Patrick Magee Movies

Directed by American expatriate Joseph Losey, the British The Criminal is a gloom-wallow elevated by superb performances. Top crook Stanley Baker plans a clever bank robbery. It goes off hitchless, but the clerk responsible for "laundering" the stolen money insists upon a bigger percentage of the take, else he'll blow the whistle. Baker hides the money, whereupon he is turned over to the law by his ex-girlfriend, who is in cahoots with the clerk. Baker refuses to reveal the whereabouts of the loot, so his old gang arranges to have him broken out of jail -- and also arranges for Baker's "accidental" demise. Appearing as the greedy clerk in Concrete Jungle is Sam Wanamaker, who like Joseph Losey fled to England as a result of the Hollywood blacklist. ~ Hal Erickson, All Movie Guide

The Avengers' second season came to a close with this episode, which originally aired on March 23, 1963. Written by John Lucarotti, the plot concerns an effort to smuggle valuable ambergris. Steed and Cathy become part of the action in a circuitous manner, when Cathy agrees to manage an up-and-coming prizefighter (Kenneth Farrington). Certainly one of the more labyrinthine Avengers episodes, "Killer Whale" wasn't given an opportunity to baffle American cable TV fans until March 2, 1991. ~ Hal Erickson, All Movie Guide

Director Sidney J. Furie was betwixt and between his Canadian TV work and his theatrical-film prominence vis-a-vis Ipcress File (65) when he helmed the British social melodrama The Boys. The title characters are four youths, all implicated in the murder of a night watchman. Robert Morley plays the defense attorney who tries to convince the jury to render a charitable verdict. His basic argument is that the government expects a death sentence in cases involving robbery, but is more lenient towards crimes of passion. Prosecuting attorney Richard Todd is unmoved; his job is to prove that the boys aren't the innocent victims of society they're made out to be. The Boys benefits from Furie's dextrous use of flashbacks during the testimony scenes. ~ Hal Erickson, All Movie Guide

This effective crime caper involves an attempted robbery of no one less than the U.S. Army, a heist which has its beginnings when Turpin (Stanley Baker) is drummed out of the service for his black-market activities. Apparently chaffing at this unjust treatment and also fueled by greed, Turpin enlists two cohorts -- Swavek and Fenner (Helmut Schmid and Tom Bell) to help him carry out his revenge. After much rehearsal of his plan, the three put on uniforms and walk into an army camp just before the troops are mustered out to the Middle East during a crisis over the Suez Canal. The trio's intention is to rob the payroll ($700,000), stash the cash in a spare tire, and drive out of there. That is the plan, but the reality turns out quite different, after one of the three gets a reaction to a vaccination and another is called up for KP duty ("kitchen police"). ~ Eleanor Mannikka, All Movie Guide

This melodramatic tale of a sexual assault on a married woman has a few implausible moments but is believably acted by Anne Heywood as Tracey, the victim, Richard Todd as her husband Lawrence, and Jack Hedley as the man from Scotland Yard sent to track down the violent attacker. Tracey is pregnant and happily married to Lawrence, an architect. She has few cares in the world until the day a maniac breaks into the house, rapes her, and ultimately causes her to miscarry. Tracey falls to pieces and is so affected by the encounter she finds men repulsive, including her husband. Her attitude does not soften with time, and sooner rather than later, her husband takes up with his secretary. But in the meantime, the Scotland Yard detective has still not been able to track down the psychotic rapist, and there is no guarantee that Tracey is safe. ~ Eleanor Mannikka, All Movie Guide

Wealthy wastrel James Fox hires insouciant cockney Dirk Bogarde as a valet. No sooner has he donned his working clothes than Bogarde begins exercising a subtle but insidious control over his master. Suggesting that the house could use a little fixing up, Bogarde convinces Fox to spend a whopping amount of money on it. But this is just a warm-up session for Bogarde, who by mid-film is calling all the shots in the Fox household, all the while pretending to keep his place. Fox's fiance Wendy Craig sees through Bogarde's game. Bogarde then brings his own lady friend Sarah Miles into the house. At Bogarde's insistence, Miles seduces Fox, thereby loosening Craig's hold on the confused young man. And so it goes. The homosexual subtext of The Servant disturbed some of the more hidebound critics of 1963; Harold Pinter based his cryptic screenplay on a novel by Robin Maugham. ~ Hal Erickson, All Movie Guide

Kim Stanley plays a crooked medium who has become slightly unhinged since the death of her son. Craving money and publicity, she concocts a scheme with her weak-willed husband (Richard Attenborough). The pair will kidnap a wealthy young girl, collect the ransom, then use her "powers" to help the parents locate the child. The scheme falls apart, but not in the way that anyone might expect. Adapted by director Bryan Forbes from a novel by Mark McShane, Seance on a Wet Afternoon is a compelling psychological melodrama made doubly powerful by Stanley's mesmerizing performance. ~ Hal Erickson, All Movie Guide

