Glenda Jackson Movies

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

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

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

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

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, All Movie Guide

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