Patrick Magee Movies

The Trojan Women is a film of the ancient Greek tragedy by Euripides, which is a highly mannered, ritual-like stage play. It was not easy to transform it into a movie while remaining faithful to the play, but there are many rewards for the patient viewer. The score by Mikis Theodorakis (Zorba the Greek) fits the story beautifully, and the film's re-creation of the ancient Mediterranean is memorable. Finally, the original play, despite its great age, has what are still considered among the finest roles ever written for women. The story concerns the trials and tribulations of the women of Troy at the time of Greek conquest and the truth and chilling power of the curses they hurl at their captors, who have slain every male of their nation, including the infants. Particularly notable is the performance of Irene Papas as Helen, a woman of infinite guile, whose abduction by Paris led to the whole debacle in the first place. ~ Clarke Fountain, All Movie Guide

Stanley Kubrick dissects the nature of violence in this darkly ironic, near-future satire, adapted from Anthony Burgess's novel, complete with "Nadsat" slang. Classical music-loving proto-punk Alex (Malcolm McDowell) and his "Droogs" spend their nights getting high at the Korova Milkbar before embarking on "a little of the old ultraviolence," such as terrorizing a writer, Mr. Alexander (Patrick Magee), and gang raping his wife (who later dies as a result). After Alex is jailed for bludgeoning the Cat Lady (Miriam Karlin) to death with one of her phallic sculptures, Alex submits to the Ludovico behavior modification technique to earn his freedom; he's conditioned to abhor violence through watching gory movies, and even his adored Beethoven is turned against him. Returned to the world defenseless, Alex becomes the victim of his prior victims, with Mr. Alexander using Beethoven's Ninth to inflict the greatest pain of all. When society sees what the state has done to Alex, however, the politically expedient move is made. Casting a coldly pessimistic view on the then-future of the late '70s-early '80s, Kubrick and production designer John Barry created a world of high-tech cultural decay, mixing old details like bowler hats with bizarrely alienating "new" environments like the Milkbar. Alex's violence is horrific, yet it is an aesthetically calculated fact of his existence; his charisma makes the icily clinical Ludovico treatment seem more negatively abusive than positively therapeutic. Alex may be a sadist, but the state's autocratic control is another violent act, rather than a solution. Released in late 1971 (within weeks of Sam Peckinpah's brutally violent Straw Dogs), the film sparked considerable controversy in the U.S. with its X-rated violence; after copycat crimes in England, Kubrick withdrew the film from British distribution until after his death. Opinion was divided on the meaning of Kubrick's detached view of this shocking future, but, whether the discord drew the curious or Kubrick's scathing diagnosis spoke to the chaotic cultural moment, A Clockwork Orange became a hit. On the heels of New York Film Critics Circle awards as Best Film, Best Director, and Best Screenplay, Kubrick received Oscar nominations in all three categories. ~ Lucia Bozzola, 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

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

Harold Pinter's theatrical piece The Birthday Party was committed to celluloid in 1968 by future Exorcist director William Friedkin. Robert Shaw plays a boarder in a sleazy British seaside-resort rooming house. The landlady (Dandy Nichols) holds a cheerless birthday party for Shaw, which is invaded by a couple of shady characters named Goldberg (Sidney Tafler) and McCann (Patrick Magee). No one knows why they're there except for Shaw, who after being repeatedly humiliated by the despicable duo is taken away by them to parts unknown. The Birthday Party ends with 30 seconds of a totally blank screen. ~ Hal Erickson, All Movie Guide

