Michael Bates Movies

After getting caught cheating his bookmaking boss over a high-stakes pinball wager, Neil Gallagher (Ken Marshall) leaves his Corpus Christi home for Los Angeles, hoping to make it big as a folk rock balladeer. With best friend Henry (Harvey Lewis) in tow as his manager, Neil finds only failure, but when they come across a streetsmart 14-year-old pinball whiz named Tilt (Brooke Shields), he envisions a plan to get rich quick and save face in his hometown. Impressed by Neil's music, Tilt agrees to hitchhike with him to Texas, thinking she's helping to raise money for a demo tape. They stop by roadside arcades along the way to hustle petty gamblers into betting against the unassuming teen's pinball prowess. When the duo hit home with cash in their pockets, Neil brazenly challenges his former employer, an obese pinball champion known as "the Whale" (Charles Durning), to a 400-dollar game against the unbeatable Tilt. What Neil doesn't realize is that Tilt has caught on to his manipulation and lies, and all his big plans are going to blow up in his face when Tilt and the Whale secretly hold their own late-night pinball tourney. ~ Fred Beldin, All Movie Guide

This is not the same kind of film as the 1962 production, Tom Jones. In fact, it is a "nudie musical", as evidenced by the presence of singing star Georgia Brown in the dual role of Jenny Jones and Mrs. Waters. The project originated as a Las Vegas stage presentation, with Nicky Henson in the lead. The plot of the Henry Fielding novel about the "boy born to be hanged" is followed in spirit rather than to the letter, with busty Joan Collins thrown in like a lagniappe as a lady highwayman. Wandering through the proceedings are such English stalwarts as Trevor Howard and Terry-Thomas. ~ Hal Erickson, All Movie Guide

Alfred Hitchcock entered the 1970s with his commercial reputation virtually in tatters, a far cry from his stature at the start of the 1960s. Then, he'd been in the middle of the massively successful trio of movies, North by Northwest, Psycho, and The Birds, and was a ubiquitous presence on television thanks to his anthology series Alfred Hitchcock Presents -- but the series ended, and he'd suffered three expensive box-office failures in a row, Marnie, Torn Curtain, and Topaz, in the second half of the 1960s. He redeemed himself with Frenzy, however, which marked his return not only to England for the first time in 20 years but also to the subject matter with which he'd started his career in thrillers back in 1926 -- murder, and a hunt for a serial killer in London. As the latest female victim of the "Necktie Murderer" is found in the Thames, raped and strangled, we meet Richard Blaney (Jon Finch), a bitter, belligerent ex-Royal Air Force officer who can't seem to find his way in life. He drinks too much and holds grudges too easily, and has an explosive temper, which is very near the surface as he's just lost his job. We also meet his girlfriend, a barmaid (Anna Massey); his ex-wife, a professional matchmaker (Barbara Leigh-Hunt); and his best friend, Covent Garden fruit seller Bob Rusk (Barry Foster). Their connection to the necktie murders will be clear to us in the first 30 minutes of the movie and, not coincidentally, completely misinterpreted by the police, as Chief Inspector Oxford (Alec McCowan) and his men tighten a circle around the wrong man, who rapidly runs out of options and allies.

The chase and suspense are classic Hitchcock, favorably recalling a dozen of his earlier movies, from The Lodger and The 39 Steps through Saboteur and Spellbound to Dial M for Murder and North by Northwest, with some new twists and the added energy afforded by the extensive use of actual London locations. There's also a good deal more sex and nudity here than Hitchcock was ever allowed to use in his earlier movies, owing to the relaxation of "decency" standards that had taken place in the years leading up to this production. The suspense derives from multiple interlocking and overlapping layers of uncertainty -- when will each of the two men, suspect and murderer, slip? (And which will slip first?) When and how will the police realize their mistake, and will it be in time to save the innocent man? Amid the straightforward storytelling and thriller elements, Hitchcock manages to slip in a few bravura cinematic moments, the best of them a pullback shot down a flight of stairs into a busy street as the killer invites his next victim into his home, as well as a scene aboard a truck, with a murderer desperately wrestling with a corpse hidden in a sack of potatoes. Frenzy was adapted from Arthur La Bern's novel Goodbye Picadilly, Farewell Leicester Square by mystery aficionado Anthony Shaffer, but for all of that and its decidedly modern trappings of sex and violence, it bears the indelible stylistic stamp of Alfred Hitchcock. ~ Bruce Eder, All Movie Guide

In 1943 North Africa, George Patton (George C. Scott) assumes command of (and instills some much-needed discipline in) the American forces. Engaged in battle against Germany's Field Marshal Rommel (Karl Michael Vogler), Patton drives back "The Desert Fox" by using the German's own tactics. Promoted to Lieutenant General, Patton is sent to Sicily, where he engages in a personal war of egos with British Field Marshal Montgomery (Michael Bates). Performing brilliantly in Italy, Patton seriously jeopardizes his future with a single slap. While touring an Army hospital, the General comes across a GI (Tim Considine) suffering from nervous fatigue. Incensed by what he considers a slacker, Patton smacks the poor soldier and orders him to get well in a hurry. This incident results in his losing his command-and, by extension, missing out on D-Day. In his final campaign, Patton leads the US 3rd Army through Europe. Unabashedly flamboyant, Patton remains a valuable resource, but ultimately proves too much of a "loose cannon" in comparison to the more level-headed tactics of his old friend Omar Bradley (Karl Malden). Patton won 7 Academy Awards, including Best Picture and Best Actor for Scott, an award that he refused. ~ Hal Erickson, All Movie Guide

