Patrick Godfrey Movies

This British-Dutch-Hungarian biographical drama combines incidents from the life of novelist Feodor Dostoyevsky with a dramatization of his short novel The Gambler. The character of Polina in the novel was based by Dostoyevsky on Polina Suslova, his 1862-63 lover. In the tradition of Dennis Potter, this film mixes fiction with reality, opening in 1870 with a woman and child seeking someone in a casino at the German resort of Baden-Baden.

The story then leaps backward to 1866 St. Petersburg, where impoverished student Anna (Jodhi May) accepts a stenographic position with cantankerous 45-year-old Dostoyevsky (Michael Gambon), who lives with his epileptic stepson Pasha (William Houston). Dostoyevsky is writing serialized installments of Crime and Punishment. He has only 27 days to write a minimum of 160 pages on another novel for the publisher Stellovsky (Thom Jansen), who has covered his gambling debts. If Dostoyevsky doesn't meet this deadline, Stellovsky will acquire the rights to all of his current and future books. Anna quits but later comes back so she can pay for her father's funeral. In the process of getting Dostoyevsky's imagination to paper, Anna soon understands that The Gambler is autobiographical -- the tale of a young couple Polina (Polly Walker) and Alexei (Dominic West) at the casino in the fictional German resort Roulettenburg, where Alexei's gambling obsession has put him in debt. As the work on The Gambler continues, an attraction develops between the author and the secretary, and scenes from the work-in-progress are featured.

In real life, Anna Grigoryevna Snitkina did indeed take shorthand on The Gambler, and she went on to become Dostoyevsky's second wife in 1867. Appearing as a gambling grandmother is movie veteran Luise Rainer. Scenes of St. Petersburg, Baden-Baden, and Roulettenburg were all shot in Hungarian locations. ~ Bhob Stewart, All Movie Guide

Many years before, police commissioner Otto Schatz (Robert Lindsay) was an ardent participant in the Nazi experience, and he still cherishes a profound (and secret) affection for Hitler. Now it is 1958, and all that is over and done with. He just does his job in a small Bavarian town in an ordinary way. Lately, however, he has been having some strange experiences. In fact, he's getting quite a taste for such classic kosher dishes as chopped liver and gefilte fish. It seems that he is being haunted by the ghost of a Jewish ventriloquist named Genghis Cohn (Anthony Sher) whose anti-Nazi routines earned him an early visit to the gas chambers. Together, this unlikely pair sets out to solve a serial killing. This odd comedy is based on the novel The Dance of Genghis Cohn by Romain Gary. One highlight of the film is lively performance by Diana Rigg as a man-hungry matron with lofty cultural pretensions. ~ Clarke Fountain, All Movie Guide

This four-part British miniseries took place just after the fall of the Soviet Union. Going through Kremlin files, a team of Soviet bureaucrats discover that two KGB "sleepers," or secret agents, were assigned to England 20 years before, and had been there ever since. One of the sleepers was a shop steward in the North, the other an urban professional in London, and neither man had any desire to return to Moscow. The Kremlin dispatched an attractive female agent to retrieve the renegade duo, thereby setting the stage for a maddening procession of double-crosses, multi-pronged conspiracies, and other assorted mayhem perpetrated by both the "good" and the "bad" guys. As much a comedy as a thriller, Sleepers was broadcast over BBC2 in 1991. ~ Hal Erickson, All Movie Guide

The Girl on a Swing, a haunting, mystery thriller with a supernatural twist, is the story of a desperate woman, who will do anything to be with the man she loves. Karin Foster (Meg Tilly), a lonely German secretary, falls in love with and marries Alan (Rupert Frazier) and moves with him to England. There her strange behavior and fears strain the marriage and lead Alan to mistrust his wife and begin to delve into her past. Based on the novel by Richard Adams, the film is not entirely successful due to the leisurely direction of Gordon Hessler and the lack of pace needed to create genuine suspense. But despite this flaw, the sensitive performance of Meg Tilly makes the film well worth watching and is a haunting psychological exploration of obsession, passion and guilt. ~ Linda Rasmussen, All Movie Guide

