Dennis Arundell Movies

The ever-adventuresome Michael Powell and Emeric Pressburger are responsible for the British musical farce Oh, Rosalinda! Set in postwar Vienna, the film stars Michael Redgrave as Colonel Eisenstein, a military officer who because of a little legal misunderstanding must serve a few months in prison. While sitting alone in her sumptuous house, the colonel's wife Rosalinda (Ludmilla Tcherina) is romanced by American officer Alfred Westerman (Mel Ferrer). When the guard assigned to escort Rosalinda to prison marches in, Westerman, hoping to save Rosalinda from disgrace, claims that he's her husband, and winds up in the pokey himself. Later on, Rosalinda attends a costume ball, where she flirts outrageously with her own husband. Sound familiar? It should: Oh, Rosalinda is a modernized version of Johann Strauss' comic opera Die Fledermaus. ~ Hal Erickson, Rovi

Most baby-boomers are familiar with the Powell-Pressburger production of the Offenbach opera Tales of Hoffman only through the full-color stills from the film which were reproduced in the "Motion Picture" section of The World Book Encyclopedia. If this is your only memory of the film, we advise you to seek out a copy of this lengthy but visually enthralling picture as soon as possible. Metropolitan opera star Robert Rounseville plays Hoffman, a university student who is spectacularly unlucky in affairs of the heart. Each of his love affairs with Olympia (Moira Shearer), Giulietta (Ludmilla Tcherina) and Antonia (Ann Ayars) is doomed to failure due to circumstances far beyond our hero's control (Olympia, for example, turns out to be nothing more than a life-sized mechanical doll). As in the previous Powell-Pressburger collaboration The Red Shoes, the film's best moments are its ballet sequences, choreographed by Jane Ashton. Offenbach's score is given a splendid rendition by the Royal Philharmonic Orchestra, under the baton of the legendary Sir Thomas Beecham. Most prints of Tales of Hoffman run 118 minutes, eliminating the closing "Tale of Antonia" sequence; the laserdisc version has been restored to 127 minutes, while the search goes on for the complete 138-minute negative. ~ Hal Erickson, Rovi

East Indian actor Sabu is consistently better than his material in the sociological melodrama End of the River. The story concerns Mancel (Sabu), an Akuna Indian youth living in the forests of Brazil. Betrayed by a treacherous tribal chieftan, Mancel is branded an outlaw and exiled from his village. Forced to scrounge for a living in the white man's world, he runs afoul of corrupt political forces, ending up on trial for his life. The defense counsel (Maurice Denham) tries to convince Mancel that not all white men are demons, and to help the boy come to terms with his own inner turmoil. Despite its powerhouse cast, End of the River suffers from indifferent and sometimes downright lackadaisical performances; still, it deserves praise for trying to tackle a difficult subject with a semblance of intellence. ~ Hal Erickson, Rovi

Of the many films (English and American) bearing the title Carnival, only one was based on the Compton MacKenzie novel of the same name. This 1946 melodrama stars Sally Gray as a 19th century ballet dancer who makes an unfortunate career move by marrying a taciturn Cornish farmer (Bernard Miles). Sally soon longs for the bright lights of the big city, and for the arms of her artist lover (Michael Wilding). Her husband is all too aware of this; and when the lover comes calling to renew the affair, the husband shoots Gray to death. The first film version of Compton MacKenzie's Carnival was filmed in 1931 as Dance Pretty Lady. ~ Hal Erickson, Rovi

The title character in Meet Sexton Blake was created in 1893 as a way of cashing in on the immense popularity of Sherlock Holmes. This 1944 film opens with a bizarre and intriguing murder. Late one night along the London waterfront, a man is desperately tugging at the hand of another man -- a corpse, the audience soon discovers. There clearly is something very important about the dead man's hand, as the living man goes so far as to take out a saw and start removing it. Soon after achieving his prize, he falls from a bridge to his own death. The body is hauled aboard a passing ship, and when they search the body they discover the grisly severed hand. Blake is soon on the scene, using his keen powers of detection to determine that the hand belonged to a photographer from another country. Blake retires to his digs, but it's not long before a new client appears at his door. By coincidence, this man -- an arms manufacturer -- wants Blake to investigate the death of a friend, who just happens to have been a foreign photographer. Blake and his assistant Tinker delve into the case, which leads them to a mysterious villain named Slant Eyes and an espionage plot involving a new alloy for use in airplanes that is of enormous value to both sides in the war. ~ Craig Butler, Rovi

