Jack MacGowran Movies

Novelist William Peter Blatty based his best-seller on the last known Catholic-sanctioned exorcism in the United States. Blatty transformed the little boy in the 1949 incident into a little girl named Regan, played by 14-year-old Linda Blair. Suddenly prone to fits and bizarre behavior, Regan proves quite a handful for her actress-mother, Chris MacNeil (played by Ellen Burstyn, although Blatty reportedly based the character on his next-door neighbor Shirley MacLaine). When Regan gets completely out of hand, Chris calls in young priest Father Karras (Jason Miller), who becomes convinced that the girl is possessed by the Devil and that they must call in an exorcist: namely, Father Merrin (Max von Sydow). His foe proves to be no run-of-the-mill demon, and both the priest and the girl suffer numerous horrors during their struggles. The Exorcist received a theatrical rerelease in 2000, in a special edition that added 11 minutes of footage trimmed from the film's original release and digitally enhanced Chris Newman's Oscar-winning sound work. ~ Hal Erickson, Rovi

In director Peter Brook's King Lear, Paul Scofield portrays the title character, a senile old ruler, whose susceptibility to flattery proves his undoing. The premise involves Lear's ill-fated attempts to divide his kingdom amongst his three daughters -- a goal that ultimately leads to tragedy. The stark terrain of Denmark stands in for England in this version, adding a brooding visual texture to the picture that exists alongside the traditional Shakespearean dialogue. Lear's daughters are played by Irene Worth (Goneril), Susan Engel (Regan), and Anne-Lise Gabold (Cordelia); others in the cast are Alan Webb (Gloucester), Cyril Cusack (Albany), Patrick Magee (Cornwall), and Jack MacGowran (the Fool). Younger viewers and those faint at heart be warned: King Lear is one of Shakespeare's most graphically violent works, and director Brook takes every opportunity to emphasize the carnage and gore. ~ Hal Erickson, Rovi

Two French peasants are mistaken for a pair of aristocratic nobles in this historical situation comedy. Gene Wilder and Donald Sutherland play the dual roles. Happy to be taken for nobles, the pair soon runs to escape the guillotine in the wake of the French Revolution's blood purge of the upper class and royalty. Hugh Griffith play Louis XVI, with Billie Whitelaw as the amorous Marie Antoinette. The pair are chased by the evil Duke d'Escargot (Victor Spinetti). Orson Welles appears at the beginning and the end of the film as the narrator. Wilder and Sutherland encounter a variety of comical situations in their dual roles of peasants and blue-blooded eccentrics. ~ Dan Pavlides, Rovi

Oscar Collins (Jack MacGowran) is a professor who specializes in the behavior and collecting of butterflies. One day, he discovers he can watch his beautiful neighbor Penny (Jane Birkin) through a crack in the wall of his apartment. He is soon overtaken by his voyeuristic tendencies and engages in a series of psychedelic daydreams as he watches the beautiful woman in various stages of her life and lovemaking. The musical score is provided by George Harrison. ~ Dan Pavlides, 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

The fact that there isn't a single likeable character in Cul de Sac does not diminish its artistic value in the least. Ageing, furtively kinky Donald Pleasence is married to sexy young Francoise Dorleac. The couple's hermitlike tranquility is shattered when wounded gangsters Jack MacGowan and Lionel Stander invade their home and hold them hostage. As Dorleac urges her tremulous husband to do something, the two criminals begin behaving in a fashion that can only inadequately be described as eccentric. Drawing upon two of Polanski's favorite themes-isolation and latent insanity--Cul de Sac actually improves upon each viewing, assuming that the viewer has the intestinal fortitude to sit through it once. ~ Hal Erickson, Rovi