Though based on two Edgar Allen Poe stories, Masque of the Red Death relies more upon its mood and atmosphere than its story values for its success. During a devastating 12th-century plague called "The Red Death," the decadent, devil-worshipping Prince Prospero (Vincent Price) holds court over a bizarre masked ball. Already established as a sadistic torturer, Prospero insists that his "guests" indulge in numerous depraved games, most of them ending with someone's death. Only two innocents are permitted to escape intact, but they go through the torments of the Damned to do so. Hazel Court is on hand as a Satanist who brands her breast for Price's bored amusement, while Patrick Magee is horribly burned to death by "Hop Frog" (Skip Martin), Price's demonic flunkey. The literally diabolical performance of Vincent Price is superbly complemented throughout by the crimson-dominated cinematography of Nicholas Roeg. Unlike many of Roger Corman's economical Price/Poe projects, The Masque of the Red Death boasts a generous budget, which the canny filmmaker exploits to the utmost. ~ Hal Erickson, All Movie Guide

Adapted from the Robert Bloch short story "The Skull of the Marquis de Sade," this inventive gothic chiller from Amicus stars Peter Cushing as Professor Maitland, a collector obsessed with obtaining artifacts reputed to have occult powers -- including the title object, believed to be from the crypt of the notorious French nobleman. Shortly after the Professor brings home his latest find, the skull begins making nightly rounds (the gliding camera peers through the eye sockets for the nifty "skull-cam" point-of-view shots) before eventally dominating Maitland's will. Despite the potentially cheesy premise (which sounds better suited to a William Castle project), the film is remarkably subtle and spooky thanks to the deft hand of director Freddie Francis and an excellent performance from Cushing. ~ Cavett Binion, All Movie Guide

Adapted from his own Royal Shakespeare Company production of Peter Weiss' play entitled The Persecution and Assassination of Jean-Paul Marat as Performed by the Inmates at Charenton Under the Direction of the Marquis de Sade, Peter Brook directs this fascinating look into revolution, power, and human frailty. During the 19th century, fashionable theatergoers would attend ostensibly therapeutic stage performances by mental asylum inmates. The film opens on July 19, 1809, with Monsieur Coubnier (Clifford Rose), the officious head of the Charenton asylum, introducing that night's show -- a drama about the assassination of French Revolutionary War firebrand Jean-Paul Marat, written by that institution's most notorious resident, the Marquis de Sade (Patrick Magee). The play begins conventionally enough , considering that the lead actress (Glenda Jackson) is a narcoleptic, the actor playing Marat (Ian Richardson) is a paranoiac, and another actor, a sex maniac with very pressing urges, is kept in chains. But the work soon evolves into a dialogue between Marat and De Sade. Though both men were early supporters of the Revolution, their ideas of the shape of the movement took very different courses. Espousing a form of proto-Marxism, Marat is at first presented as the sort of tyrannical idealist that became depressingly familiar in the 20th century, a la Lenin and Pol Pot. But then later, Marat seems haunted by the terror he has unleashed and unable to understand where he went wrong. De Sade, on the other hand, preached his own unusual brand of Nietzschean existentialism. Unlike Marat, he not only recognizes the inherent weakness of the human character, but he revels in it. Murder as an act of individual passion should be celebrated, De Sade at first argues; murder as an anonymous act of statecraft should be deplored. The individual is not given meaning though politics but through acts of spontaneous passion and desire. As the play progresses, the revolution depicted in the play soon develops into an outright revolution on the stage. ~ Jonathan Crow, All Movie Guide

This Dino De Laurentiis-produced re-creation of the decisive Italian military operation top-bills Robert Mitchum as a battle-weary war correspondent. Robert Ryan and Arthur Kennedy play generals, Peter Falk is the lovable Brooklynese corporal, and Earl Holliman is the country-boy sergeant. Anzio was based on the book by Wynford Vaughan Thomas. ~ Hal Erickson, All Movie Guide

John Cunningham (James Coburn) is a cold-blooded assassin sent by his superior Ramsey (Burgess Meredith) to murder three people in Europe. He takes off for Spain where he meets a foursome of jet-setting socialites. Sheila (Lee Remick) is a wealthy divorcee who falls for John. Alexi (Patrick Magee) is a former Nazi weasel who has eyes for Sheila. Adrianne (Lilli Palmer) is a social butterfly who plays Cupid for John and Sheila. Sterling Hayden and Claude Dauphin also star in this romantic story of how love can soften a man's stone-cold heart. ~ Dan Pavlides, All Movie Guide

As the Ottoman Empire collapses throughout Turkey in 1922, a number of adventurers from all over the world sign on to protect the locals from thieves and marauders--for a hefty price. Two such mercenaries are Adam Dyer (Tony Curtis) and Josh Corey (Charles Bronson), who are hired by provincial Turkish governor Osman Bey (Gregoire Aslan). Adam and Josh are expected to protect their boss' gold shipment, and to provide safe conduct for Osman Bey's three daughters. Along the way, our "heroes" decide to forget their mission and abscond with the gold, but their plans are foiled by their own inherent ineptitude--and by the bothersome interference of duplicitious Colonel Elci (Fikret Hakan). You Can't Win 'Em All is best described as a "western with fezzes." ~ Hal Erickson, All Movie Guide