Michael Powell and Emeric Pressburger's much-lauded epic Life and Death of Colonel Blimp, which satirizes British traditionalism, stirred up impassioned hostilities and indignations among the Brits when released in 1943. It so infuriated Winston Churchill, in fact, that he refused to allow its exportation to other countries, particularly the U.S. When Blimp finally did premiere in the States in 1945, it screened in a drastically cut version. The sweeping story covers several decades. It begins at the tail end of the Boer War, when handsome young British officer Clive Candy, recently back from the battlefront, is infuriated by his discovery that Deutschland papers have played up the British atrocities in South Africa, propagandistically. He grows so irate, in fact, that he travels to Germany to address the problem. Once there, he meets an attractive British educator, Edith Hunter (Deborah Kerr) who spends her days teaching English as a second language to German students. They grow close, but Candy so aggravates the local indigenes that he winds up in a duel with a German officer, Theo Kretschmar-Schuldorff (Anton Walbrook). The men wound each other and are sent to the same hospital, where they become friends. Candy - who doesn't yet realize he's fallen in love with Edith -- senses that Theo and Edith are attracted to one another, and encourages the couple's marital union. Candy subsequently returns to England, then falls for and marries Barbara (again played by Kerr), a nurse who bears a strong resemblance to Edith. She later dies, but Candy meets a third woman during WWII, Johnny (Kerr a third time), assigned to drive him from one locale to another during his campaigns. Meanwhile, Theo - disgusted by Nazi atrocities -- absconds to England, where he reencounters his old friend, now a prattering old shuffler rapidly approaching the end of his career and raving continuously about Nazi conduct (or lack thereof) in battle. Powell and Pressberger adapted Colonel Blimp from a comic strip; it became one of the hallmarks of their careers. ~ Sidney Jenkins, Rovi

Penn of Pennsylvania was the original British title of the economical biopic The Courageous Mr. Penn. Clifford Evans stars as Quaker leader William Penn, who leaves the comfort of his family estate to fight for the rights of his religious brethren. Penn's crusade for spiritual freedom leads him to the New World and the ultimate founding of the colony of Pennsylvania. The film's highlight is Penn's courtroom trial, an admittedly overlong sequence redeemed by the give-and-take between actors Evans and Joss Ambler (as the judge). Deborah Kerr is merely decorative in the thankless role of Penn's wife Gulielma. Honorable in its intentions, Penn of Pennsylvania is compromised somewhat by its minimal production values, including some of the most unconvincing miniature work ever seen on film. ~ Hal Erickson, Rovi

The Danish freighter Helvig approaches English waters in early 1940 and, in keeping with the needs of British security, it is boarded by customs and naval officials in search of contraband cargo. Her skipper, Captain Anderson (Conrad Veidt), is compelled to ascede to British demands, but dreads the delay, pointing out that the medical supplies in his cargo are vital. Anderssen is a dedicated seaman, all business, even where Mrs. Sorenson (Valerie Hobson), a headstrong passenger, is concerned. Then, on their first night in port, Mrs. Sorenson and a Mr. Pidgeon (Esmond Knight) disappear from the ship with Anderson's landing papers, the captain is in hot pursuit. Forced to join the woman in what seems a mad chase across London by night, he plunges into an Alice-in-Wonderland world of the blacked out city, following a set of clues through the maze of darkened streets and uncover a Nazi spy ring operating out of a basement in Soho. Each also discovers that there's a lot to admire and even possibly to love in the other -- the challenge is for Hobson, who is something other than the divorcee and mother she pretends to be, to stay alive long enough for Captain Anderson to effect a rescue and prevent the German spies from turning the British counter-intelligence effort against the Allies. ~ Bruce Eder, Rovi

The rise of British entertainer Graci Fields from humble mill girl to the most popular and highest paid performer in Great Britain during the Depression era is chronicled in this biographical drama. Fields got her big break when a composer heard her singing in a ramshackle pub. ~ Iotis Erlewine, Rovi