This offbeat comedy finds Teddy (Marty Feldman) as a television advertising man given a seemingly meaningless project. Slated to make frozen porridge commercials, he comes up with the idea to find an erotic Goldilocks to sell the product. Soon a nationwide search is launched for the female spokesperson. He has trouble at home because his wife is the leader of the "Keep Television Clean" movement. Teddy dreams up a wild bunch of commercials and his daydreams harken back to silent era comedies. This was the first full length film for Feldman, the bug eyed comic who parlayed his television success in Britain into a comedy film career in Hollywood. ~ Dan Pavlides, All Movie Guide

Oh! What a Lovely War is an every-man-for-himself adaptation of Charles Chilton's 1963 play, as staged in London by Joan Littlewood. The tragedy of World War I is redefined in bawdy music-hall terms, beginning with a verbal free-for-all involving the Crowned Heads of Europe. The war is presented as the "new attraction" at the Brighton Amusement Pier, complete with syrupy cheer-up songs, shooting galleries, free prizes and a scoreboard toting up the dead. Throughout the proceedings, the camera concentrates on a middle-class family, whose five sons end up as cannon fodder. The final image is a veddy proper British picnic on a graveyard. Of the many fleeting satiric images parading past the camera, one of the most indelible is the sight of several generals playing leapfrog as the world all around them goes to hell in a handbasket. The awesome all-star cast includes Laurence Olivier, Ralph Richardson, Maggie Smith, John Gielgud, Michael Redgrave, Jack Hawkins, John Mills, Susannah York, Dirk Bogarde and Phyllis Calvert. We haven't seen this many Englishmen in one place since the last Wimbledon match. The whole affair was supervised by Richard Attenborough, making his directorial debut (a question: why was he up to the challenge of this musical extravaganza, yet seemed helpless in the face of 1985's A Chorus Line?). ~ Hal Erickson, All Movie Guide

Humorist Max Wilk scripted this listless film version of his book of the same name. Jerry Lewis plays George Lester, an American entrepreneur living in London. After a money-raising scheme fails, his wife Pamela (Jacqueline Pearce) threatens him with divorce. Trying to demonstrate his willingness to get serious with Pamela, George, with crackbrained finesse, turns her country home into a discotheque. Pamela, shocked, demands that George restore her home the way it was. While defending himself, George notes than Pamela now has a snobbish suitor in tow -- Dudley Heath (Nicholas Parsons). To show up Pamela, George contacts an old friend, conman H. William Homer (Terry-Thomas). Together, they concoct a scheme to abscond with Dudley's blueprints for an electronic oil drill and sell it to the Arabs. But complications occur when George catches the mumps and has to rely upon airline steward Fred Davies (Bernard Cribbins) to transport the microfilmed blueprints to Lisbon in his teeth. Once in Lisbon, a local dentist, Dr. Pinto (John Bluthal), is tabbed to remove the blueprints from Davies's mouth, but Dr. Pinto double-crosses them. George flies off to Lisbon with Pamela in pursuit, and the chase is on. ~ Paul Brenner, All Movie Guide

Falling somewhere between the Beyond the Fringe school and the Monty Python league, Bedazzled is an irreverent Faust take-off, written by and starring Peter Cook and Dudley Moore (Moore also composed the music). Moore plays a short-order cook at a London Wimpyburger restaurant, who falls hopelessly in love with waitress Eleanor Bron. About to commit suicide, the broken-hearted Moore is approached by Satan (Peter Cook). The Fallen Angel offers to purchase Moore's soul in exchange for seven wishes--the first of which is squandered when Satan buys Moore an ice cream bar (something over which the two stars quarrel throughout the film). Enticed by living personifications of the Deadly Sins--Raquel Welch, wearing next to nothing, is "Lillian Lust"--Moore allows Satan to grant him his heart's desire, utilizing the magic words, "Julie Andrews!" But with each wish, Satan, being Satan, can't help but gum up the works with a double-cross. The desperate Moore ultimately wishes to be allowed to spend the rest of his life with Eleanor in an environment with no other men--whereupon Satan transforms both Eleanor and Moore into nuns! Finally Satan has a change of heart, allowing Moore and Eleanor to fall in love in more orthodox surroundings and permitting Moore to regain his soul. Satan hopes that God will appreciate this good deed and allow him to re-enter Heaven. But God doesn't buy this; He's satisfied with Satan remaining mankind's "necessary evil". ~ Hal Erickson, All Movie Guide

Set in the 1950s in Britain, this award-winning social comedy by director and co-writer John Boulting features Ian Carmichael as the inept Stanley Windrush, a hopeless twit with -- we are to believe -- an Oxford degree. Unlike others in his social circle, Stanley wants to work. When he tries out for jobs in industry with the full expectation of working his way into a management position, he sets off disasters and alienates his interviewers. So his uncle gives him a job in his munitions factory, knowing what an idiot he is, and relying on him to eventually cause a strike (the uncle needs this for his own reasons). Fred Kite (Peter Sellers in a performance that would launch him as an international star) takes Stanley under his wing yet that does not exactly turn out as expected either. Stanley screws up by accidentally being too efficient, and the entire British work force is affected. If one can accept a portrayal of factory workers as shiftless men unwilling to work, and managers as good 'ole boys whose jobs are gained only by networking, then this film will be all the more entertaining. ~ Eleanor Mannikka, All Movie Guide

This hour-long episode of the ITV network's anthology series Television Playhouse (which ran from 1955 through 1964 in the UK) originally aired December 10, 1955. It constitutes an adaptation of Howard Clewes's play Quay South, about a seafarer, Captain Daniel Thwaite (here played by Roger Livesey), who struggles to retain control over his blockship "The Ebb Tide" despite the authorities' persistent attempts to take it away. ~ Nathan Southern, All Movie Guide