Young Cassidy is based upon the autobiographical writings of firebrand Irish author Sean O'Casey. Rod Taylor is Cassidy, a boisterous boy who digs ditches to support his mother (Flora Robson) and sister (Sian Phillips). In his spare time, Cassidy is active with the Irish revolutionary movement against the occupying British. He still finds time enough for romance, notably with trashy chorine Julie Christie (in her first major role) and timid librarian Maggie Smith. Cassidy's latent writing talents are encouraged by such Irish literary giants as W.B. Yeats (Michael Redgrave) and Lady Gregory (Edith Evans), and in typically expeditious Hollywood fashion Our Hero almost instantly becomes a Man of Letters. John Ford began the direction of Young Cassidy, but fell ill and had to relinquish his responsibilities to Jack Cardiff; even the most diehard auteurist will have trouble discerning the personal "signature" of either director. ~ Hal Erickson, Rovi

Tony Richardson's adaptation of Henry Fielding's classic novel was one of the most critically acclaimed and popular comedies of its time, winning four Academy Awards, including Best Picture. The film follows Tom Jones (Albert Finney), a country boy who becomes one of the wildest playboys in 18th century England, developing a ravenous taste for women, food, and rowdy adventures. Over the course of the film, Jones tries to amass his own fortune and win the heart of Sophie (Susannah York). Not only does John Osborne's Oscar-winning screenplay stay true to the tone of the novel, but the cast -- including Lynn Redgrave in her first screen role -- tears into the story with spirited abandon, making the movie a wildly entertaining and witty experience. ~ Stephen Thomas Erlewine, Rovi

In this romantic comedy, a free-wheeling member of the U.S. Air Force goes AWOL. While traveling, the man and his girlfriend encounter another young couple. Both men are dressed exactly alike and are driving the same kind of bike. When the women climb aboard the wrong bikes, romantic mayhem ensues. ~ Iotis Erlewine, Rovi

This third film version of the Curt Siodmak scare piece Donovan's Brain stars Peter Van Eyck as an overly dedicated scientist. When a powerful and ruthless financier dies in a plane crash, Van Eyck keeps the tycoon's brain alive in his laboratory. Gradually, the brain takes over the doctor's mind, forcing him into all sorts of evil chicanery. In a twist not found in the Siodmak original, the brain compels Van Eyck to seek out the financier's murderer. Anne Heywood costars as the dead man's daughter. A strong mulinational supporting cast distinguishes this Anglo-German coproduction. ~ Hal Erickson, Rovi

Award-winning director Joseph Losey guides this suspenseful mystery through its paces, beginning with an apparently guilty Dutch artist, Jan Van Rooyen (Hardy Kruger), caught in an upscale cottage where a woman lies murdered. Hard-nosed, irritable Inspector Morgan (Stanley Baker) is certain Van Rooyen is guilty and begins to grill him about his story. The artist finally admits that he and the dead woman, Jacqueline Cousteau (Micheline Presle), had met by accident and eventually began a love affair. She was married, so they kept their liaison a secret. Inspector Morgan then informs him that the woman was single but involved with a high-level diplomat. So what is going on? ~ Eleanor Mannikka, Rovi

In its promotional material for the 1959 theatrical feature Darby O'Gill and the Little People, the Disney studio went into whimsical overdrive, hoping to convince the younger viewers that the leprechauns appearing in the film were not merely normal-sized actors made small via special effects, but instead the genuine article. As part of this delightful deception, the weekly Walt Disney Presents TV anthology offered an episode in which Walt Disney explained how he personally persuaded the King of the Leprechauns to appear in his film. It all begins when actor Pat O'Brien, returning from a trip to Ireland, regales Walt Disney with stories of the "little people" of the Emerald Isle. Banking on the fact that he is himself half-Irish, Walt travels to Old Erin to see for himself. After conferring with a local "shanachie," or storyteller (played by Darby O'Gill's titular star Albert Sharpe), Disney is granted an audience with his majesty himself, King Brian (Jimmy O'Dea) -- who has quite a healthy ego for one so tiny. This episode expertly blends new footage with previews from the upcoming film, which among other actors features a young Sean Connery (who was so obscure a performer at the time that he isn't even billed in the TV Guide listings!) While the actual Darby O'Gill scenes were directed by Robert Stevenson, the new transitional scenes were helmed by Harry Keller -- who after handling retakes of Orson Welles' Touch of Evil had no trouble seamlessly matching Stevenson's distinctive style. ~ Hal Erickson, Rovi