Director James Ivory brings his subdued, "Masterpiece Theater" style to a forbidden subject -- homosexual love. Maurice is based on E.M. Forster's suppressed 1914 novel that was held back from publication until after his death. The film takes place at Cambridge, before World War I, when homosexuality was outlawed in Great Britain. Clive (Hugh Grant), an aristocratic Englishman with a life of privilege, suddenly shocks his close friend Maurice (James Wilby) by declaring his love for him. Maurice is initially stunned by the pronouncement, but in the end finds himself giving Clive a passionate kiss and telling him that he loves him as well. Clive, in the stiff-upper-lip British manner, considers their love to be more of an intellectual concept, but Maurice becomes passionate about the affair. Clive, afraid of being exposed as a homosexual, backs off and breaks up with Maurice for marriage, family, and politics. Maurice is crestfallen, but then he has a passionate affair with Clive's gamekeeper, Scudder (Rupert Graves), and Maurice and Scudder decide to risk their reputations by openly living together as lovers. ~ Paul Brenner, All Movie Guide

Victor Banerjee, the India-born star of David Lean's A Passage to India, is the central figure of director Ronald L. Neame's Foreign Body. Jobless in Calcutta, Banerjee steals money from his own father to afford passage to Britain. There he makes contact with his cousin Warren Mitchell, who arranges for Banerjee to get a job as a bus conductor. But when he begins to ardently pursue a lovely young white woman, Banerjee loses his job at the behest of the girl's influential father. His luck changes radically when Banerjee administers mouth-to-mouth resuscitation on a bus accident victim, whereupon he is mistaken for a doctor by friendly model Amanda Donohoe (probably the nicest she's ever been on film). Donohoe talks up the skills of this "new Indian doctor", and before he knows what has hit him, Banerjee is head physician to the Prime Minister of England--with virtually every woman in the land vying for his services in bed! Never letting on where it is heading next, Foreign Body is adapted from an equally tricky novel by Roderick Mann. ~ Hal Erickson, All Movie Guide

John Cleese's knack for mining hilarity from the growing frustration of a dignified gentleman is fully exploited in the British comedy Clockwise. Cleese portrays Brian Stimpson, a perfectionist English headmaster who has been selected to make an important presentation before a group of his peers. When Stimpson sets out upon his journey, however, he finds himself facing a seemingly never-ending series of delays and inconveniences, which range from missing a train to becoming a fugitive from the police. The film goes no deeper than its farcical surface, but is nevertheless consistently entertaining, thanks to former Monty Python member Cleese's precisely tuned transitions from composure to complete collapse. ~ Judd Blaise, All Movie Guide

Based upon the play by August Strindberg, Miss Julie is concerned with the torturous relationship between the aristocratic title character and Jean (Donal McCann), a mere servant of her father's house. As the play opens, most of the servants are outside celebrating midsummer's eve with dancing, singing, and laughter. Christine (Heather Canning), a cook, is waiting for Jean to arrive so that they may join the revelers, but the imperious Miss Julie (Helen Mirren) comes between them and uses her power and status to change their plans. Julie delights in humiliating Jean, treating him with disdain and mocking his dreams; she even goes so far as ask that he kiss her shoe. Because she is technically his employer, Jean cannot directly express his anger, but he does begin playing a manipulative game of his own that results in an exchange of secrets. They disappear into a secluded room of the house, and when they re-emerge, Jean has gained the upper hand, and they find themselves in an untenable situation which they must still somehow resolve. ~ Craig Butler, All Movie Guide

In the conclusion of the six-part story "The Mind of Evil," the Master (Roger Delgado) has launched a nerve-gas missile, armed with the combined negative emotions of a group of imprisoned criminal and aimed at a world peace conference. The Doctor (Jon Pertwee) hurriedly attempts to deactivate the hate-inducing weapon -- and also endeavors, yet again, to put the Master out of business once and for all. The huge sets and props utilized in this story arc pushed the otherwise parsimonious Doctor Who budget far beyond its usual boundaries. Written by Don Houghton, "The Mind of Evil, Episode 6" first aired on March 6, 1971. Originally filmed in color, this episode currently exists only in a black-and-white version. ~ Hal Erickson, All Movie Guide

In the second episode of the four-part story "The Savages," the Doctor (William Hartnell) wants to learn the secret of the "perfect" advanced civilization which has built huge walls to protect itself against a race of primitive savages. He eventually discovers that the so-called civilized inhabitants have kept themselves mentally and physically vibrant by sapping the life forces from the savages outside their gates. First telecast on June 4, 1966, "The Savages, Episode 2" was written by Stuart Black; this episode apparently no longer exists. ~ Hal Erickson, All Movie Guide