James Hayter Movies

Future Connecticut governor John Lodge stars in the British crime drama Sensation. Lodge plays a hotshot reporter who devotion to his job is messing up his private life. Despite warnings from his girl friend that she'll walk out if he follows up one more hot scoop, Lodge tries to flush out the murderer of a waitress. A packet of incriminating love letters is the "maguffin" in this one. Based on a play by Basil Dean and George Munro, Sensation packs an awful lot of story in its 54 minutes. ~ Hal Erickson, Rovi

In this drama, set in 1842 England, an independent young woman living with a minister and his wife defies them and goes against their wishes to see Queen Victoria in Edinburgh. While there, she falls in love with a lieutenant and finds her real mother, an actress. With the latter encounter, the woman is really surprised as her guardians had told her that her mother had died when she was quite young. ~ Sandra Brennan, Rovi

Originally released in England in 1938 as Murder in Soho, this moody melodrama was advertised in America as "The rapid-fire story of an underworld mobster with a social bee in his bonnet and a rod on his hip"(Whew!) The mobster in question is Steve Marco, played with appropriate sneering menace by Jack LaRue. Booted out of Chicago by the feds, Marco sets up a respectable nightclub in London as a front for his many criminal activities. When a murder is committed in the club and the body deposited in the street, Scotland Yard inspector Hammond (Martin Walker) suspects that Marco is responsible. With Hammond's unofficial blessing, nightclub hostess Ruby Lane (Sandra Storme), the dead man's widow, and inquiring reporter Roy Barnes (played by Bernard Lee, later to gain worldwide fame as "M" in the James Bond series) go undercover to get the goods on the social-climbing mobster. Though Murder in the Night could have gotten by on its own merits, the bravura performance of Jack LaRue truly "makes" the film. ~ Hal Erickson, Rovi

In this WW II comedy, three British sailors get roaring drunk in a South American port, accidentally mistake a German battleship for their own and stagger aboard. Boozy mayhem ensues until the tipsy trio manages to capture the ship and its entire crew on behalf of the Royal Navy. ~ Sandra Brennan, Rovi

Though it pales in comparison to the Royal Shakespeare Company's epic staging of the original novel in the early 1980s, this compact adaptation of Dickens' Nicholas Nickleby is most entertaining on its own terms. Derek Bond plays the title character, a resourceful young Britisher forced to protect his family against the demonic machinations of his wicked Uncle Ralph (Cedric Hardwicke at his most odious). Cast out into the cold cruel world, Nicholas Nickleby deals adroitly with friend and foe alike, eventually coming full circle to mete out just desserts to his unspeakable uncle. With only 108 minutes' running time at his disposal, screenwriter John Dighton (later a mainstay of the Ealing Comedies) was forced to eliminate several of the novel's 52 highly distinctive characters and intricate subplots. There is evidence that there was even more cutting after the film was completed; for example, the tatty touring theatrical troupe managed by the delightfully pompous Vincent Crummles (Stanley Holloway) appears only in a series of abrupt vignettes, while Crummles himself is confined to a mere handful of lines and gestures. Still, many of Dickens' colorful characters are vividly realized, especially the unfortunate, mentally challenged Smike (Aubrey Woods). When released in America, Nicholas Nickleby was pared down to 95 minutes, with surprisingly little damage to the continuity. ~ Hal Erickson, Rovi

In this costume drama, a woman finds herself the prize in a battle between two jealous brothers. Eventually she marries the suave one, but finds that he is most displeased by her inability to behave in a matter he deems appropriate for a woman of her station. The sad wife takes her troubles to the other brother who suggests she divorce her husband and take up with him. She ignores the advice and reconciles with her man. The angered brother then poisons the husband and tries to get the wife blamed for the death. ~ Sandra Brennan, Rovi

Firmly in the fantasy groove previously plowed by such films as The Canterville Ghost and The Time of Their Lives is the 1947 British comedy The Ghosts of Berkeley Square. Robert Morley and Felix Aylmer play a pair of fatuous Colonel Blimp military types, whose efforts to shorten the war results only in getting the both of them killed. Summoned to a Heavenly court, Morley and Aylmer incur the wrath of Queen Anne. She orders them to haunt a mansion until they can prove themselves worthy of entering the Pearly Gates. For a film that practically no one has ever heard of, Ghosts of Berkeley Square is an embarrassment of riches in the casting department: among the British favorites appearing in the film are Martita Hunt, A.E. Mathews, James Hayter, Ernst Thesiger, and Wilfred Hyde-White. The film was based on the novel No Nightingales by Caryl Brahms and S.J. Simon. ~ Hal Erickson, Rovi

