Patrick Magee Movies

The famous Irish writer Samuel Beckett (1906-1989) is not interviewed in this documentary on his life and work, but the film was made with his cooperation. Excerpts from his plays, perhaps the most well-known being Waiting for Godot, are performed (in archival footage) by such thespians as Billie Whitelaw and Patrick Magee, and Beckett's early years in Ireland with his family are shown in black-and-white photographs. Beckett's inherently reclusive and obsessive nature is brought forward in the visual and written source materials. ~ Eleanor Mannikka, All Movie Guide

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, All Movie Guide

A bizarre Euro-kink variation on Robert Louis Stevenson's classic, this intriguing film from Polish director Walerian Borowczyk takes place almost exclusively in the palatial home of Dr. Henry Jekyll (Udo Kier), where the good doctor is being feted prior to his engagement to the austere Miss Fanny Osborne (Marina Pierro). The guest list -- comprised of various dignitaries, officials and symbols of bourgeois respectability -- could easily have strolled in from a Fellini film, complete with a closetful of perverse habits and barely-repressed sexual urges. At the onset of the festivities, it is learned that a young girl has been murdered on the streets that night -- an event somehow linked to Jekyll's insistence that his estate be willed to the yet-unseen Mr. Hyde. It comes as no surprise that Jekyll's infamous potion transforms him into a crazed sexual predator with desires so aggressive that his victims cannot survive... but the real twist comes when young Fanny joins Jekyll in his bath while he is transforming into Hyde, and the formula's malevolent effects are spread to her as well. Before long, the entire affair devolves into an orgy of sexual sadism and bloody violence as the evil is spread throughout the house. Borowczyk has imbued this quirky exercise with a doomed, nightmarish quality, contrasting the opulence of the festivities with dimly-lit, smoky rooms where the lecherous Hyde stalks his victims. Patrick Magee borrows a bit from his arch performance in Marat/Sade as the swaggering "General" who gets taken down a few notches at the end of a bullwhip. Released in the U.S. as Blood of Dr. Jekyll, then later on video as Bloodlust. ~ Cavett Binion, All Movie Guide

Based on a true story, Chariots of Fire is the internationally acclaimed Oscar-winning drama of two very different men who compete as runners in the 1924 Paris Olympics. Eric Liddell (Ian Charleson), a serious Christian Scotsman, believes that he has to succeed as a testament to his undying religious faith. Harold Abrahams (Ben Cross), is a Jewish Englishman who wants desperately to be accepted and prove to the world that Jews are not inferior. The film crosscuts between each man's life as he trains for the competition, fueled by these very different desires. As compelling as the racing scenes are, it's really the depth of the two main characters that touches the viewer, as they forcefully drive home the theme that victory attained through devotion, commitment, integrity, and sacrifice is the most admirable feat that one can achieve. (Ian Holm was nominated for an Oscar as Best Supporting Actor in his role as Abrahams' coach), and this powerful film ended up with four Academy Awards: Best Picture, Best Original Screenplay, Best Costume Design, and Best Original Score. ~ Don Kaye, All Movie Guide

Trevor Howard is virtually the whole show in Sir Henry at Rawlinson End. He plays an eccentric-to-the-point-of-insanity nobleman whose love affair with the bottle is a long standing source of family embarrassment. Still, when the family mansion is plagued by an unfriendly ghost, Howard finds himself the only one willing or able to exorcise the spirit. Sir Henry at Rawlinson End was based on a radio play by Vivien Stanshall. As such, it is more satisfying for the ear than for the eye. ~ Hal Erickson, All Movie Guide

The Bronte sisters are profiled in this biography. The film dramatizes the repressed Victorian lives of the three famed authors who all died young. Their writing, so full of life, was a total contrast to the reality of their existence, focused mostly upon arguing with their father and taking care of their younger brother. ~ Sandra Brennan, All Movie Guide

Patrick Magee plays the aging and confused monarch in this made-for-television adaptation of one of Shakespeare's most resonant tragedies. When aging King Lear (Patrick Magee) asks his children to profess their love for him so he may divide his estate accordingly, his youngest daughter, Cordelia (Wendy Allnutt), gives an answer that speaks of modesty and practicality, while Regan (Ann Lynn) and Goneril (Beth Harris) offer more flowery tributes. Lear mistakes Cordelia's good sense for contempt and forces her to leave his land, while Regan and Goneril are allowed to divide his holdings; however, it isn't until much later than Lear sees the error of his ways, and comes to understand his older daughters are using his growing senility for their own purposes. ~ Mark Deming, All Movie Guide

