Shirley Ann Field Movies

An 18-month-old baby disappears in London. The parents, US embassy worker David Knight and his wife Julia Arnall, are panic-stricken. Detective David Farrar tries to locate the child, but clues are scarce. At the last possible moment, Farrar rescues the infant from a grueling fate and collars the kidnappers. This nail-biting film is filled to capacity with many of Britain's top supporting players, including Thora Hird, Everley Gregg, Joan Sims, Shirley Anne Field, Joan Hickson, Dandy Nichols, Mona Washbourne, Barbara Winsor and George Woodbridge. Released in the US by Republic, under the title Tears for Simon. ~ Hal Erickson, All Movie Guide

In this comedy three bookies attempt to win back their recent losses by kidnapping the favored horse and substituting it with a heavily drugged nag. ~ Sandra Brennan, All Movie Guide

It's Never Too Late stars Phyllis Calvert as a sedate and settled British wife and mother. Deciding that her family has taken her for granted far too long, the bored Ms. Calvert types up a movie script. Her work becomes a hit film and Phyllis suddenly finds herself a celebrity. Now she must choose between being a highly paid author and a middle-class housewife; since this film is conformist all down the line, her decision holds few surprises. It's Never Too Late was based on a play by Felicity Douglas. ~ Hal Erickson, All Movie Guide

In this location-filmed domestic seriocomedy, Rosanno Brazzi and Glynis Johns play an accountant and his new wife, honeymooning in Monte Carlo. With the casino in full view and ready for action, the couple would be remiss if they didn't give the gaming tables a try. Besides, Brazzi is certain that he's worked out a "system." Sure enough, the couple's marriage suffers mightily as the lure of the casino becomes stronger than their devotion to each other. Based on a story by Graham Greene, Loser Takes All was remade in 1990 as Strike It Rich, with Robert Lindsay and Mollie Ringwald. ~ Hal Erickson, All Movie Guide

1957's The Good Companions was the second film version of the well-known J. B. Priestly play. The story revolves around the Dinky Doos, a provincial musical troupe living from hand to mouth. Eric Portman, Celia Johnson and John Fraser are three Britons from various classes and walks of life who become involved in the fortunes of the Dinky Doos. Pooling their resources, the diverse "good companions" save the troupe from disbanding. Good-natured and high-spirited, Good Companions might have even been better had the director adopted a more intimate and less showbizzy approach. ~ Hal Erickson, All Movie Guide

Yul Brynner and Kay Kendall star as Victor and Dolly Fabian in this successful cinematic version of the stage comedy by Harry Kurnitz. Victor is a larger-than-life symphony conductor who loves music but has all the social skills of a wounded rhinoceros. After his wife Dolly gets fed up with smoothing over his relationships with his musicians and everyone else, she dumps him and takes up an offer of marriage from a physicist. Alas! Documentation -- or the lack of it -- soon reveals that the Fabians were never really married in the first place. Unfortunately, they still have to get divorced in order to save face and this, of course, leads to an increasingly unexpected series of complications. Elegant and witty actress Kay Kendall died of leukemia three months after this film was completed. ~ Eleanor Mannikka, All Movie Guide

Michael Powell's controversial meditation on violence and voyeurism effectively destroyed his career when it was first released, but later generations have come to regard it as a masterpiece. Karl Heinz Boehm stars as Mark, the son of a psychologist who kept a video journal of the boy's upbringing for research purposes. The constant intrusions profoundly affected the boy, who grew up to be a photographer himself; but his principal subject matter consists of women whom he murders before the camera. He then runs the films of his victims in their final throes so that he can study their reactions to death--a perverse extension of his father's experiments, which tormented Mark to analyze his reactions to raw fear. The British press had long been hostile to the unorthodox films of Powell and his partner Emeric Pressburger; when Peeping Tom came around, they used the film to castigate him as "sick" and tawdry. The passage of time has proven Peeping Tom as profound and accomplished as any of Powell's earlier films, and it ranks with Alfred Hitchcock's Rear Window (1954) and Vertigo (1958) as a landmark exploration of the links among voyeurism, violence, and male sexual desire. Powell himself plays the evil father in the flashback sequences, and his son Colomba plays Mark as a child. ~ Hal Erickson, All Movie Guide