Based on the play by Joan Temple, No Room at the Inn takes place in the early stages of WW2, when the children of London were evacuated to the Country. A group of these youthful refugees are taken in by Mrs. Voray (Freda Jackson), who already has several orphans in her charge. Outwardly the soul of Christian charity, Mrs. Voray is actually a drunken harridan who treats the children like her own personal slaves. It is said that when the villainess received her comeuppance, movie audiences were known to stand up and cheer. The most intriguing aspect of this melodramatic exercise is that the screenplay was written by legendary Welsh poet Dylan Thomas! ~ Hal Erickson, Rovi

Adapted from the Graham Greene story The Basement Room, director Carol Reed's The Fallen Idol is told almost completely from a child's eye view-but it isn't a children's story. Young Bobby Henrey idolizes household butler Ralph Richardson. Therefore, when it seems as though Richardson might be implicated in a murder, Bobby does his best to throw the police off the track. The boy succeeds only in casting even more suspicion upon Richardson. As the story progresses, Henrey's hero worship is eroded by Richardson's shifty behavior, and even more so when the boy discovers that the butler's boasts of previous heroism are just so much hot air. The ending of the film differs radically from Greene's story. While it would seem that director Reed was merely paying homage to the "happy ending" philosophy (hardly likely, given the doleful climaxes of such films as Odd Man Out and The Third Man), the director had very solid reasons for altering the story: he was more fascinated by the concept of the boy's imagination nearly sending his idol to the gallows, rather than having the butler entrapped by facts. And though the ending is happy for the boy, the butler's fate is much more nebulous. ~ Hal Erickson, Rovi

Future Hammer horror director Terence Fisher filmed this lackluster wartime romance. Derek Wardwell (Shaun Noble) is struck with amnesia, and the last thing he remembers is the beautiful voice of opera singer Helen Maxwell (Evelyn Maccabe). When he regains consciousness, Wardwell thinks he's in love with her. After his amnesia is cured, Wardwell returns to his fiancee while Helen begins a romance with his doctor. Ralph Michael and Christopher Lee co-star in this sappy soap-opera. ~ Robert Firsching, Rovi

The fourth directorial effort of actor Robert Montgomery, Eye Witness was lensed on location in England. Montgomery plays an American attorney whose British pal (Michael Ripper) has been accused of murder. Ripper insists that he spent the evening of the crime with a woman, who has seemingly disappeared from the face of the earth. Montgomery dedicates himself to locating the missing witness before sentence can be pronounced. A compact courtroom drama highlighted by unexpected moments of humor, Eye Witness was released in some areas as Your Witness. ~ Hal Erickson, Rovi

Norman Wooland, who in 1948 made an excellent impression as Horatio in Olivier's Hamlet, is awarded top billing in the 1949 British comedy All Over the Town. A gentle satire of provincial politics, the film stars Wooland as ex-soldier Nat Hearn, who returns to his newspaper job after the war. Upset that the paper compromises its journalistic integrity to satisfy local businessmen, Nat takes over the publication and radically alters its editorial policy. This brings him into conflict with the regional political bigwigs, and also puts a strain on his romance with Sally Thorpe (Dinah Churchill). Director Michael S. Gordon co-adapted the screenplay from a stage comedy by R. F. Delderfield. ~ Hal Erickson, Rovi

In this drama, a frustrated upper-class writer decides that he will find real inspiration by examining his subjects first-hand. This leads him to begin wandering about the seamiest side of town where he witnesses a murder. When an innocent man is arrested, the writer refuses to assist him as the knowledge that he has been "slumming" could destroy his career. The young man is sentenced to 15 years in prison. Upon his release, he hears his own story in a radio drama written by the author. This enables the ex-con to get the necessary evidence to clear his name. ~ Sandra Brennan, Rovi