James Hayter Movies

This musical biography of Norwegian composer Edvard Grieg (Torval Maurstad) is based on the play of the same name. Living in poverty after graduating from a music conservatory, Grieg scandalizes his family by marrying his cousin Nina (Florence Henderson). Grieg has an affair with a former schoolmate, Therese Berg (Christina Schollin), a wealthy woman who makes a deal with her influential father to end the romance if he'll arrange a concert for Grieg in Stockholm. Grieg eventually travels to Rome, where his significance as an artist begins to find appreciation. His association with Therese is not really finished and Grieg's humble piano, a gift from the self-sacrificing Nina, is overshadowed by Therese's gift of a grand piano. Back to back with the subsequent and equally unsuccessful The Great Waltz (1972), the last two films of writer, producer, and director Andrew Stone ended his nearly 50 year career. ~ Karl Williams, Rovi

After a plowboy accidentally unearths the skeletal remains of a demonic creature, a cult of teenage devil-worshippers emerges in a 17th-century Cornwall farming community, led by the gorgeous temptress Angel (Linda Hayden, who positively smolders). Together, the children begin performing blood sacrifices in order to bring the skeletal demon back to life. The film eventually steers into witch-hunt territory -- in the vein of Michael Reeves' Witchfinder General -- as the superstitious locals use inquisition-style practices to put a stop to Hayden's cult. This lush, moody horror piece is superbly written, though the plot becomes a bit dense at times; the film was originally intended as a three-part series, but was eventually edited down to one feature. Still, Piers Haggard's assured direction keeps the threads together and provides just enough shock value to keep viewers on their toes. Watch for Peter Ustinov's daughter Tamara as one of the children. The Blood on Satan's Claw was also released as Satan's Claw and Satan's Skin. ~ Cavett Binion, Rovi

Roger Corman's New World Pictures took a stab at the tale of the nefarious real-life graverobbers -- and filled it with the studio's usual quota of nudity, softcore sex and tacky humor. The result is pretty much as one would expect -- nothing to rival the excellent Flesh and the Fiends, or even Tod Slaughter's campy The Greed of William Hart. Harry Andrews plays the unscrupulous Dr. Knox, who enlists the aid of grave-plundering dirtbags Derren Nesbitt and Glynn Edwards in obtaining fresh cadavers for the medical academy. When the demand increases and local cemeteries begin to run dry, the industrious pair turn to the living to keep the doctor supplied. This time out, Burke and Hare are particularly randy fellows, who spend more time carousing in Edinburgh whorehouses than stalking their prey. Despite the macabre subject matter, the producers opted for sexploitation over gruesome horror, but the end result is decidedly dull. ~ Cavett Binion, Rovi

This is not the same kind of film as the 1962 production, Tom Jones. In fact, it is a "nudie musical", as evidenced by the presence of singing star Georgia Brown in the dual role of Jenny Jones and Mrs. Waters. The project originated as a Las Vegas stage presentation, with Nicky Henson in the lead. The plot of the Henry Fielding novel about the "boy born to be hanged" is followed in spirit rather than to the letter, with busty Joan Collins thrown in like a lagniappe as a lady highwayman. Wandering through the proceedings are such English stalwarts as Trevor Howard and Terry-Thomas. ~ Hal Erickson, Rovi