Anna Massey Movies

Director John Ford traveled to England to film this adaptation of the novel by J.J. Maraca, which details a typical day in the busy life of a detective for Scotland Yard. Inspector George Gideon (Jack Hawkins) begins his working day by confronting one of his fellow officers who is believed to be accepting graft. The sergeant stubbornly denies the charge, but he dies later the same day in a mysterious hit-and-run accident that piques Gideon's curiosity. While confronting internal strife within Scotland Yard, Gideon also has more typical crimes to investigate, including a murder in Manchester and a burglary in London, both of which were performed by the same vicious criminal. Gideon himself becomes the victim of a holdup and is forced to take a bullet for his troubles, while on the home front he finds himself in disfavor with his family when he forgets to bring home salmon for dinner and lets his daughter's recital slip his mind. Along with Jack Hawkins, Gideon's Day features a stellar cast of British actors, including Cyril Cusack, Anna Massey, Laurence Naismith, Dianne Foster, and Billie Whitelaw. For its initial American release, Gideon's Day (also shown as Gideon of Scotland Yard) was cut from 91 minutes to a mere 54, and distributed in black and white prints instead of the original Technicolor. Fortunately, nearly all the prints currently in circulation are of the uncut, color edition. ~ Mark Deming, All Movie Guide

Based on the mystery novel by Marryam Modell (using the pseudonym Evelyn Piper), Bunny Lake Is Missing is a bizarre study in motherhood, kindness, enigma, and insanity. Ann Lake (Carol Lynley), an American freshly relocated to England, wishes to drop off her daughter Bunny for the girl's first day at a new nursery school. Oddly, Ann cannot locate any teachers or administrators, only the school's disgruntled cook (Lucie Mannheim). She is forced to leave Bunny unsupervised in the building's "first day" room, under the reassurance that the cook will be responsible for the child. When Ann returns in the afternoon, the cook has quit and Bunny Lake is missing. The school's remaining employees vehemently deny ever seeing the child, and Ann desperately calls her older brother Stephen (Keir Dullea) for help. Ann was raised fatherless and never married; she and Bunny have lived under Stephen's care and protection for the majority of both their lives. Stephen is enraged by the irresponsibility of the staff, but as Scotland Yard begins its investigation, it comes to light that he had never officially enrolled a child at the school. When Police Superintendent Newhouse (Laurence Olivier) begins to unravel the Lakes' lives and search their belongings, he discovers that not only did Ann once have an imaginary childhood daughter named "Bunny," but that the young Bunny seemed to have no tangible possessions at the Lake apartment. Bunny Lake (whom we have yet to see onscreen) may not be missing: she may not even be real. Terrified that Newhouse will now abandon the search for the girl, the hysterical Ann sets out to prove her sanity and, in the process, surprisingly uncovers the true psychosis behind the disappearance of her little Bunny Lake. ~ Aubry Anne D'Arminio, All Movie Guide

Keir Dullea dives into a bevy of babes with an open wine bottle as the notorious Marquis de Sade in this low-budget debauch from American International Pictures -- purveyors of fine entertainment morsels for the connoisseur. The film takes place as an extended flashback after de Sade has escaped from a madhouse and taken refuge in the dilapidated mansion where he was reared. In his flashback, de Sade recalls how the Abbe de Sade (John Huston) used to have a maid whip him until he began to like it. Of course, after that, the next step down the primrose path was flagellation and orgies. Finally sent to a French jail for lewd behavior, de Sade begins to write anti-government creeds to while away the hours. After his release, he is compelled to marry the repulsive Renee de Montreuil (Anna Massey). De Sade goes along with the marriage in order to get closer to her sister Anne (Senta Berger). In spite of that, de Sade continues to seek out various forms of softcore sex. But then the Black Plague hits. ~ Paul Brenner, 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

