Roy Kinnear Movies

Originally telecast in December of 1988, A Man for All Seasons was the first made-for-TV film produced on behalf of the TNT Cable Service. Charlton Heston makes his film directorial debut herein, and also plays the central role of Sir Thomas More, 16th century lord chancellor of England. Unswerving in his belief of the Pope's supreme authority, Sir Thomas refuses to support King Henry VIII's plan to divorce his wife Catherine of Aragon to marry the (hopefully) fertile Anne Boleyn. Declaring himself head of the Church of England, the King annuls his marriage and weds Anne. In concert with his administrator Cromwell, Henry further demands that all British subjects take an oath to uphold Henry's action. More cannot bring himself to do this, and as a result is imprisoned in the Tower of London. Tried for high treason, More is found guilty on the basis of the false testimony of sycophantic Sir Richard Rich. Sentenced to death, More continues to denounce Henry's behavior, walking proudly towards the headsman secure in the knowledge that he will die "the king's good servant, but God's first." Adapted from the play by Robert Bolt A Man For All Seasons was previously filmed in 1966, with Paul Scofield repeating his stage role as More. Heston's version restores much of the text that had been removed from the earlier film--as well as the ubiquitous expository character "The Common Man", here played by Roy Kinnear. More's harsh but loving wife Alice is played in the remake by Vanessa Redgrave, who'd appeared unbilled as Anne Boleyn in the 1966 version (Arch-conservative Heston and ultra-liberal Redgrave in the same film? Fear not: each respected the other's acting skills, and they got along famously). Heston had previously directed and starred in a London stage revival of Man for All Seasons; this splendid cable-TV version manages to retain all the virtues of that production while remaining a thoroughly cinematic experience. ~ Hal Erickson, Rovi

Roy Kinnear, the diminutive British comic actor who gained international fame in the films of Richard Lester, followed his first TV triumph That Was the Week That Was with this weekly, 25-minute sitcom. Kinnear starred as Stanley Blake, a gormless young man who regularly escaped his humdrum existence by retreating into the world of his vivid imagination. Anne Cunningham co-starred as Stanley's wife Helen, who played a variety of "alternate reality" roles in her husband's Mitty-esque dreams. Created by Dave Freeman, A World of His Own debuted in 1964, lasting two seasons and 13 episodes. ~ Hal Erickson, Rovi

This biographical film -- a bit long for most viewers, even in its cut version -- is made especially for ballet aficionados. Focusing on the short life of the remarkable Russian ballerina Anna Pavlova (1882?-1931), it features several dance sequences and provides a backdrop of the historical events in the Soviet Union and Europe during her life. Pavlova (Galina Belyayeva, better as a dancer than an actress) was born in Saint Petersburg and her interest in the ballet began early. As a little girl (Lina Boultakova), Pavlova would watch the ballet students in training, and she eventually entered the Imperial Ballet company, quickly rising to the position of prima ballerina. Before long, she perfected a style especially evident in her dancing of Giselle and Swan Lake. In her brief tenure at the Ballets Russes established in Paris in 1909 by the famed Russian expatriate impresario Sergei Diaghilev, Pavlova was inspired by dancers like Vaslav Nijinsky and obtained further training under a master, traveling extensively with the company. But the famous ballerina was not without personal problems, and at one point had to take a two-year advance on her salary in order to pay off her husband's debts so he would not go to jail. There are several intriguing aspects of this biography that would recommend it to general viewers: varied locations from Mexico to Cuba to Europe and the USA, good ballet performances, some noted bit players (Martin Scorcese as Gatti Cassaza) and a critically recognized Michael Powell, the director of Red Shoes in his last professional role, as an editor. ~ Eleanor Mannikka, Rovi

Cathy is informed that she is of royal blood -- and in fact is next in line for the British throne. Unfortunately, her only chance of assuming her proper place in life is if an impending military coup is successful. It is up to Steed to prevent that coup. . .but can he rely upon Cathy's cooperation this time out? Written by Eric Paice, "Esprit de Corps" was initially telecast in England on March 14, 1964; American viewers didn't get to see this episode until it was cablecast on April 5, 1991. ~ Hal Erickson, Rovi

This time around, Steed and Peel come up against an "invisible man." Actually, he only feigns invisibility, but his deception is enough to nearly bankrupt the British government, as the villain merrily steals important documents on behalf of a pair of sinister foreign agents. Roy Kinnear, best known for his work in director Richard Lester's films, guest stars as Quilby. Written by Philip Levene, "The See-Through Man" was first telecast in England on February 4, 1967 -- one day after its American TV debut. ~ Hal Erickson, Rovi

