Alison Leggatt Movies

Nicholas Meyer based his screenplay for the "retro" Sherlock Holmes adventure The Seven Percent Solution on his own best-selling novel. As any Baker Street Irregular will tell you, the title refers to the dosage of cocaine taken by Sherlock Holmes (Nicol Williamson). The Great Detective's friend and chronicler Doctor Watson (Robert Duvall), concerned that Holmes' drug dependency is getting out of hand, suggests a cure under the auspices of Viennese psychoanalyst Sigmund Freud (top-billed Alan Arkin). While undergoing treatment, Holmes comes to the realization that his archival Professor Moriarty (Laurence Olivier) is not the Napoleon of Crime, but instead a somewhat pathetic philanderer. Not yet completely cured, Holmes recharges his deductive batteries by undertaking a tricky conspiracy case involving another ex-addict, beautiful actress Lola Devereaux (Vanessa Redgrave). The traditional Holmesian sleuthing and split-second rescues of the film's second half are not as innovative as the Holmes-Freud scenes at the beginning of The Seven Percent Solution, but they provide this largely cerebral effort with a rousing climax. A success with both critics and filmgoers, The Seven Percent Solution opened the floodgates for subsequent TV and movie "reprises" of Conan Doyle's immortal literary figure. ~ Hal Erickson, Rovi

This is a musical remake of the 1939 film. Arthur Chipping (Peter O'Toole) is the staid instructor at a posh school for boys where he dreams of becoming headmaster. He falls in love with Katherine (Petula Clark) and he helps the singing dance-hall girl polish her social skills. The two are married, but Katherine is killed during in an airplane crash on her way to entertain Allied troops. Arthur carries on, dedicating his life to her memory and teaching two generations of students who were lucky enough to have him for a teacher and a friend. Herbert Ross makes his directorial debut in this sentimental musical that never approached the success of the original. ~ Dan Pavlides, Rovi

This farcical British comedy follows the eccentric misadventures of a family who have their own rather unusual way of doing things. Mr. Groomkirby (Eric Sykes) is redecorating his living room to resemble the courtrooms at Old Bailey, with a mind toward staging mock trials for fun. His wife, Mrs. Groomkirby (Alison Leggatt) hates to see leftovers go to waste, so she hires a woman to eat them. Their daughter Sylvia (Julia Foster) is fascinated by primates and spends much of her time at the zoo, and son Kirby (Jonathan Miller) believes that scales can have other uses rather than just weighing things -- they can be used to make music, too! Based on a popular novel, One Way Pendulum was directed by Peter Yates, who would go on to make Bullitt and Breaking Away. ~ Mark Deming, Rovi

Adapted from the novel by John Wyndham, this intelligent British monster movie begins with a meteor shower so intensely bright that it blinds the majority of the world's population, rendering them vulnerable to attack from hordes of carnivorous plants known as "Triffidus Celestus" grown from meteor-borne spores. As the plant-monsters continue to multiply and seek human prey, the remaining sighted people join forces to combat the veggie invaders. One such survivor, an American seaman (Howard Keel) whose eyes were bandaged during the meteorite impact, battles his way through the Triffid ranks. Meanwhile, a couple (Kieron Moore and Janette Scott are trapped in a lighthouse. Good production values make this low-budget effort look more expensive than it probably was; the uncredited assistance of Freddie Francis -- who directed several scenes with a second unit -- also helps. ~ Cavett Binion, Rovi

In this drama, an English doctor returns from the US with his fiancee and finds himself forced to choose between the young woman he loves and his overbearing, disapproving mother, whom he also loves. He marries the girl despite his mother's loud protestations. When she learns the girl has a fragile heart, the mother insists they move in with her. One day the mother accidentally gives her daughter-in-law the wrong medication and the hapless bride nearly dies. Fortunately, the doctor saves his wife; he then accuses his mother of attempted murder. Later it's discovered that the mix-up was the maid's fault. Things settle down as the three realize they need to call a truce. Peace descends upon their lives. ~ Sandra Brennan, Rovi

The Promoter was based on the Arnold Bennett novel The Card, which served as its British release title. Impoverished young clerk Alec Guinness works his way up the financial ladder until he has become a successful and highly respected loan officer. Actually, Guinness is not as above-board as the world perceives him. Beginning with cheating on a high school exam, he has wheeled and dealed his way to the top, and ethics be damned. Balancing Guinness' cold-blooded business savvy is his comparative ineptitude with women, particularly the bewitching Glynis Johns. Only Alec Guinness could succeed at making his "Sammy Glick" character appealing from first scene to last. The Promoter was scripted by Eric Ambler, who managed to unearth moments of sly cynicism that original author Bennett had barely touched upon. ~ Hal Erickson, Rovi

This sequel to the 1942 Oscar-winner Mrs.Miniver can be considered ill-advised, if only because the producers could never really hope to match the success of the original. Otherwise, The Miniver Story has its charms, not the least of which were the sterling performances of Greer Garson and Walter Pidgeon. Set just after VE Day, the film finds Mrs. Miniver (Garson) reacting to the euphoria of her friends and family with a sense of quiet sadness. This is because she's just learned from her doctor that she hasn't much longer to live. With the same courage with which she met the deprivations of WW II, Mrs. Miniver resolves to put on a happy face and keep the news of her imminent demise a secret from her husband (Pigeon) and children. She even finds time to straighten out the tangled love life of her daughter Judy (Cathy O'Donnell). Henry Wilcoxon repeats his Mrs. Miniver role as the local vicar. Unlike its Hollywood-bound predecessor, The Miniver Story was lensed on location in England. ~ Hal Erickson, Rovi

The action in the British Marry Me! centers around a marriage bureau. Utilizing the "omnibus" approach made popular by such films as Quartet, director Terence Fisher relates the stories of four separate marriage-bound couples. The cast (including Derek Bond, Susan Shaw, Patrick Holt, Carol Marsh, David Tomlinson, Zena Marshall, Guy Middleton and Nora Swinburne) is quite appealing, and the production values are of the highest caliber. It would have been nice, though, to spend more time getting to know the individuals involved in the four playlets. Marry Me! is not a remake of the 1932 film of the same name. ~ Hal Erickson, Rovi

With This Happy Breed, playwright Noel Coward hoped to glorify the British working class in the same manner that he'd celebrated the "higher orders" in Cavalcade. The film begins just after World War I. Middle-class Londoner Robert Newton hopes to improve his family's lot by moving them into a comparatively posh house in the suburbs. The house is large enough for each family member to claim a corner or room as his or her own, allowing Coward to spotlight the characters' highly individual strengths, shortcomings and emotions. Twenty years go by, filled with the sorts of triumphs and tragedies with which British audiences of the 1940s could readily identify. Finally, left alone after their children and relatives have moved on, Newton and his wife (Celia Johnson) leave the house behind for a smaller, more practical apartment. This was the second of four collaborations between author Noel Coward and director David Lean. While Coward can't completely disguise his patronizing attitude towards "regular folks," Lean is successful in conveying the essential warmth, humanity and value of the film's characters. ~ Hal Erickson, Rovi