Glenda Jackson Movies

A murder investigation at a cloistered boy's school is the subject of this British made-for-television adaptation of John Le Carre's novel. Le Carre's famous detective-hero George Smiley (Denholm Elliott) returns from retirement to look for answers in a mysterious murder at a boarding school, where secret societies, rituals and abuse are the norm. ~ Bernadette McCallion, Rovi

The made-for-TV Sakharov stars Jason Robards as famed Soviet nuclear physicist D. Andrei Sakharov. Lauded by his government for his scientific achievements, Sakharov nonetheless becomes an outspoken critic of Russia's human rights violations. He is reclassified as a "non-person" and exiled to the cloistered city of Gorky. He is also awarded the 1975 Nobel Peace Prize. Originally slated for a September 1984 premiere, Sakharov debuted over the HBO cable service on June 20. This coincided with Sakharov's internationally publicized hunger strike, designed to secure much-needed medical attention outside the Soviet Union for his second wife, Dr. Yelena Bonner (played in the film by Glenda Jackson). Sakharov was filmed in England and Austria with two separate crews. ~ Hal Erickson, Rovi

Comparatively unknown, the British And Nothing But the Truth is a blistering indictment of government-sanctioned corruption, as well as the "facts of life" of the television industry. Filmmaker Glenda Jackson and reporter Jon Finch head to South Wales, where a farm family has taken on the local village government. Accusations have been raised that a powerful corporation has (within legal limits) bribed the village to permit encroachment upon local farm land. In pursuit of the truth, Jackson and Finch are subjected to character assassination and overt threats. Only gradually do they discover that their own bosses are also on the take. And Nothing But the Truth was originally titled Giro City. ~ Hal Erickson, Rovi

An all-star female cast (Glenda Jackson, Melina Mecouri, Geraldine Page, Sandy Dennis, Anne Jackson, Anne Meara, and Dame Edith Evans) enliven this satirical treatment of the Nixon Watergate scandal, Nasty Habits -- based on Muriel Sparks's novella The Abbess of Crewe. When a dying abbess (Dame Edith Evans) of a Pennsylvania convent is ready to name Sister Alexandra (Glenda Jackson) as her successor, Sister Alexandra and her two flunkies (Sandy Dennis and Anne Jackson) try to get the abbess to sign a document of intent. But their plans are dashed when liberal Sister Felicity (Susan Penhaligon) arrives and wants to change the institution. Her arrival delays the signing of the document of intent, and before the abbess can sign the paper she dies.Now the job of running the convent is up for grabs, with Sister Alexandra employing Nixon-like techniques of surveillance and dirty tricks to get the goods on Sister Felicity. ~ Paul Brenner, Rovi

In this psychological melodrama, a nun becomes obsessed with purifying the souls of those dwelling in her hostel-convent. The guests, who inevitably become entangled with one another, include, a reproachable Polish priest and Nazi collaborator, a murderous widow, and a reporter who has come to do a story on the priest. Tragedy ensues and moral corruption abounds until the end, when they realize that the nun was right all along. ~ Sandra Brennan, Rovi

Political, romantic, and religious intrigue confront Elizabeth Tudor (1533-1603) in this acclaimed six-part television series chronicling her early life as a princess and her reign as queen of England (1558-1603). While still a princess, Elizabeth (Glenda Jackson) exonerates herself from a plot to kidnap young Edward VI (Jason Kemp). Then, after Edward dies, Elizabeth's sister, Mary (Caroline Harris), assumes the throne and imposes Catholicism on her subjects, but Elizabeth refuses to disavow her Protestantism. After Mary announces plans to wed the Catholic king of Spain, the people rise up in favor of Elizabeth, but Mary imprisons her in the Tower of London. Happily for Elizabeth, Mary dies without an heir, and Elizabeth becomes queen. Although urged to marry, Elizabeth stalls, content to maintain a relationship with Robert Dudley (Robert Hardy), Master of the Horse, whom Elizabeth makes Earl of Leicester. Then Mary Queen of Scots (Vivian Pickles) claims the English throne, and Elizabeth tries to pacify her in an unsuccessful attempt to marry her to Dudley. Meanwhile, the French -- battlefield rivals of the Spaniards -- propose an alliance with England and urge Elizabeth to marry the French king's brother, the Duc d'Alençon (Michael Williams), a Catholic. Though officials draw up a marriage contract, Elizabeth ignores it. By this time, Mary Queen of Scots is in prison, and Protestant agents implicate her in a trumped-up plot against Elizabeth. Elizabeth orders her execution. The angry Spanish then attack with their mighty Armada, but the English defeat them and strengthen Elizabeth's hold on power. In the later years of her reign, Elizabeth attempts to appease an unruly court favorite, the Earl of Essex, with special appointments, but he eventually turns against her and leads an uprising against the crown two years before the queen's death. ~ Mike Cummings, Rovi

An unmarried London couple tries to interject some life into their romantic pursuits in this uneven mystery. Theo (Peter McEnery) and Vivien (Glenda Jackson) take over the used furniture store owned by Theo's father, who is dying of cancer. Reingard (Diane Cliento) is the German neighbor who produces a photograph of World War I flying ace the Red Baron, who bears an uncanny resemblance to Theo. The couple then takes delight in enacting elaborate fantasies in which Theo is first the notorious turn-of-the century killer, Dr. Crippen and then the Red Baron. Things take a deadly turn when the couple invite a photographer in to film them. Theo goes so far as to buy a vintage airplane to put on the roof of his home. Vivien wishes to participate in the fantasy, but Theo becomes violent. ~ Dan Pavlides, Rovi