With ornate imagery reminiscent of paintings from the story's 18th century period, Stanley Kubrick's adaptation of William Makepeace Thackeray's novel depicts the rise and fall of a sensitive rogue in the British aristocracy. Young Irishman Redmond Barry (Ryan O'Neal) leaves home to seek his fortune after apparently killing an English officer in a duel. Through a series of mishaps and accidents, Barry winds up fighting with the Prussian army in the Seven Years' War under the command of Capt. Potzdorf (Hardy Kruger); at war's end, Potzdorf enlists Barry to spy on a shady Chevalier (Patrick Magee). Instead, Barry joins up with the Irish Chevalier to flee Prussia and live as gamblers among Europe's elite. Wishing to climb even higher, Barry soon meets the beautiful Lady Lyndon (Marisa Berenson), marrying her for her fortune after her older titled husband dies. Her son Lord Bullingdon (Leon Vitali), however, despises the upstart Barry, and, regardless of how his mother may feel, sees to it that the re-named Barry Lyndon will never be able to stake his claim to the entrenched aristocracy. Coming after Kubrick's esteemed hits 2001 (1968) and A Clockwork Orange (1971), Barry Lyndon opened with high expectations and met with decidedly mixed responses to its restrained tone. Even with Oscar nominations for Best Picture and Best Director (and wins for Cinematography, Art Direction, Costumes, and Adapted Score), Barry Lyndon was a box office failure, as mid-'70s audiences increasingly turned away from such narrative challenges as its epic length and muffled emotions. Since then, Barry Lyndon has gained in stature, taking its place among the formidable artistic achievements of Kubrick's career. ~ Lucia Bozzola, All Movie Guide

Adapted for the screen by Edward Anhalt from the play by John Osborne, Luther stars Stacy Keach as religious leader and "heretic" Martin Luther. In minimalist fashion, the film traces Luther's disillusionment with the Catholic Church, and his eventual spearheading of the Reformation movement. Over the course of the film, Keach ages from an ingenuous seminarian to a disgruntled, middle-aged firebrand. Director Guy Green does little to cinematize the material, instead favoring a theatrical approach and thus allowing the rich dialogue to be better appreciated. Luther was a production of the American Film Theatre. ~ Hal Erickson, All Movie Guide

This creepy, atmospheric horror film from England's Amicus Productions dispenses with much of the tongue-in-cheek presentation of their popular '70s horror anthologies (such as Asylum and Dr. Terror's House of Horrors) in favor of a more adult-oriented approach. The story begins in the 18th century, as a young stable hand tries to prevent nobleman Fengriffen (Herbert Lom) from raping a young servant girl -- who happens to be the stable hand's wife -- and for this transgression has his hand lopped off. Flash forward to the present, where Fengriffen's ancestor (Ian Ogilvy) and his wife (Stephanie Beacham), now living on the ancestral estate, are haunted by the servant's vengeful spirit, as well as the severed hand itself, which roams the gloomy corridors of the mansion. Most video versions are taken from the TV print, which is missing some scenes of violence and nudity. ~ Cavett Binion, All Movie Guide

This psychological horror movie revolves around a religious sect, one of whose number roams the streets of London murdering prostitutes, believing that he is on a holy mission. ~ Mark Hockley, All Movie Guide

This historical drama is an account of the early life of Winston Churchill (Simon Ward), including his childhood years, his time as a war correspondent in Africa, and culminating with his first election to Parliament. ~ Linda Rasmussen, All Movie Guide

The phenomenon of Tales from the Crypt seems to have no endings, only changes. This successful pun-filled style of presenting ironic horror tales had its beginnings in William Gaine's E.C. comic series. At one time, outlandish E.C. Comics were at the heart of a national furor over the "evils" of comic books, which were thought to lead to moral degeneracy. The big comic-book publishers were frightened into freezing E.C. out of their distribution network, which killed the business. This British movie was based on the Tales from the Crypt series, which spawned several subsequent movies (and many imitators), at least one television series, and a whole new wave of comic books. Released in 1972, this movie has five episodes based on Gaines' stories, each introduced by Sir Ralph Richardson as the eerily cheery Crypt Keeper. His comedic approach to the role was misunderstood at the time, as reviewers expected a more solemn approach to horror. In "All Through the House," Santa Claus is someone to avoid. In "Reflection of Death" it takes some people a while to realize the truth about themselves. In "Poetic Justice" death cannot prevent one man's revenge. The episode "Blind Alley" demonstrates a new use for razor blades. "Wish You Were Here" cautions against taking native artifacts lightly (among other things). Among the stars featured are Peter Cushing, Joan Collins and Patrick Magee. ~ Clarke Fountain, All Movie Guide