Jack Hedley Movies

A trio of agents are summoned by Interpol to trail the villain Harry Pimm (Sylvester McCoy) in this low-budget spy feature. Elliot Cromwell (Robert Ginty), Sergeant Terry O'Shea (Victoria Barrett), and Major Shan (Shakti) combine forces to track down the international crime boss ~ Dan Pavlides, Rovi

Roger Moore is back as Secret Agent 007, this time on the trail of shipwreck that holds an Automatic Targeting Attack Communicator (ATAC) for all of the British Naval submarine fleet. Along the way he teams up with the beautiful Melina, played by Carole Bouquet, a maiden out for revenge against a Cuban hitman who killed her father, the head of a British effort to salvage the ATAC. Turns out the hitman was in league with Greek businessman Aris Kristatos (Julian Glover). who's working for the Soviets to attain the Communicator. Together with a drug smuggling rival of Kristatos (played by Topol), Bond and Melina race against time before the keys to all of Britain's missles get in the wrong hands. Richard Maibaum's screenplay has very little to do with the collection of short stories that made up Ian Fleming's For Your Eyes Only, save for the plotline involving Melina's seeking vengeance for the death of her father. The direction is by John Glen, who'd previously done second unit work on other Bond films and went on to direct four more films in the franchise. For Your Eyes Only eschews the gimmickry and campiness of earlier Roger Moore efforts by concentrating instead on intrigue, save for the campy opening that sees Bond dispatch the dastardly Blofeld in a broad comedic pre-credits scene. ~ Hal Erickson, Rovi

Created by Michael J. Bird, the British drama series Who Pays the Ferryman? was set on the Mediterranean island of Crete. Jack Hedley starred as Alan Haldane, an Englishman returning to Crete after a 30-year absence. In his "search for himself," Haldane was not altogether pleased with what he found -- nor were those islanders whom he'd left behind. The first of the series' eight episodes was telecast on November 7, 1977. ~ Hal Erickson, Rovi

Ignoring the old adage "If it ain't broke, don't fix it," producer Carlo Ponti mounted a TV remake of the 1945 British masterpiece Brief Encounter. Sophia Loren (Mrs. Ponti) stars as a bored married woman who embarks upon a brief romantic fling with an equally married man (Richard Burton). Throughout their relationship, Loren and Burton are plagued by guilt; ultimately, they sacrifice their potential happiness in favor of "the right thing." John Bowne based his script on the 1936 Noel Coward playlet Still Life. ~ Hal Erickson, Rovi

This is a musical remake of the 1939 film. Arthur Chipping (Peter O'Toole) is the staid instructor at a posh school for boys where he dreams of becoming headmaster. He falls in love with Katherine (Petula Clark) and he helps the singing dance-hall girl polish her social skills. The two are married, but Katherine is killed during in an airplane crash on her way to entertain Allied troops. Arthur carries on, dedicating his life to her memory and teaching two generations of students who were lucky enough to have him for a teacher and a friend. Herbert Ross makes his directorial debut in this sentimental musical that never approached the success of the original. ~ Dan Pavlides, Rovi

Among the first of the late 60s anti-war films that reflected growing concern over the Vietnam War, How I Won the War takes a cold, dark look at the Good War, World War II. In adapting Patrick Ryan's 1963 novel, screenwriter Charles Wood and director Richard Lester offered a narrative fractured by characters making side comments to the camera, stylized cinematography, inserts of newsreel war footage, and plenty of absurdist humor and slapstick. Ernest Goodbody (Michael Crawford) is a bumbling British officer who manages to get most of his small company of musketeers killed while on a mission in North Africa to set up a cricket pitch behind enemy lines for officers of the advancing British army. The rest of the company dies in an ensuing campaign in Europe near the war's end, but all of the men continue to march along, appearing as monochromatic ghosts. (Original prints of the film intercut real battle footage tinted to match the color of the soon-to-be ghost soldier. Some prints of the film, including one shown on Turner Classic Movies, present the newsreel shots in black and white, undercutting the stylized touch.) The story is framed as a flashback, with Goodbody relating his version of events to a German officer (Karl Michael Vogler), while the real version of events, demonstrating Goodbody's ineptitude, plays out on screen. Among the supporting players are John Lennon, who had worked with Lester on A Hard Day's Night and Help; Roy Kinnear, a Lester regular, as a fat soldier who is certain his wife is cheating on him; Jack MacGowran as the troop's designated fool, and Michael Hordern as a general almost as oblivious to his suffering men as Goodbody. ~ Tom Wiener, Rovi

In this spooky horror film set in an old English village, the trouble begins when a man endeavors to dig up a cemetery containing the charred bodies of witches burned at the stake 300 years before. The warlock who looks after the family cemetery tries to stop him, but cannot. As soon as their graves are disturbed, the witches arise and strange things begin to happen to the family of the man who dug them up. Later the true culprit behind the mayhem is revealed. ~ Sandra Brennan, Rovi