Adapted from his own Royal Shakespeare Company production of Peter Weiss' play entitled The Persecution and Assassination of Jean-Paul Marat as Performed by the Inmates at Charenton Under the Direction of the Marquis de Sade, Peter Brook directs this fascinating look into revolution, power, and human frailty. During the 19th century, fashionable theatergoers would attend ostensibly therapeutic stage performances by mental asylum inmates. The film opens on July 19, 1809, with Monsieur Coubnier (Clifford Rose), the officious head of the Charenton asylum, introducing that night's show -- a drama about the assassination of French Revolutionary War firebrand Jean-Paul Marat, written by that institution's most notorious resident, the Marquis de Sade (Patrick Magee). The play begins conventionally enough , considering that the lead actress (Glenda Jackson) is a narcoleptic, the actor playing Marat (Ian Richardson) is a paranoiac, and another actor, a sex maniac with very pressing urges, is kept in chains. But the work soon evolves into a dialogue between Marat and De Sade. Though both men were early supporters of the Revolution, their ideas of the shape of the movement took very different courses. Espousing a form of proto-Marxism, Marat is at first presented as the sort of tyrannical idealist that became depressingly familiar in the 20th century, a la Lenin and Pol Pot. But then later, Marat seems haunted by the terror he has unleashed and unable to understand where he went wrong. De Sade, on the other hand, preached his own unusual brand of Nietzschean existentialism. Unlike Marat, he not only recognizes the inherent weakness of the human character, but he revels in it. Murder as an act of individual passion should be celebrated, De Sade at first argues; murder as an anonymous act of statecraft should be deplored. The individual is not given meaning though politics but through acts of spontaneous passion and desire. As the play progresses, the revolution depicted in the play soon develops into an outright revolution on the stage. ~ Jonathan Crow, Rovi

Ken Russell's adaptation of Oscar Wilde's Salome, Salome's Last Dance takes the form of a play within a film. Wilde (Nickolas Grace) arrives at a brothel with his lover, Bosey (aka Lord Alfred Douglas played by Douglas Hodge), where the proprietor, Alfred (Stratford Johns), has gathered his staff and assorted other colorful characters to mount a simple production of Wilde's new play. And so, with Alfred playing Herod, and Bosey playing John the Baptist, and with Wilde himself looking on with varying degrees of interest, the play is performed. Salome (Imogen Millais-Scott) is the daughter of Herodias (Glenda Jackson), who has abandoned her husband, since murdered, for his brother, Herod. Herod has an eye for Salome, but she mocks his interest. One evening, she hears the ranting of John the Baptist, who is Herod's prisoner, and demands that he be brought before her. She is very taken with the prophet, and attempts to seduce him while the captain of the guards, who is smitten with her, looks on. The young captain kills himself, and the prophet spurns her and is beaten. Still, she insists that she will kiss him, as he is brought away. Salome manipulates the horny Herod, who promises her anything if she will dance for him. She agrees, against the wishes of Herodias. While she performs, Wilde slips off with a young male performer, arousing Bosey's jealousy. After Salome's erotic dance (at the end of which she momentarily changes sexes), she confounds Herod by demanding the prophet's head. Russell himself has a small role in the film, as a photographer of ill repute. ~ Josh Ralske, Rovi

Based on the play by Christopher Durang, Robert Altman's Beyond Therapy is a comedy set in New York City but filmed in Paris, where Altman was living at the time. Arrogant Bruce (Jeff Goldblum) grows bored with his live-in lover, Bob (Christopher Guest), so he looks for a change by placing an ad in the personals. He meets neurotic Prudence (Julie Hagerty) at a French restaurant and they prove to be a terrible match-up. Then Bruce goes to see his therapist, Charlotte (Glenda Jackson), who has a strange disorder herself. In the same building, Prudence goes to see her own bizarre therapist, Stuart (Tom Conti), who believes in sex with his patients. Charlotte and Stuart also have an arrangement where they meet for anonymous sexual trysts. Meanwhile, Bob's mother (Genevieve Page) is worried about her son's relationship with Bruce and she interferes with everything. ~ Andrea LeVasseur, Rovi

Miss MacMichael (Glenda Jackson) is a dedicated teacher. She needs to be, because her students are delinquents who are barely one step away from prison. She has a boyfriend, Martin (Michael Murphy) who would love to take her away from the chaos and heartbreak of the classroom by marrying her, but she doesn't want to leave. Her efforts to connect with the students are hindered by the school's principal (Oliver Reed), who puts on a kindly face to outsiders but believes that totalitarian techniques are good enough for these unruly students. ~ Clarke Fountain, Rovi

This British film examines the choices individuals must make when confronted with a romantic relationship which is rewarding but does not offer them everything they want. In this sympathetic and psychologically precise drama, Alexandra Greville (Glenda Jackson), "Alex" to her friends, has a younger man as her sometime lover, the young sculptor Bob Elkin (Murray Head). Elkin is completely open about the fact that he is also the lover of her acquaintance, Dr. Daniel Hirsch (Peter Finch). These relationships continue in some kind of equilibrium until Alex and Bob agree to house-sit the children of a couple known to the three of them. In their roles, neither Head nor Finch "swished," or otherwise catered to homosexual stereotypes, and theirs was considered to be a groundbreaking, sympathetic portrayal of this kind of relationship, not condescending in any way. One highlight of the film is a scene in which Dr. Hirsch attends the Bar Mitzvah of his nephew. This critically well-received movie was unexpectedly successful at the box office. The film's director and screenwriter, as well as Jackson and Finch, were nominated for Academy Awards. ~ Clarke Fountain, Rovi