Comedian, actor, and author Barry Humphries wrote and co-stars in this sequel to the surprise international hit The Adventures of Barry McKenzie, based on the comic-strip character created by Humphries. Well-meaning but dunderheaded über-Aussie Barry McKenzie (Barry Crocker) is escorting his aunt, self-proclaimed "housewife superstar" Edna Everage (Barry Humphries), on a trip to France, where they've learned Barry's twin brother, Ken McKenzie, a progressive priest, will be speaking as part of a seminar on "Christ and the Orgasm." En route, a pair of Transylvanian agents, working under the command of the evil Communist vampire Count Plasma (Donald Pleasance), become convinced that Edna is actually Queen Elizabeth II, and not long after arriving in Paris, they kidnap Edna and spirit her away to the count's castle. When Barry learns that his aunt has fallen victim to foul play, he and his mates, including transplanted Australian Colin the Frog (Dick Bentley), set out to find her -- when they're not busy chasing "Shelias," swilling Foster's Lager, or projectile vomiting. In addition to playing Edna Everage, Humphries takes on two other roles in Barry McKenzie Holds His Own, and managed to persuade former Australian Prime Minister Gough Whitlam and his wife to make a cameo appearance in the film. ~ Mark Deming, Rovi

Decked out in powdered wig and pasty "dandy" makeup, Richard Chamberlain stars as legendary Venetian lover Giovanni Casanova (1725-1798) in this made-for-television biopic. The teleplay by George Macdonald Fraser (of "Flashman" fame) follows Casanova as his reputation for being catnip to women builds throughout the 18th century. His sexual exploits cost him several important social and professional posts, and eventually land him in a Venice prison on a morals charge. Casanova's escape attempt provides a strong second act for this 3-hour effort, which also offers an amusing "con job" practiced by Casanova on a willing countess (Faye Dunaway). Frank Finlay co-stars as a nobleman who conducts a decades-long feud with our rakish hero. Filmed in Spain and Italy, Casanova debuted on March 1, 1987. ~ Hal Erickson, Rovi

In this children's sci-fi film, a young man gets out of tough situations with the assistance of his father's robot, which he uses for his double. ~ Sandra Brennan, Rovi

Ken Russell's first feature film is a slight comedy about a stodgy British resort. Gormleigh-by-the-Sea is a holiday community besotted with dullness. But things liven up when Jim (James Booth), a young deck-chair attendant, convinces the local entertainment director and mayor into starting a film festival. The town convinces an ambitious French actress to be the star of the festival. What happens after that is a series of near disasters -- including the failure of a Nudist Beach and a riot at a film premiere. It is left to Jim's American journalist girlfriend (Alita Naughton) to save the situation and the reputation of the town. This first feature for film-director Ken Russell, French Dressing was neither indicative of his future controversial projects nor was it auspicious of his directorial ability. ~ Paul Brenner, Rovi

Hawk the Slayer will appeal most to undiscriminating fans of the sword-and-sorcery genre. The title character, played by John Terry, is on a lifelong quest for "The Power", an enchanted flying sword. Alas, Hawk's evil brother Voltan (Jack Palance) likewise covets The Power. A plethora of violence ensues, culminating in a slow-motion duel to the death between hero and villain. Among Hawk's comrades are a dwarf and an elf, who are "R2D2 and C3PO" in everything except name and appearance. Hardly the best of its kind, Hawk the Slayer is redeemed by the unbridled hamminess of Jack Palance, who seems to be the only one who realizes that the whole affair is to silly to be taken seriously. ~ Hal Erickson, Rovi

In their second feature with director Richard Lester, who oversaw the massive hit A Hard Day's Night, the Beatles again aim for a mix of goofy comedy and sterling pop music. There is slightly more of a plot this time, though it is a patently ridiculous one: a sacred ruby ring comes into Ringo's possession, attracting the unwelcome attention of an exotic religious cult and forcing the boys to go on the run. This chase narrative is thankfully never taken too seriously, serving mainly as an excuse for colorful excursions to international locations from Europe to the Bahamas. The musical numbers include such classic tunes as "Ticket to Ride," "You've Got to Hide Your Love Away," and, of course, "Help!". ~ Judd Blaise, Rovi

Among the first of the late 60s anti-war films that reflected growing concern over the Vietnam War, How I Won the War takes a cold, dark look at the Good War, World War II. In adapting Patrick Ryan's 1963 novel, screenwriter Charles Wood and director Richard Lester offered a narrative fractured by characters making side comments to the camera, stylized cinematography, inserts of newsreel war footage, and plenty of absurdist humor and slapstick. Ernest Goodbody (Michael Crawford) is a bumbling British officer who manages to get most of his small company of musketeers killed while on a mission in North Africa to set up a cricket pitch behind enemy lines for officers of the advancing British army. The rest of the company dies in an ensuing campaign in Europe near the war's end, but all of the men continue to march along, appearing as monochromatic ghosts. (Original prints of the film intercut real battle footage tinted to match the color of the soon-to-be ghost soldier. Some prints of the film, including one shown on Turner Classic Movies, present the newsreel shots in black and white, undercutting the stylized touch.) The story is framed as a flashback, with Goodbody relating his version of events to a German officer (Karl Michael Vogler), while the real version of events, demonstrating Goodbody's ineptitude, plays out on screen. Among the supporting players are John Lennon, who had worked with Lester on A Hard Day's Night and Help; Roy Kinnear, a Lester regular, as a fat soldier who is certain his wife is cheating on him; Jack MacGowran as the troop's designated fool, and Michael Hordern as a general almost as oblivious to his suffering men as Goodbody. ~ Tom Wiener, Rovi