Its the Cavaliers vs. the Copperheads in this costume drama set during the 17th-century British Civil War. Our sympathies are supposed to be with Oliver Cromwell's underground troops--and they are, since the arrogant Cromwell isn't around to comprise his followers' heroism. Lionel Jeffries, loyal to Cromwell, is confounded by his daughter June Thorburn's fidelity to the Throne. Oliver Reed co-stars as Jeffries' right-hand man and June's boyfriend. Crimson Blade does little to clarify the complex issues attending the war, but it delivers the goods in the action department. ~ Hal Erickson, Rovi

Author Irwin Shaw wrote the screenplay for this adaptation of two of his short stories set in Paris. Christina James (Jean Seberg) is a footloose American girl living in the City of Lights. She becomes involved with Guy (Philippe Forquet), who tells her that he's a student at the University studying engineering, but when they plan a rendezvous at a cheap hotel, he confesses to her that he's really only 16 years old. Christina breaks it off with him and goes through a series of brief and unsatisfying affairs with a variety of men until she meets Walter Beddoes (Stanley Baker), a journalist with an unfortunate appetite for alcohol. Despite the fact his work often forces him to travel abroad on a moment's notice, Christina is deeply in love with Walter, and when her father (Addison James) tries to persuade her to come back to the United States, she refuses, preferring to stay with Walter. In time, Christina realizes that Walter is away from her more often than he's with her, and when she meets John Haislip (James Leo Herlihy), an American doctor vacationing in France, she has to decide if her passion for Walter is more important than her feelings for John, who wants her to come to his home in San Francisco, where he'll always be there for her. In the French Style offered an appropriate role for actress Jean Seberg, who was born in Iowa but found most of her best film roles after she moved to France. ~ Mark Deming, Rovi

This sweeping, highly literate historical epic covers the Allies' mideastern campaign during World War I as seen through the eyes of the enigmatic T. E. Lawrence (Peter O'Toole, in the role that made him a star). After a prologue showing us Lawrence's ultimate fate, we flash back to Cairo in 1917. A bored general staffer, Lawrence talks his way into a transfer to Arabia. Once in the desert, he befriends Sherif Ali Ben El Kharish (Omar Sharif, making one of the most spectacular entrances in movie history) and draws up plans to aid the Arabs in their rebellion against the Turks. No one is ever able to discern Lawrence's motives in this matter: Prince Feisal (Alec Guinness) dismisses him as yet another "desert-loving Englishman," and his British superiors assume that he's either arrogant or mad. Using a combination of diplomacy and bribery, Lawrence unites the rival Arab factions of Feisal and Auda Abu Tayi (Anthony Quinn). After successfully completing his mission, Lawrence becomes an unwitting pawn of the Allies, as represented by Gen. Allenby (Jack Hawkins) and Dryden (Claude Rains), who decide to keep using Lawrence to secure Arab cooperation against the Imperial Powers. While on a spying mission to Deraa, Lawrence is captured and tortured by a sadistic Turkish Bey (Jose Ferrer). In the heat of the next battle, a wild-eyed Lawrence screams "No prisoners!" and fights more ruthlessly than ever. Screenwriters Robert Bolt and Michael Wilson used T. E. Lawrence's own self-published memoir The Seven Pillars of Wisdom as their principal source, although some of the characters are composites, and many of the "historical" incidents are of unconfirmed origin. Two years in the making (you can see O'Toole's weight fluctuate from scene to scene), the movie, lensed in Spain and Jordan, ended up costing a then-staggering $13 million and won seven Academy Awards, including Best Picture and Best Director. The 1962 Royal Premiere in London was virtually the last time that David Lean's director's cut was seen: 20 minutes were edited from the film's general release, and 15 more from the 1971 reissue. This abbreviated version was all that was available for public exhibition until a massive 1989 restoration, at 216 minutes that returned several of Lean's favorite scenes while removing others with which he had never been satisfied. ~ Hal Erickson, Rovi

An insurance investigator looks into the mystery surrounding the "accidental" death of a jockey. He finds that the death was actually caused by a gambling ring and is able to save the life of another jockey who has already had a couple of "accidents." ~ Steve Huey, Rovi

Terry-Thomas plays the military-officer head of an amiable gang of amateur British thieves. He is recruited for this task by wealthy dowager Athene Seyler, who merely wants to retrieve stolen minks from genuine crooks. Any profits accrued by this undertaking are to be turned over to charity. Once we're aware that everyone's heart is in the right place, we can laugh freely at the film's collection of would-be reprobates, and vicariously hold out hopes for their success. Best bit: Terry-Thomas, backed by Anton Karas' "Third Man" theme, skulking into what appears to be a waterfront dive to make contact with a "fence," only to discover that he's stumbled into a Salvation Army mission. Make Mine Mink was based on Breath of Spring, a play by Peter Coke. ~ Hal Erickson, Rovi