In this feather-weight version of Evelyn Waugh's novel Decline and Fall, Paul Pennyfeather (Robin Phillips) is an Oxford divinity student who finds himself expelled after a gang of drunken freshmen remove his pants and he is accused of exposing himself to a girl. Looking for work, he retains the services of an unsavory employment agency that secures a position for him at a sleazy Welsh boarding school for boys, presided over by the colorful Dr. Fagan (Donald Wolfit). On staff at the school are an assortment of distasteful screwballs; Mr. Prendergast (Robert Harris) is a withdrawn former clergyman; Captain Grimes (Leo McKern) is a one-legged two-timer with his eye on Fagan's daughter Flossie (Patience Collier); and Soloman Philbrick (Colin Blakely) is an undercover criminal posing as Fagan's butler. All hell breaks loose during the school's annual Sports Day, but Paul manages to meet a wealthy patron of the school, Margot Beste-Chetwynde (Geneviève Page), who hires him to tutor her son. At her estate, Margot seduces Paul, and Paul proposes marriage. But before the wedding, Margot asks Paul, as a favor, to travel to Tangiers on a business trip. He agrees but is soon arrested for trafficking in prostitution. Sent to jail, he runs into Philbrick and Captain Grimes, and now Margot has to scheme to get Paul out of jail. ~ Paul Brenner, 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

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

Filmed on a grand scale, Zulu is a rousing recreation of the January 22, 1879, siege of Rorke's Drift in Natal, Africa. An army of 4,000 Zulu warriors have already decimated a huge British garrison; now they are on their way to the much smaller Rorke's Drift. A Royal Engineers officer (Stanley Baker) is determined to stand his ground, despite having only a skeleton garrison at his command. His steamroller tactics are constantly at odds with those of a by-the-book lieutenant (Michael Caine), who feels that a retreat is called for, but it becomes clear that if the garrison is to survive, they'd better pay heed. Jack Hawkins and Ulla Jacobsson are also on hand as an idealistic missionary and his somewhat more pragmatic daughter. Richard Burton provides the narration for Zulu, closing the film with the observation that 11 of the 1,344 Victoria Crosses awarded since 1856 were bestowed upon the survivors of Rorke's Drift. Zulu was followed in 1979 by a "prequel," Zulu Dawn. ~ Hal Erickson, All Movie Guide

A young Francis Coppola was given the job of directing this moody low-budget chiller after begging producer Roger Corman for the opportunity to reuse the sets for another film which Corman was shooting in Ireland. The story centers on the dysfunctional Haloran family, who live in a state of perpetual sorrow in a spooky Irish castle. Still mourning the death of her young daughter Kathleen -- who drowned in the lake seven years ago -- Lady Haloran (Ethne Dunn) tortures herself regularly by visiting the girl's grave (when she's not shrieking and collapsing in anguish every five minutes). When daughter-in-law Louise Haloran (Luana Anders) loses her husband to a heart attack, she manages to conceal the body for fear of being cut out of Lady Haloran's will. To further complicate matters, a mysterious interloper begins prowling the grounds with an axe to grind... a very big axe. This enjoyable, quirky psycho-thriller is enlivened by Coppola's inventive camera setups, atmospheric locations and Patrick Magee's over-the-top performance as the leering family doctor. Despite some ragged editing (probably not Coppola's doing), this has relatively high production values for a spare-change Corman project. ~ Cavett Binion, All Movie Guide

Joe Machin (William Campbell) is the devil-may-care auto racer with a reputation that doesn't endear him to other racers on or off the track. Joe makes fast time with women, often incurring the wrath of the jilted boyfriends that lose their girls to him. One such malcontent is Stephen Children, a former racer turned author. When Stephen loses his fiancee to the fast moving racer, he brings out his poison pen to write and unflattering expose on Joe. The author tracks the racer, discovering he may have misread Joe when he turns out to be a decent human being that bears little resemblance to his public image. ~ Dan Pavlides, All Movie Guide

For reasons which remain unclear until the episode's midway point, Steed and Cathy enlist the aid of veteran criminal J. P. Spagge (Patrick Magee) to rob a bank of three million pounds. Even more confusing is the fact that Cathy is subsequently arrested for Spagge's murder. Even when an "explanation" is provided, Cathy remains in dire peril -- at the hands of the man she supposedly killed. Written by Roger Marshall, "The Gilded Cage" was originally broadcast in England on November 9, 1963; American viewers were given their first glimpse of the episode on March 13, 1991. ~ Hal Erickson, All Movie Guide