Margaret Leighton Movies

A former policeman investigates a series of murders by centering on an organization which re-creates medieval battles. ~ John Bush, All Movie Guide

Iris Teleton (Margaret Leighton) is invited to tea by Blanche Herbert (Marsha Hunt), who is carrying on an affair with Iris' husband, Oliver (Murray Matheson). When Blanche asks Iris to give Oliver a divorce, Iris turns her down -- thus setting in motion a chain of events leading to murder. In the end, Iris' fate rests in the hands of her husband...and one might conclude that he knew all along what the outcome of the story would be. ~ Hal Erickson, All Movie Guide

All the various Bulldog Drummond movie series had run their courses by 1951; nonetheless, MGM decided to revive the property (and simultaneously liquidate some "frozen funds") with the British-filmed Calling Bulldog Drummond. Walter Pidgeon stars as novelist Sapper's soldier-of-fortune, here retooled as a respectable retired military officer. Summoned to London by Scotland Yard, Drummond is assigned to break up a dangerous criminal gang. He is aided by female undercover officer Helen Smith (Margaret Leighton), who turns out to be not much help at all. Trapped in a bombed-out building and surrounded by hulking henchmen, Drummond seems to have run out of luck. Some of the film's brightest moments are provided by David Tomlinson as a traditional "silly ass" type who is lot smarter than he seems. Bernard Lee, the future "M" in the James Bond films of the 1960s, appears as a secondary villain. ~ Hal Erickson, All Movie Guide

Per its title, Jack Smight's Frankenstein: The True Story, strives for greater faithfulness to Mary Shelley's novel than prior versions. Thus, as in the book, Dr. Frankenstein's (Leonard Whiting) creation is no monster, but a handsome young man of high intelligence (Michael Sarrazin). In fact, the doctor and his creature are the best of friends until the latter's body begins to deteriorate. This sends the creature over the bend into insanity, prompting Frankenstein -- with the help of his evil mentor, Dr. Polidori (James Mason), a character not in the Shelley novel -- to try, try again to create a viable synthetic human. The film ends more or less as the novel does, with the outcast Frankenstein and his creature expiring in the frozen wastes of Antarctica. Adapted for television by Christopher Isherwood, Frankenstein: The True Story was originally telecast in two parts on November 30 and December 1, 1973. ~ Hal Erickson, All Movie Guide

Filmed in England, Galileo is based on Charles Laughton's 1947 adaptation of the play by Bertolt Brecht, which, like this 1975 film, was directed by Joseph Losey. Israeli film-star Topol plays the 17th century Italian astronomer, whose theories run contrary to the edicts of the Catholic Church. Forced to renounce his ideas about planetary movement, Galileo nonetheless holds fast to those beliefs to the end of his days, certain that time will vindicate him. Brecht's trademarked "alienation" technique, wherein the audience is constantly reminded that it is watching a play, is muted by Losey's cerebral direction. Galileo was one of producer Ely Landau's American Film Theatre presentations. ~ Hal Erickson, All Movie Guide

Screenwriter Robert Bolt's directorial debut is a lushly romantic saga concerning the 1812 love affair between the wife of William Lamb, Lord of Melbourne, and the author of the poem Childe Harold, Lord Byron. Excited and embarrassed by the attendant affections heaped upon him, Byron found his writing talent waning, and in 1813 the lovers ended their affair. In her first novel, Glenarvon in 1816, Lady Lamb included a satiric portrait of her former lover. But when she later witnessed Byron's funeral in 1828, she was so affected by his death she never mentally recovered from the trauma. The film charts the doomed romantic course for Lady Caroline Lamb (Sarah Miles), beginning with her marriage to the politically promising William Lamb (Jon Finch) and continuing with her scandalous affair with Byron (Richard Chamberlain). The film then chronicles Lady Caroline Lamb's supreme sacrifice on behalf of her husband's political career. ~ Paul Brenner, All Movie Guide

Imperious Southern matron Nell Snyder (Margaret Leighton) is upset by the recent behavior of her orphaned niece, Eva (Eileen Baral), who has created an imaginary "little person" named Mr. Peppercorn, whom she blames for all her acts of mischief. Things don't get any better when Eva attaches herself to a toy doll in the image of a Creole girl, whom the child has named Numa. Before long, Nell has come to the conclusion that the doll is a vessel of voodoo magic, capable of stealing Eva's soul. The end of this episode pulls off the neat trick of being heartrending and grotesque all at once. ~ Hal Erickson, All Movie Guide

