Kenneth Haigh Movies

Based on the 1978 novel by Julian Symons, the two-part, four-hour British miniseries The Blackheath Poisonings was set during the Victorian era. When the head of a prominent household is poisoned, virtually everyone within a 50 mile radius falls under suspicion. As the plot thickens, more suspicious deaths occur, the final one proving to be a means of "escape" for the guilty party. Deftly exploring the sinister underpinnings of 19th century British gentility, The Blackheath Poisonings was broadcast by Central Television on December 7 and 9, 1992. ~ Hal Erickson, All Movie Guide

This British version of Lorna Doone is one of the more rewarding film adaptations of the venerable R. D. Blackmore novel. The plot remains as ever: Lorna (Polly Walker), a feisty 17th century Scots lass, falls in love with a much-despised landowner (Sean Bean). Lorna's father, a notorious brigand, foments a peasant rebellion against her lover. It turns out of course, that Lorna is actually a high-born heiress, kidnapped in infancy. Billie Whitelaw and Rachel Kempson costar in this made-for-television costume epic. ~ Hal Erickson, All Movie Guide

This story is about a crusading scientist out to stop nuclear testing who is motivated by scientific fact, conscience and faith. Dr. Alex Carmody (Martin Sheen) is a physicist who becomes convinced that if the U.S. and the U.S.S.R. continue to test nuclear weapons, eventually one of these tests will set off an atomic chain reaction that will obliterate the world. Carmody travels to Portugal where he tries talks to one of the women who in 1911 saw a vision of the Virgin Mary that spoke to her and her two companions about the future. Carmody is certain that the Virgin Mary predicted the very chain reaction he and his co-worker Dr. Kenneth Parrish (Peter Firth) envision. Failing in his attempt to talk to the woman, Carmody then travels to Paris and elsewhere, warning Soviet and American officials that the tests they are planning should be cancelled before they become their last. ~ Eleanor Mannikka, All Movie Guide

The Greeks laid siege to the city of Troy after Paris (David Firth) of Troy abducted the beautiful Helen (Ann Pennington) from Sparta. In the city, Troilus (Anton Lesser), brother of Paris, is courting the lovely Cressida (Suzanne Burden), who is playing hard to get so that his interest will be heightened. Outside the walls of Troy, the Greek forces are growing weary of the war. Leader Agamemnon (Vernon Dobtcheff) even finds his prize warrior Achilles (Kenneth Haigh) to be sullen about the proceedings, and is concocting a plan to promote Ajax (Anthony Pedley ) as the Greeks' greatest hero, thereby goading Achilles back into action. To this end, Ajax is chosen when the Trojans suggest a wrestling match with Hector (John Shrapnel), another brother of Paris and Troilus. Meanwhile, Troilus and Cressida consolidate their feelings for one another and spend the night together. The next day, however, Cressida's traitorous father arranges for her to be given to the Greeks in exchange for a captured Trojan. Troilus vows vengeance on Diomedes (Paul Moriarty), the Greek who seduces Cressida, and goes on a rampage in the Greek camp. The fighting spreads, with Hector killing Patroclus (Simon Cutter), beloved of Achilles, and Hector viciously slain in turn by Achilles. The film ends with the war far from over, and Troilus bemoaning the meaninglessness of love and life. ~ Craig Butler, All Movie Guide

Joan Collins stars as Fontaine Khaled in this sleek and sleazy sequel to her sister Jackie Collins's The Stud. Fontaine is the owner of a high class London nightclub, but after having an extramarital affair, her marriage falls apart and she stands to lose her nightclub. As a result, she hits the jet-set circuit, plying her allure for erotic dividends. She also involves herself in smuggling and in rigged horse races, trying any means necessary to obtain the funding to rescue her beloved nightclub from foreclosure. ~ Paul Brenner, All Movie Guide

Though the story told in Robin and Marian is unfamiliar to most audiences, it is actually quite faithful to several of the ancient Robin Hood legends. During the Crusades, Robin (Sean Connery) is still loyal to King Richard the Lionheart (Richard Harris), but even he has trouble adjusting to the monarch's ever-increasing paranoia and lunacy. After Richard's death, Robin returns to England, his first visit to his home turf in 20 years. He looks up his beloved Maid Marian (Audrey Hepburn, last seen in 1967's Wait Until Dark), who is now a middle-aged nun. No sooner do Robin and Marian renew their relationship than the aging Merry Men demand Robin's services in thwarting their old foe, the Sheriff of Nottingham (Robert Shaw). Marian is aghast that the long-standing feud between Robin and the sheriff threatens to expand into wholesale bloodshed. The two venerable enemies agree to one last mano a mano battle -- only to watch helplessly as the all-out war they'd tried to avoid commences anyway. Both the tragic climax and Robin's last, defiant arrow shot are drawn directly from authentic Robin Hood ballads of the 14th and 15th centuries. ~ Hal Erickson, All Movie Guide

Television veteran Fielder Cook brings a TV-like intimacy to his direction of Eagle in a Cage. This underrated film stars Kenneth Haigh as Napoleon Bonaparte, in his years of exile on St. Helena. The story is told from the point of view of the island's governor (John Gielgud), a former schoolteacher who finds greatness thrust upon him upon becoming Napoleon's jailer. By necessity, the emphasis is on conversation rather than action, but it holds the ear throughout. Eagle in a Cage is one of a handful of theatrical films released by the American broadcasting firm of Group W. ~ Hal Erickson, All Movie Guide

