Robert Keegan Movies

The 16th season of Doctor Who commenced on September 2, 1978, with episode one of the four-part "The Ribos Operation." Cyril Luckham appears as the White Guardian, who orders the Doctor (Tom Baker) to restore the balance between Good and Evil. To do this, the Doctor must locate and reassemble the missing segments of the Key to Time. Not only does this introduce an epic quest that will continue throughout the season, but it also serves to provide the Doctor with an attractive new companion: Time Lady Romana, played by Mary Tamm. "The Ribos Operation, Episode 1" was written by Robert Holmes. ~ Hal Erickson, Rovi

In the third episode of the four-part story "The Ribos Operation," the Doctor (Tom Baker) has located the first missing segment of the Key to Time on the planet Ribos. Unfortunately, the planet may fall into the hands of the sinister Graff Vinda-K (Paul Seed), thanks to a pair of confidence tricksters named Garran (Iain Cuthbertson) and Unstoffe (Nigel Plaskitt). Could all this skullduggery be the handiwork of the yet-unseen Black Guardian, who is determined to prevent the reassembly of the Key -- and, by extension, the restoration of the balance between Good and Evil? Originally telecast on Septmeber 16 1978, "The Ribos Operation, Episode 3" was written by Robert Holmes. ~ Hal Erickson, Rovi

Alfred Hitchcock entered the 1970s with his commercial reputation virtually in tatters, a far cry from his stature at the start of the 1960s. Then, he'd been in the middle of the massively successful trio of movies, North by Northwest, Psycho, and The Birds, and was a ubiquitous presence on television thanks to his anthology series Alfred Hitchcock Presents -- but the series ended, and he'd suffered three expensive box-office failures in a row, Marnie, Torn Curtain, and Topaz, in the second half of the 1960s. He redeemed himself with Frenzy, however, which marked his return not only to England for the first time in 20 years but also to the subject matter with which he'd started his career in thrillers back in 1926 -- murder, and a hunt for a serial killer in London. As the latest female victim of the "Necktie Murderer" is found in the Thames, raped and strangled, we meet Richard Blaney (Jon Finch), a bitter, belligerent ex-Royal Air Force officer who can't seem to find his way in life. He drinks too much and holds grudges too easily, and has an explosive temper, which is very near the surface as he's just lost his job. We also meet his girlfriend, a barmaid (Anna Massey); his ex-wife, a professional matchmaker (Barbara Leigh-Hunt); and his best friend, Covent Garden fruit seller Bob Rusk (Barry Foster). Their connection to the necktie murders will be clear to us in the first 30 minutes of the movie and, not coincidentally, completely misinterpreted by the police, as Chief Inspector Oxford (Alec McCowan) and his men tighten a circle around the wrong man, who rapidly runs out of options and allies.

The chase and suspense are classic Hitchcock, favorably recalling a dozen of his earlier movies, from The Lodger and The 39 Steps through Saboteur and Spellbound to Dial M for Murder and North by Northwest, with some new twists and the added energy afforded by the extensive use of actual London locations. There's also a good deal more sex and nudity here than Hitchcock was ever allowed to use in his earlier movies, owing to the relaxation of "decency" standards that had taken place in the years leading up to this production. The suspense derives from multiple interlocking and overlapping layers of uncertainty -- when will each of the two men, suspect and murderer, slip? (And which will slip first?) When and how will the police realize their mistake, and will it be in time to save the innocent man? Amid the straightforward storytelling and thriller elements, Hitchcock manages to slip in a few bravura cinematic moments, the best of them a pullback shot down a flight of stairs into a busy street as the killer invites his next victim into his home, as well as a scene aboard a truck, with a murderer desperately wrestling with a corpse hidden in a sack of potatoes. Frenzy was adapted from Arthur La Bern's novel Goodbye Picadilly, Farewell Leicester Square by mystery aficionado Anthony Shaffer, but for all of that and its decidedly modern trappings of sex and violence, it bears the indelible stylistic stamp of Alfred Hitchcock. ~ Bruce Eder, Rovi

Tom Bell plays a disgruntled young Brit who becomes bored by his job and his marriage. Bell impulsively launches an affair with 15-year-old actress Olivia Hussey. But fear not: this isn't going to be "The Joey Buttafuco Story". Rather, both Bell and Hussey are brought to their senses when she thinks she's pregnant. Judy Carne, at the tail end of her Laugh-In-generated fame, is adequate as Bell's loving wife. Director Gerry O'Hara based the screenplay for All the Right Noises on his own novel. ~ Hal Erickson, Rovi

Except for the omission of several passages in the original play, this 1970 adaptation of Julius Caesar faithfully retells Shakespeare's account of events surrounding the assassination of Caesar in 44 B.C. The film begins when Caesar John Gielgud is at the height of his power after conquering Pompey "the Great" in a civil war. Important senators worry that Caesar means to become king, diminish their power, and abolish their beloved Roman republic. Two senators, Cassius Richard Johnson and Brutus Jason Robards, hatch an assassination plot involving other disenchanted Roman citizens. Although a soothsayer warns Caesar of trouble ("Beware the ides of March") and his own wife reports ominous signs ("A lioness hath whelped in the streets; and graves have yawn'd, and yielded up their dead"), Caesar decides to go to the senate on the ides (March 15). Upon arrival, the conspirators greet him with daggers. In his funeral oration, Mark Antony Charlton Heston extols Caesar and incites the citizens against Brutus and the other conspirators. Brutus and Cassius flee Rome with their armies, but Antony and two other sympathizers track them down with their armies. When the tide turns against the conspirators, Brutus and Cassius commit suicide. As does Shakespeare's play, the film leaves the discerning viewer wondering who was the real villain -- Caesar, because of his ambition for power, or Brutus, because of his underhanded plot to maintain the status quo. ~ Mike Cummings, Rovi