Gore Vidal adapted his biting and bitter political satire from his hit Broadway play. Franklin J. Schaffner directed and Haskell Wexler provided the sharp-edged cinematography. The story concerns the political back-biting and smear politics involved in a presidential election year scramble by potential presidential party nominees. Lee Tracy (in an Oscar-nominated performance and his final screen role) is Art Hockstader, a dying president who refuses to throw his support behind any of his party's presidential hopefuls. Hoping to get the nod as the party's presidential candidate is liberal do-gooder William Russell (Henry Fonda). His wife Alice (Margaret Leighton) wants to get a divorce from Russell but is delaying the divorce proceedings until after the party convention. Opposing Russell for the nomination is Joe Cantwell (Cliff Robertson), a slick and unscrupulous political monster who will use any bit of dirt to get ahead in the party. When he discovers that Russell once suffered from mental problems, he threatens to use it against him. Russell then finds out that Cantwell once had a homosexual relationship. Russell, who abhors smear politics, now has to decide whether to use the information against Cantwell or bury the secret and risk losing the nomination. ~ Paul Brenner, All Movie Guide

In this costume adventure set in France during the Reign of Terror, a mysterious man known only as the Scarlet Pimpernel rescues noblemen from the guillotine and leads them to safety across the English Channel. Chauvelin (Cyril Cusack) is determined to unmask the Pimpernel and bring him to justice. When evidence begins to suggest that the hero is actually foppish Sir Percey Blakeney (David Niven), Chauvelin blackmails Percey's wife, Marguerite (Margaret Leighton), into cooperating on the threat that he'll expose the criminal activities of her brother Armand (Edmund Audran). However, Marguerite doesn't much care for her husband, hardly believes he could be the heroic Pimpernel, and is startled when she finds out that he truly is the masked vigilante. The Elusive Pimpernel was originally shot in color as a musical, but the musical numbers were cut before the film was released, and the picture's American distributor chose to make only black-and-white prints (though the current home-video release is in color). ~ Mark Deming, All Movie Guide

The third collaboration between director Joseph Losey and writer Harold Pinter, following The Servant and Accident, continues their exploration of class rituals and the darker recesses of desire. Pinter's script adapts the 1953 L.P. Hartley novel about Leo Colston, a middle-aged man (Michael Redgrave), recalling a summer of his early adolescence at a country estate. Young Leo (Dominic Guard) observes the machinations of the adults in the household, all but two of whom conveniently ignore his presence. Marion Maudsley (Julie Christie) is promised in marriage to another aristocrat, but she is secretly in love with farm worker Ted Burgess (Alan Bates). They enlist Leo as their messenger, with tragic consequences for all concerned. The older Leo has never married, and as the story winds on, it becomes clear that his own infatuation with Marion irrevocably altered his life. The Go-Between won several British Academy Awards, including one for Pinter's screenplay, and was one of four films awarded a grand prize at the 1971 Cannes Film Festival. ~ Tom Wiener, All Movie Guide

Faithfully adapted from a popular holiday play by Wynyard Browne, this moving British drama centers on a recently widowed, aging country vicar who hosts a family Christmas and learns a valuable lesson about keeping his own homefires alight before spending too much time tending the fires of others. Those coming for the holiday include his sister, his late wife's sister, and her cousin. The vicar's free-spirited youngest daughter and his son, a furloughed soldier, also show up. The preacher's eldest daughter lives with him and together they welcome their guests. The vicar is a good man and a caring fellow who spends considerable time caring for and counseling his parishioners, perhaps too much time, for he does not recognize the troubles of his own clan. His devoted oldest daughter quietly deals with a terrible dilemma. She is about to marry an engineer who has just found a long-term job overseas. She wants desperately to be with him, but will not leave her beloved father who seems to need her so much. Her little sister also has trouble. While in the city she fell in love with a soldier. He impregnated her, returned to the war, and was killed. Later the child died and she has become an alcoholic, something she eventually tells her brother and sister. Meanwhile the young people's aunts, learning of the situation, ask the youngest to return home to care for her father so the eldest can marry. Unfortunately, the young woman refuses and heads off to get drunk with her brother. When the vicar learns about his daughter's troubles, he and she have an emotional reconciliation. He then moves on to make peace with the rest of his family. ~ Sandra Brennan, All Movie Guide