A rebellious teenager runs away from home and joins the SoHo beatniks when her widowed father remarries a much younger woman. But beatnik life isn't all it seems and she ends up hanging out as a stripper in a sleazy club, hoping to learn about her mom. There the creepy club owner attempts to seduce her, and his lover gets jealous and stabs him. Now the two must do something fast. The film is also known as Wild for Kicks, and features music from rocker Adam Faith, the John Barry Seven, and other beatnik acts. ~ Sandra Brennan, All Movie Guide

Kenneth More was beginning to segue into comedy roles when he took on the character of William in this standard sci-fi parody by director Basil Dearden. William is an unsuccessful guinea pig for a medical group interested in researching the common cold when he is soon fired and offered a job by the nearby National Atomic Research Center. They figure anyone who could fail at being a guinea pig is just what they need. They con William into thinking he will continue his guinea pig career by testing out some equipment for them before they send a group of astronauts to the moon. What they neglect to tell him is that the testing will be done by actually sending him to the moon. ~ Eleanor Mannikka, All Movie Guide

Joseph Losey directed this unusual science fiction effort, which has won a small but fervent cult following. Simon Wells (MacDonald Carey) is an American visiting England, where he meets a woman named Joan (Shirley Ann Field). Simon is immediately attracted to Joan, but there's a considerable obstacle in their budding romance: Joan's brother King (Oliver Reed), the leader of a violent pack of motorcycle rockers. King has a barely concealed incestuous attachment to his sister, and he sometimes uses her to lure victims into his gang's clutches. King and his cronies attack Simon, take his money, and leave him stranded, where he's eventually found by a pair of military security men. Simon is brought to the home of Bernard (Alexander Knox), a scientist working on a secret project for the government, and his girlfriend Freya (Viveca Lindfors), a sculptor. Joan eventually tracks Simon down in hopes of winning his forgiveness, but another run-in with King causes Simon and Joan to discover a cave that holds a terrible secret: a group of strange, cold-blooded children who were the products of one of Bernard's experiments gone wrong. The children were genetically engineered to survive a nuclear war, and, as a result, they are radioactive enough to kill anyone who comes in close contact with them. Controversial in its day, The Damned was produced in England in 1961 but was not released until 1963, when Hammer Films booked it as the second-half of a double bill with Maniac. It did not reach American screens until 1965, when it was shown under the title These Are the Damned. ~ Mark Deming, All Movie Guide

When a junior executive organizes a romantic encounter with a designer everything falls about creating this comedy. ~ All Movie Guide

Based on Howard Fast's novel The Winston Affair, this WW II-era crime drama is set in India and chronicles the attempts of an American military attorney to defend a lieutenant who shot a British officer in cold blood. Many witnesses were present and the question the lawyer must answer is whether the defendant is sane enough to stand trial. His investigation leads him to believe that his client is not. Unfortunately, his general is anxious to resolve the case to quell mounting tensions between British and American troops. ~ Sandra Brennan, All Movie Guide

Michael Caine's first starring role was a foray into dramatic irony, scripted by Bill Naughton from his novel and play. Alfie (Caine) is a charming, rogueish Cockney who cannot get his fill of women. He uses them without shame or malice, jumping from one promiscuous female's bed to another without much thought or feeling. Of course, Alfie's not as carefree as he would have the audience -- to whom he often speaks directly -- think: he treats his pregnant, common-law wife, Gilda (Julia Foster), quite shabbily, and has an affair with a married woman (Vivien Merchant) that leaves her pregnant, for which Alfie arranges an abortion. In the end, Alfie never finds lasting meaning or pleasure but remains an unrepentant, if low-class, Don Juan. Caine was Oscar-nominated for his performance. ~ Don Kaye, All Movie Guide