Glenda Jackson Movies

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, All Movie Guide

Subtitled A Film About London, this drama is a quintessential experimental counter-culture film of the late 1960s that centers on the questions raised by the Vietnam war. Renowned Shakespearean theater director Peter Brook serves as producer and director. It includes many members of the Royal Shakespeare Company, such as London actors Mark Jones, Robert Lloyd), and Pauline Munro, who essentially play themselves. They become obsessed with a photograph of a wounded Vietnamese child and begin discussing the war with their friends and fellow actors. They attend a series of lectures and teach-ins, discussing the issues of the day with a number of activists, including the American Black Panther leader Stokely Carmichael. The discussions are combined with newsreel footage in a bizarre collage of images. Moved to do something, the group of actors puts on a series of skits about the war. ~ Michael Betzold, All Movie Guide

Women in Love is set in 1920s England, where free-spirited artist Gudrun (Glenda Jackson) and her schoolteacher sister Ursula (Jennie Linden) make the acquaintance of lifelong friends Gerald (Oliver Reed) and Rupert (Alan Bates). The foursome attends a picnic in honor of a pair of newlyweds, who put a damper on the proceedings (literally!) by drowning in a nearby lake. Evidently unscathed by this tragedy, Gerald and Rupert participate in a nude wrestling match later that evening (this was the sequence that got the most press, thanks to fleeting glimpses of the male stars' privates). Gerald marries Gudrun, Rupert weds Ursula, and the foursome embarks upon a Swiss honeymoon. The holiday is marred by infidelity and sudden death, leaving Rupert to wonder aloud just what it is that makes men and women "tick." An Academy Award went to Glenda Jackson, while nominations were bestowed upon screenwriter Larry Kramer and cinematographer Billy Williams (who received an uncredited assist from director Ken Russell). ~ Hal Erickson, All Movie Guide

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, All Movie Guide

Vanessa Redgrave stars as Mary Stuart of Scotland, with Glenda Jackson co-starring as Queen Elizabeth I. As with the earlier Maxwell Anderson play Mary of Scotland, the film sympathizes with Mary, and there are two fictionalized face-to-face confrontations between the two queens (who never met in real life). With this film, old-line Hollywood producer Hal Wallis continued his trademark of showcasing dynamic stars within a period milieu; the film is literally swamped with lavish Tudor decor. ~ Hal Erickson, All Movie Guide

Based on a play by Terence Rattigan, The Nelson Affair recounts an infamous 18th century British scandal in slow-paced, talk-heavy fashion. Lord Nelson (Peter Finch) returns from battling Napoleon's navy and takes some well-deserved leave. He immediately picks up where he left off with Lady Hamilton (Glenda Jackson), blatantly carrying on their affair in public view of his family and beleagured wife (Margaret Leighton). Hamilton herself is under strain due to her advancing age and Nelson's unflagging need to return to sea. The picture plays more like a filmed theater piece than an epic historical romance (the famous Battle Of Trafalgar was filmed indoors and utilized stock footage), but Finch and Jackson turn in their usual excellent performances. ~ Don Kaye, All Movie Guide

Set in England during WWII, this drama, also known as Soldiers in Skirts, stars Glenda Jackson as Alice, a bitter woman whose husband is captured and held as a Japanese prisoner of war. When a wandering soldier, Barton (Brian Deacon), comes by her farm, she invites him in for tea. They fall in love. In order to remain in the town with Alice and escape the military police who are looking for deserters, Barton disguises himself as a woman. A sergeant (Oliver Reed), who commands a tank unit, comes to town and makes advances toward Barton, whom he thinks is a woman. ~ Michael Betzold, All Movie Guide

Hedda is a tasteful, literate cinematic translation of the Royal Shakespeare Company's production of Henrik Ibsen's Hedda Gabler. Glenda Jackson plays Hedda, the restless, free-spirited daughter of a Norwegian military officer. Hedda is married to George Tesman (Timothy West), a dull professor whom she does not love. Bored with her lot, Hedda begins playing with the life of the trusting Thea Elvstead (Jennie Linden) and pushes her former love, the poetic Eilert Lovborg (Patrick Stewart), into attempting suicide. Hedda's machinations come to naught when she is threatened with exposure by the lascivious Judge Brack (Peter Eyre); the judge agrees to keep mum if Hedda will become his mistress. ~ Hal Erickson, All Movie Guide

Directed by Christopher Miles, The Maids is a 1974 film version of the play by French absurdist writer Jean Genet. Solange (Glenda Jackson) and Claire (Susannah York) are two sisters who work as servants for a strict Madame (Vivian Merchant). When Madame and Monsieur (Mark Burns) leave the house, the two women enact dramatic role playing games. To get out their sexual frustrations against their boss and each other, they alternate the parts of master and servant. They both love and hate the Madame passionately enough to plot her murder. During a particularly intense game of play, Claire accidentally drinks the poison that was meant for the Madame. The Maids is part of producer Ely Landau's American Film Theatre Series, which ran in select theaters from 1973-1975. In 2003, all 14 films in the series were given a wide release on home video from Kino International. ~ Andrea LeVasseur, All Movie Guide

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, All Movie Guide

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, All Movie Guide

Robert Altman, the director responsible for M*A*S*H, came up with another acronymic title for his 1979 comedy H.E.A.L.T.H The letter stand for Happiness, Energy And Longevity Through Health--the name given a health-food convention at a Florida luxury hotel. In the tradition of his earlier Nashville and A Wedding, Altman utilizes the hotel as a gathering place for numerous interrelated, interconnecting plot threads. The unifying theme is a satire of corrupt politics, a la Watergate. Playing the unflappable hotel manager, Alfre Woodard stands out in a stellar cast including Carol Burnett, Glenda Jackson, James Garner, Lauren Bacall, Henry Gibson, Dick Cavett, and Paul Dooley (who cowrote the screenplay with Altman and Frank Barhydt). By rights, H.E.A.L.T.H should have been a real crowd pleaser, but the film's preview went so poorly that its release was held up for nearly a year. Virtually thrown away by 20th Century-Fox, H.E.A.L.T.H has appeared recently on The Fox Movie Channel, but never received a commercial video release, which hasn't helped it it attain a following. ~ Hal Erickson, All Movie Guide

Walter Matthau plays a CIA agent who's been confined by office politics to a desk job. The disgruntled Matthau quits the service and heads to Europe, where he links up with former lover (an fellow ex-agent) Glenda Jackson. All goes smoothly until Matthau acts on the advice of yet another retired agent, Russian Herbert Lom, who suggests that Matthau write a tell-all autobiography. Spitefully, Matthau sends out copies of his first chapter to the heads of the CIA agencies throughout the world--and from that point on, he and Jackson don't have a moment's peace. This delights Matthau: now that all of his former colleagues are chasing after him, he has a reason to get up in the morning. As written by Brian Garfield, Hopscotch was a conventionally serious espionage novel. As adapted for the big screen by Garfield and Bryan Forbes, Hopscotch is a lively exercise in cloak-and-dagger comedy, even when the pursuit of Matthau turns deadly towards the end. ~ Hal Erickson, All Movie Guide