Helena Grant Movies

Set in South London, this surreal and atmospheric low-budget film takes an interesting approach to the vampire genre by focusing almost exclusively on the emotions of its tormented central character: reclusive, intellectual vampire Alex (Julian Sands). Alex chooses to prey only on criminals and street derelicts, devoting more of his time to pursue a greater hunger for books on the occult, a passion surpassed only by his tragic love for a beautiful woman whom he lost to his ancient rival, the vampire-hunting Edgar (Kenneth Cranham). Alex's past returns to haunt him in more ways than one: as he enters a tenuous relationship with a quiet, morose librarian (Suzanna Hamilton) whose sad-eyed beauty reminds him of his lost love, the still-vindictive Edgar -- now a vampire himself -- returns to settle the score by abducting her. Though leisurely paced, this seldom-seen sleeper is driven by excellent performances, gorgeous photography, and a simple but compelling script that artfully combines subtle chills with bittersweet romance (including fitting excerpts from Edgar Allan Poe's "Annabel Lee"), all draped in a fog-bound Gothic ambience of dripping candles, billowing curtains, and crumbling stone pillars. ~ Cavett Binion, All Movie Guide

More serious and less colorful than The King And I, Anna And The King Of Siam is still a well-crafted and elaborate spectacle. Leonowens (Irene Dunne) and her son travel to the tiny kingdom of Siam, where she has been hired to teach Western ways and culture to the multitudes of children sired by the King (Rex Harrison). All too soon, however, the King and Anna clash over the differences in their ways and cultures; Anna is also drawn into a palace romance between the concubine, Tuptim (Linda Darnell), and another man, which ends in tragedy. Whereas The King And I focused on the budding relationship between Anna and the King, the non-musical version is a more straightforward reading of Margaret Landon's book about the real Anna Leonowens. Harrison made his screen debut in the role, which became synonymous with Yul Brynner in the 1956 musical version. ~ Don Kaye, All Movie Guide

The Uninvited is one of the rare Hollywood ghost stories that does not cop out with a "logical" ending. In fact, the film has more in common with British ghost tales of the period, in that the characters calmly accept spectral visitations as though they were everyday occurrences. Roderick Fitzgerald (Ray Milland) and his sister, Pamela (Ruth Hussey), buy a house on the Cornish seacoast, never suspecting that it is a "bad" house, subject to haunting. Before long, Roderick and Pamela are visited by Stella Meredith (Gail Russell), whose late mother, it is said, is the house ghost. It is further supposed that the ghost means to do Stella harm. Stella's grandfather Commander Beech (Donald Crisp) is close-mouthed on the issue, but it is clear he knows something that he isn't telling. Sure enough, there is a secret to the manor: it is inhabited by not one but two ghosts, one of whom is merely trying to shield Stella from harm. Once the film's deep dark secret is revealed (courtesy of a virtuoso "mad speech" by supporting actress Cornelia Otis Skinner), Roderick is able to single-handedly exorcise the estate and claim Stella as his bride. Based on the novel by Dorothy Macardle (with a few uncredited "lifts" from Daphne du Maurier's Rebecca), The Uninvited remains one of the spookiest "old dark house" films ever made, even after years of inundation by computer-generated special effects. Less effective was the 1945 sequel, The Unseen, which starts well but degenerates into a substandard murder mystery. ~ Hal Erickson, All Movie Guide

An innocent man is drawn into a web of espionage when he unwittingly comes into possession of a crucial piece of microfilm in this shadowy, ominous film noir. Fritz Lang's adaptation of Graham Greene's novel is filled with unusual touches, beginning with the fact that protagonist Stephen Neale (Ray Milland) has just been released from a mental asylum. To celebrate his return to the real world, he visits a local carnival, only to accidentally receive a "prize" meant for a Nazi agent. When he discovers the error, he turns for help to a detective, whose investigations only make the matter more complicated. Neale soon winds up on the run from both the Nazis and the police, who mistakenly believe him guilty of murder. Lang's famous expressionistic style is somewhat muted here, but Henry Sharp's crisp black-and-white cinematography sets a suitably unsettling mood, and the twists and double-crosses of Greene's story unfold at an appropriately quick pace. While it does not reach the same level of timeless classic as Carol Reed's adaptation of Greene's The Third Man four years later, Ministry of Fear stands as a well-made, thoroughly gripping and intelligent example of film noir. ~ Judd Blaise, All Movie Guide

Previously filmed with Marion Davies in 1927, the lightweight James M. Barrie play Quality Street proved an ideal vehicle for Katharine Hepburn ten years later. The setting of the Barrie original was switched from 1805 Scotland to 1815 Regency England, to avoid a preponderance of brogues and to take advantage of the latter era's more attractive costumes. (Candid home movies taken on the set indicate that this sumptuous production might have been even more resplendent in Technicolor.) Because she's nearly 30 and still unwed, Phoebe Throssel (Hepburn) is regarded as an over-the-hill spinster. Thus, when offered the opportunity for a reunion with Captain Brown (Franchot Tone), whom she hasn't seen in years, Phoebe desperately wants to rekindle his affections. To this end, she poses as her own teenaged niece -- and pulls off the ruse beautifully. Alas, despite Katharine Hepburn's wonderful performance and George Stevens' sensitive direction, Quality Street posted a loss of 248,000 dollars, further convincing movie exhibitors that Hepburn was "box office poison." Notably, one of the supporting players is an 18-year-old Joan Fontaine, making her first appearance under her RKO Radio contract. ~ Hal Erickson, All Movie Guide

Kay Francis, Warner Bros.' resident "wronged woman," was the star of Give Me Your Heart. Francis plays a socialite whose illicit romance with married Patric Knowles results in a baby. When the father, a titled Englishman of means, declares that the child would be better off in his care, Ms. Francis suffers luxuriously in a series of fashionable evening gowns. She finds lasting happiness in the arms of attorney George Brent. Give Me Your Heart was based on Joyce Carey's stage play Sweet Aloes, and bore that title when released in Great Britain. ~ Hal Erickson, All Movie Guide