escape her marriage vows, Monica (Courteney Cox) and Chandler (Matthew Perry) come to terms with their own romantic passion. Everything comes to a head at Heathrow airport -- but what about pregnant Phoebe (Lisa Kudrow)? ~ Hal Erickson, Rovi

At one time, The Dave Clark Five were considered the Beatles' key rivals in international pop stardom, and so, when the Fab Four made a smash at the box office with A Hard Day's Night, Mr. Clark and his partners followed with Catch Us If You Can (also known as Having A Wild Weekend). Dinah (Barbara Ferris) is a famous model and actress who is getting tired of life in the limelight and wants to take a break. While shooting a commercial spot for meat, she meets Steve (Dave Clark), a stuntman. Dinah and Steve hit it off and decide to head to an island to get away from it all (bringing along four of Steve's friends, Mike Smith, Lenny Davidson, Denis West Payton, and Rick Huxley, who -- surprise! -- play music with him). Before long, Dinah is reported missing and everyone is looking for her, making their getaway anything but tranquil. While A Hard Day's Night launched director Richard Lester into international success, Catch Us If You Can was the feature debut for John Boorman, who similarly went on to bigger and better projects. Songs featured include "I Can't Stand It," "Catch Us If You Can," and "Having A Wild Weekend." ~ Mark Deming, Rovi

Except for the omission of several passages in the original play, this 1970 adaptation of Julius Caesar faithfully retells Shakespeare's account of events surrounding the assassination of Caesar in 44 B.C. The film begins when Caesar John Gielgud is at the height of his power after conquering Pompey "the Great" in a civil war. Important senators worry that Caesar means to become king, diminish their power, and abolish their beloved Roman republic. Two senators, Cassius Richard Johnson and Brutus Jason Robards, hatch an assassination plot involving other disenchanted Roman citizens. Although a soothsayer warns Caesar of trouble ("Beware the ides of March") and his own wife reports ominous signs ("A lioness hath whelped in the streets; and graves have yawn'd, and yielded up their dead"), Caesar decides to go to the senate on the ides (March 15). Upon arrival, the conspirators greet him with daggers. In his funeral oration, Mark Antony Charlton Heston extols Caesar and incites the citizens against Brutus and the other conspirators. Brutus and Cassius flee Rome with their armies, but Antony and two other sympathizers track them down with their armies. When the tide turns against the conspirators, Brutus and Cassius commit suicide. As does Shakespeare's play, the film leaves the discerning viewer wondering who was the real villain -- Caesar, because of his ambition for power, or Brutus, because of his underhanded plot to maintain the status quo. ~ Mike Cummings, 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

Based on a novel by Muriel Spark (The Prime of Miss Jean Brodie), the British TV drama Memento Mori boasts an impressive cast of veterans, including Maurice Denham, Cyril Cusack, Sir Michael Hordern, Renee Ashershon, and Maggie Smith. The story concerns an eccentric group of senior citizens who are being plagued by a cryptic phone caller. The mystery man (or woman) says only "Remember, you must die!" before hanging up. For a while, it seems as though the domineering Ms. Smith is the instigator of the crank calls, but don't be too sure. Memento Muri premiered in the US as a two-part installment of Masterpiece Theatre, telecast October 25 and November 1, 1992. ~ Hal Erickson, Rovi

Director Bob Rafelson fulfilled a lifelong dream when he finally received backing to complete Mountains of the Moon. The film recreates the exploratory adventures of 19th century visionaries Sir Richard Burton (Patrick Bergin) and John Henning Speke (Iain Glen). The heart of the film is the effort by Burton and Speke to discover the true source of the Nile river. This occurs well into the film, after several torturous scenes involving the injuries sustained by the protagonists during other expeditions and their growing friendship (which, the film intimates, goes far beyond friendship). Rafaelson's fascination with this story, and his insistence upon painstaking historical accuracy, unfortunately compromises his ability to make an interesting film. There are so many starts and stops during the first half that we sincerely hope Burton and Speke will chuck it all and set up a pub in Bristol or something. What saves Mountains of the Moon is the rapport between its stars and the brilliant, epic-like cinematography of Roger Deakins. ~ Hal Erickson, Rovi

Loosely based on an actual incident, this family-friendly British comedy is also a sly satire of class consciousness. Phoebe Cates stars as a woman who appears in the English countryside of 1817 wearing exotic garb and speaking gibberish. Delivered to a nearby manor, the mystery woman is sheltered by the Worralls (Wendy Hughes and Jim Broadbent), who are then persuaded by their suspicious Greek butler Frixos (Kevin Kline, Cates' real-life husband) to have the drifter tried for vagrancy and begging, capital crimes. At the hearing, however, the woman persuades the magistrate through pantomime that she is a princess of Javanese origin named Caraboo, escaped from pirate kidnappers. The Worralls welcome Caraboo back into their home, lavishing upon her the deference due a royal. A society sensation, Caraboo wins over a linguist (John Lithgow), the prince regent (John Session), and even Frixos. Only an Irish reporter, Gutch (Stephen Rea), remains skeptical about Caraboo's origins. ~ Karl Williams, Rovi

This unusual biography of the renowned Spanish artist Pablo Picasso is a Merchant-Ivory film. The team of director James Ivory, producer Ismail Merchant, and screenwriter Ruth Prawer Jhabvala has been responsible for many period dramas, including A Room with a View and Howard's End. The story of Picasso's remarkable misanthropy is told as experienced by his mistress Francoise Gilot (Natasha McElhone). Francoise was Picasso's lover from 1944 to 1954, and they had two children together, Claude and Paloma. The film shows Picasso (Anthony Hopkins) as a notorious womanizer, with flashbacks revealing his relationships with his wife Olga (Jane Lapotaire), the artist Dora Marr (Julianne Moore), and Marie-Therese Walter (Susannah Harker), an earthy type who sees the artist only on Sundays. Hopkins powerfully portrays Picasso as an artistic genius with an appalling habit of using and abusing women. He not only cheats on his wife but two-times his mistresses. Francoise has survived an abusive relationship with her father (Bob Peck), and she is 40 years younger than Picasso when they become lovers. The film was supposed to be based on Gilot's book Life with Picasso, but the filmmakers were unable to get the rights to it, so they settled for basing the film on Arianna Huffington's Picasso: Creator and Destroyer. The movie also uses imitations rather than Picasso's real paintings. ~ Michael Betzold, Rovi

The Pied Piper eschews the romanticism of Robert Browning's poem and returns to the grim Grimm Brothers source. Pop singer Donovan plays the 14th century piper hired by a duplicitous burgomaster (Donald Pleasence) to rid the town of Hamelin of its rats. The piper does what he's asked, but is denied the payment promised him; in revenge, he leads all of Hamelin's children out of town, never to be seen again. Though the story is a familiar one, this 1972 Pied Piper is not a kiddie movie. Director Jacques Demy's depiction of the 14th century as a muddy, backward, superstitious, disease-ridden, vermin-infested era transforms this fable into a squalid tale of revenge (incidentally, all those repulsive rodents are real). Donovan is matched by a remarkably restrained Jack Wild as the crippled boy, and John Hurt also co-stars. ~ Hal Erickson, Rovi