Stephen Lewis Movies

Peter Medak directed this fact-based drama, chronicling the lives of the infamous Kray Brothers, notorious celebrities in 60s London. The Krays were twin gangsters who ruled London's stylish East End club scene, staking out their territory by committing the most violent crimes imaginable, preferring to perform the most torturous acts themselves. The film stars Gary Kemp and Martin Kemp, founding members of the pop group Spandau Ballet, as Ronald and Reginald Kray. The film opens as their mother Violet Kray (Billie Whitelaw) recalls a dream in which she is a swan from which two beautiful babies have hatched. She can't tell if the swans are angels or demons, but the film soon answers that question for her. Brought up in London's East End in the 1930s, Ronald and Reginald Kray are raised in the resentful world of Violet, who is hateful of her lot in life and bitter at the control men have in running the world ("Housework is a lethal business," she says). The twins react to each other almost telepathically and they take out their anger by clogging the nose of their sleeping father (Alfred Lynch), pushing around fellow schoolboys, and even beating each other to pulp at a boxing match. When her mother chastises them for their fight in a fairground boxing ring ("You fight them up, but you don't fight each other"), the twins veer into the London underworld. In their self-contained world of Us-Against-Them, the Krays rapidly rise to the height of power, first taking over the territory of a petty mobster by violent means and then putting together an underworld empire of posh clubs, cars, and fancy suits. But at the height of their fame, the twins begin to break from each other. Reginald falls in love with Frances (Kate Hardie), while Ronald gets involved in a homosexual relationship with one of his underlings. Ronald, in a jealous rage over Frances stealing his brother away from him, becomes even more brutal in his crimes and while the brothers' backs are turned, a group of older mobsters challenge the Krays' authority, invoking a horrible bloodbath that effects not only the two brothers but Frances and Violet as well. ~ Paul Brenner, All Movie Guide

This comedy was inspired by the true story of Cynthia Payne, a former waitress who gained fame as England's best-known (and best-liked) madame. Christine Painter (Julie Walters) is a working-class single mother who sub-leases a few inexpensive flats as a way of bringing in extra money. Christine has no particular interest in selling her body, but when she finds herself in a tight spot financially -- and notices that the prostitutes who rent her apartments are the only ones who consistently pay on time -- she decides to open a brothel. With the help of Shirley (Shirley Stelfox), an experienced prostie, and Morton (Alec McCowen), a former RAF commander with a fondness for women's undergarments, Christine opens a little place where elderly businessmen can indulge their fondness for kinky lingerie and being spanked by younger women. Soon Christine's business is booming and everyone is happy -- until the police pay her a visit. Personal Services was directed by Terry Jones, best known as a member of the Monty Python troupe; the real-life Cynthia Payne served as a technical advisor. ~ Mark Deming, All Movie Guide

Beau Geste, the classic adventure story of a young man's dangerous journeys as part of the French Foreign Legion, becomes the subject of broad parody in this slapstick comedy. The original tale, best known to film lovers from William Wellman's 1939 classic, tells of several brothers who join the Foreign Legion after claiming responsibility for the mysterious disappearance of an invaluable family heirloom. Eventually, brothers Beau and Digby find themselves in conflict with their vicious commander, leading to a potential mutiny. The plot here is similar, with Michael York assuming Gary Cooper's role as Beau, and first-time director Marty Feldman co-starring as Digby. However, following the lead of former collaborator Mel Brooks, Feldman plays strictly for laughs, loading the story with jokes ranging from the satirical to the vulgar. A cast of notables keeps things lively, with Peter Ustinov and Ann-Margret mocking their own images as the sadistic commander and lusty Geste stepmother. ~ Judd Blaise, All Movie Guide

Various bus crashes combined with damaged property puts a bus depot manager in financial problems. ~ All Movie Guide

Based on a popular British television series from the late sixties, On the Buses centers on the chaos caused in a bus depot when the boss hires a passel of female bus drivers. This marked the first of three theatrical features based on the series (the second and third installments were the 1972 Mutiny on the Buses and the 1974 Holiday on the Buses, respectively). Though all three films were critically savaged, they grossed dollar one in Great Britain, particularly this first installment - eliciting a host of sequels and imitators. The Motion Picture Guide wrote of On the Buses, " The humor is sexist, of course, and infantile, with no wit or sophistication, which of course ensured its appeal to a large segment of the masses." ~ Sandra Brennan, All Movie Guide

Homosexuality is only incidentally important in this drama of dependence and intimacy between two aging hair stylists, and nothing shocking to staid and heterosexual sensibilities takes place in this movie, a star turn for Richard Burton and Rex Harrison. Whether the original play was as patently offensive to actual homosexuals as this movie is, is open to question. What is certain is that it grossly exaggerates every unpleasant "fag" stereotype in the books, However, the lead actors skillfully make art out of these very same offensive tics, demonstrating the mysterious power of great performers to make a silk purse out of a sow's ear. In the story, Charlie (Harrison) and Harry (Burton) have been roommates, business partners and intimates for many long years, and their convoluted mutual dependency is every bit as complicated as that between any aged but incompatible couple who have grown used to one another over the years. Charlie thinks he can do without Harry, but Harry knows better and patiently bears the barbs and arrows that come his way. One of the nicer aspects of the stereotypical portrayal is that both men get to demonstrate some beautifully sharp, barbed wit. ~ Clarke Fountain, All Movie Guide

This British comedy drama of the lower classes features actors with such thick cockney accents that some prints of the film were subtitled. James Booth stars as Charlie, a merchant seaman who returns home to the East End after two years to find that his wife Maggie (Barbara Windsor) has taken up with another man, a married bus driver named Bert (George Sewell). After taking his brother Fred (Roy Kinnear) hostage in a pub, Charlie gets a reunion with Maggie, who shows up pushing a pram. It seems she's given birth to a child, and the father's identity is uncertain. Charlie and Maggie reconcile, but not before a vicious row with Bert, who doesn't want to give up his girl. Windsor, a BAFTA Best Actress nominee for her role, also performed the film's title song. ~ Karl Williams, All Movie Guide