Freddie Jones Movies

Kidnapped avoids the Hollywoodized interpolations of previous film versions of the Robert Louis Stevenson novel, choosing instead to adhere to the story as written. Scottish orphan David Balfour (Lawrence Douglas) is betrayed by his wicked uncle Ebeneezer (Donald Pleasance), who arranges for David to be kidnapped and sold into slavery so that Unk can claim his inheritance. The boy is rescued and befriended by Alan Breck (Michael Caine), a Scottish rebel fighting on behalf of his country's independence from the British (did we tell you that the film takes place during late 18th century?) Both David and Alan undergo several exhilarating adventures before Alan comes to realize that the rebellion is doomed from the start, and David foils his uncle's greedy machinations. Kidnapped was one of several "classic" adaptations released by American-International during the early 1970s, and arguably the best of the bunch (try sitting through AIP's Wuthering Heights sometime). ~ Hal Erickson, All Movie Guide

This offbeat comedy begins when Doctor Burke (Leslie Phillips) chases the beautiful Ophelia (Angela Scoular) on board an ocean liner and is trapped. He masquerades as a female photographer to avoid detection, hoping to propose marriage to Ophelia. Burke tries to avoids the suspicion of pompous Captain Spratt (Robert Morley), who plays the stuffy skipper with his usual comic flair. James Robert Justice plays the captain's blue-blooded brother Sir Lancelott Spratt. ~ Dan Pavlides, All Movie Guide

Gerald Arthur Otley (Tom Courtenay) is a British secret agent called in to investigate the murder of a suspected influence pedlar and document smuggler. He trails double agents and double martinis at a posh cocktail party before discovering the villains have the cooperation of top government officials in Parliament. Otley is pegged to masquerade as a possible defector to oust the criminal mastermind who plans to sell some stolen documents vital to national security to any enemy agent with the most money. Murder, blackmail and auto chases dominate the action as the femme fatale Imogen (Romy Schneider) first has Otley beaten up by her thugs before combining forces to go after the real villains in this confusing and sometimes funny spy yarn. ~ Dan Pavlides, All Movie Guide

The Bliss of Mrs. Blossom stars Shirley MacLaine as Harriet Blossom, the wife of a moderately successful British brassiere manufacturer Robert Blossom (Richard Attenborough). When Harriet's sewing machine breaks down, her husband decides to save a few quid by sending one of his own employees to fix it. That employee is Ambrose Tuttle (James Booth), to whom Harriet takes such a fancy that she hides him in her attic, there to make love to her whenever she is so inclined. Her husband's "delusion" that he hears noises in his attic leads to a nervous breakdown, but the hidden Mr. Tuttle comes to the rescue by passing along stock tips which turn Mr. Blossom into a millionaire. When he finally does learn the truth, Mr. Blossom generously allows his wife and her lover to remain together -- and even presents Tuttle with his bra factory as a gift! ~ Hal Erickson, All Movie Guide

This 1967 version of Thomas Hardy's novel should have done better at the box office than it did, given the star power of Julie Christie and the visual and aural fidelity to its source material. Julie Christie plays Bathsheba Everdene, a country heiress who is loved by three different men: Terence Stamp, Peter Finch and Alan Bates. Convinced that she is the intellectual superior of all three, Bathesheba loses many early opportunities for lasting happiness. Finally shedding herself of her haughty attitude, Bathsheba unconditionally accepts the love of Bates. The euphoric exuberance of Nicolas Roeg's photography is matched by the direction of John Schlesinger and the screenplay by Frederick Raphael. Only the nittiest of nitpickers would complain that some of the medium shots don't match the closeups (watch Terence Stamp's clown makeup in one scene). ~ Hal Erickson, 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