John LeCarre's Call for the Dead was the basis for this gloomy, complex spy story. James Mason plays a British secret agent puzzled by the sudden suicide of Foreign Office higher-up Robert Flemyng. Mason had worked on Flemyng's security clearance himself, and can't fathom what personality quirk he might have missed. The agent suspects that the dead man's wife (Simone Signoret), a concentration camp survivor, may hold the answer to Flemyng's despair, but the Foreign Office wants Mason to drop the case. Mason hires retiring Inspector Harry Andrews to do some private detective work. What Mason and Andrews find out is more insidious than they've imagined; worse, Mason is saddled with a new dilemma--his wife (Harriet Andersson) has been unfaithful with a colleague (Maximillian Schell). ~ Hal Erickson, All Movie Guide

During the first worldwide flush of Beatlemania in 1964, United Artists wanted to ship out a movie with The Beatles before their vogue was over. Working within a tight $500,000 budget, director Richard Lester turned out A Hard Day's Night in a fast 6 1/2 weeks; the picture was in the theatres three months after shooting commenced. Using a variety of techniques cribbed from Hollywood slapstick comedies, the French "new wave" movement, and his own experiences as a TV-commercial director, Lester, with screenwriter Alun Owen, fashioned an exhilarating study of a "typical" 36 hours in the lives of the Fab Four. Onto a plot about getting to the Big Show on time are hung a series of instant-reaction gags, character vignettes, and musical setpieces. Much of the humor arises from Paul McCartney's efforts to keep his grandfather (Wilfred Brambell), a "clean old man," from getting into mischief. Also good for several laughs is the hookey-playing Ringo Starr, whose mistimed declaration of independence lands him in jail. We are also treated to a war of nerves between the unflappable John Lennon and an uptight TV director (Victor Spinelli), who worries that, should the Beatles not show up at broadcast time, he'll be demoted to "News In Welsh." George Harrison stars in a sequence in which he is mistaken for an auditionee by the producer (Kenneth Haigh) of a superficially trendy, teen-oriented TV weekly. Then there's Norman Rossington and John Junkin as The Beatles' managers, who carry on a battle royale simply because one man is taller than the other. The supporting cast includes comedienne Anna Quayle, cartoonist Bob Godfrey, TV host Robin Ray, dancer Lionel Blair, Harrison's future wife Patti Boyd, and director Lester himself. The songs include "I Should Have Known Better," "And I Love Her," "Tell Me Why," "If I Fell," "Can't Buy Me Love," and the title song. ~ Hal Erickson, All Movie Guide

Richard Matheson's first full-fledged Twilight Zone script was written for this February 5, 1960, episode. Kenneth Haigh stars as Flight Lt. Decker, a WWI British flying ace who passes through a queer-looking cloud in 1917 -- and ends up on an American Air base in the year 1960. Naturally, no one believes Decker's wild story, but General Harper (Alexander Scourby) and Major Wilson (Simon Scott) are in for quite a jolt when elderly British Air Marshal McKaye (Robert Warwick) pays a visit. The stunt flying sequences were handled by Frank Gifford Tallman. "The Last Flight" received the ultimate accolade when excerpts were included in the Twilight Zone advertisements shown on local CBS affiliates in early 1960. ~ Hal Erickson, All Movie Guide

One of the true classics of suspense fiction, Rupert Croft-Cooke's short story Banquo's Chair had been adapted for radio and television innumerable times before it was given the Alfred Hitchcock touch in this unforgettable episode. John Williams plays Scotland Yard inspector Brent, who is determined to prove that John Bedford (Kenneth Haigh) is the murderer of one Miss Ferguson. Unfortunately, every effort to break Bedford down has failed, forcing Brent to take drastic measures. Hiring an actress (Hilda Plowright) who looks just like the late Miss Ferguson, the inspector stages a scene whereby the smug Bedford will be confronted by the "ghost" of his victim -- and will thus be so unnerved that he will confess on the spot. Needless to say, the scheme doesn't quite yield the results that Inspector Brent had expected. ~ Hal Erickson, All Movie Guide

After an extensive talent search, producer-director Otto Preminger selected a 17-year-old unknown from Iowa, Jean Seberg, to play Joan of Arc, a role traditionally portrayed by actresses twice to three times Seberg's age. Seberg is cast opposite such venerable pros as Richard Todd (as Dunois), Anton Walbrook (the Bishop of Beauvais), John Gielgud (Earl of Warwick) and Felix Aylmer (The Inquisitor). Cast as the vacillating Dauphin is Richard Widmark. Graham Greene's screenplay refashions the original Shaw text in the form of a flashback. Seberg eventually became an accomplished actress by virtue of her appearances in such nouvelle vague films as Breathless, but it was too late to salvage Saint Joan, which was figuratively burned at the stake by critics and filmgoers alike. ~ Hal Erickson, All Movie Guide

What was the lady-like Dame Anna Neagle doing in something called Bad Girl -- or, as it was renamed in certain regions, Teenage Bad Girl? In point of fact, the film was originally and more tastefully titled My Teenage Daughter when Neagle signed on. Neagle plays Valerie Carr, the editor of a fiction magazine aimed at the youth market. Though she considers herself "hep" to the world of the young, she has no concept of what her own teenaged daughter, Janet (Sylvia Syms), is all about. When Janet falls into bad company, her mother does what she can to help. But Janet won't pay Mom any heed until her shenanigans land her in jail. Not at all exploitational, Bad Girl is constructed more along the lines of a 1940s "woman's picture" -- tears, renunciations, reconciliations. The film was produced and directed by Neagle's husband, Herbert Wilcox. ~ Hal Erickson, All Movie Guide