Vault of Horror is the first sequel to 1972's horror hit Tales from the Crypt. It is also known as Tales from the Crypt, Part II. It continues it's predecessor's popular formula of using established stars in five witty short horror episodes. The first, "Midnight Mass," shows that having a vampire for a relative can be upsetting, to say the least. In "The Neat Job" a nagging neat-freak is neatly nullified. In "This Trick'll Kill You," a colonial overlord learns that it's not safe to steal magic tricks from natives. "Bargain in Death" exposes the greed of two insurance swindlers, and "Drawn and Quartered" takes "The Picture of Dorian Grey" one better. Among the stars appearing in these episodes are Terry-Thomas, Glynnis Johns, Curt Jurgens, Denholm Elliott and Tom Baker. ~ Clarke Fountain, All Movie Guide

Welsh-born writer Emlyn Williams' 1938 play The Corn is Green originally starred Ethel Barrymore as L.C. Moffat, the strong-willed schoolteacher under whose guidance the illiterate Welsh teenager Morgan Evans matriculates as an honor student. Bette Davis played Moffat in the 1945 film version; this second filmization, made for television on location in North Wales, stars Katharine Hepburn. Morgan Evans is portrayed by newcomer Ian Saynor; the rest of the cast is populated by such old reliables as Bill Fraser and Anna Massey. Directed by George Cukor (his ninth collaboration with Katharine Hepburn), The Corn is Green premiered on January 29, 1979. ~ Hal Erickson, All Movie Guide

A British-American production, Sweet William is an R-rated movie about sexual relationships that focuses on the flings of an untamed Scotsman named William (Sam Waterston). William has had two marriages and many affairs, and he approaches more romantic adventures without feeling any guilt. His next target is a sensitive and naïve London woman, Ann (Jenny Agutter). Her boyfriend is away on business in the U.S., and the irresistible William woos her by acting lovably loony. Ann soon learns of William's reputation, even though he does his best to hide his past and his current fancies. She decides that some woman finally needs to take a stand against William's charms. Ann eventually makes him choose between continuing his philandering ways and settling down for true happiness. Despite its theme and rating, the film has no explicit sexual scenes. ~ Michael Betzold, All Movie Guide

Fred Zinnemann's final film is a meditative examination of an illicit May-December romance, set in the mountain expanse of the Swiss Alps. Sean Connery plays Douglas, a middle-aged Scottish doctor on vacation in the Alps in 1932 with a beautiful and fresh-faced young woman, Kate (Betsy Brantley), whom he introduces as his wife. Douglas has taken Kate to the Alps to introduce her to the invigorating sport of mountain climbing. When Douglas and Kate arrive at the mountain lodge, their happiness is tempered by a knowing melancholy. Through flashbacks, it is revealed that Kate has been madly in love with Douglas since she was a little girl and that she seduced him away from another woman. The flashbacks also reveal that Kate is not his wife, but his niece. But then, in their mountain retreat, young and handsome guide Johann (Lambert Wilson) makes an entrance. Johann immediately develops an attraction for Kate. Now Kate has to worry if the feeling is mutual. ~ Paul Brenner, All Movie Guide

Sacred Hearts in one of the more trenchant of the "nun- bashing" films of the 1980s. Anna Massey plays the unbalanced Mother Superior in charge of a British convent during the war years. Through the rigid enforcement of her Spartanlike rules, Sister Massey puts her fellow nuns through the torments of the damned (are we mixing metaphors?). Her greatest crime is to refuse to acknowledge the doubts and fears of the novices in times of extreme crisis--such as the war itself. Sacred Hearts might be even more fascinating if it were double-featured with The Nun's Story--or The Sound of Music. ~ Hal Erickson, All Movie Guide

A pair of British lads, one gay and one socialist, chafe at the restrictions of boarding school life in this period piece, which was adapted from Julian Mitchell's novel and play of the same name and loosely based on the Burgess-Maclean spy scandal of the 1950s. In the 1930s, upper-class scions Tommy Judd (Colin Firth) and Guy Bennett (Rupert Everett) are both nearing the end of their careers at an unnamed public school that bears a striking resemblance to Eton. Tommy, a Marxist intellectual, refuses to participate actively in the school's rigid social hierarchy. But Guy, when not mooning after pretty boys, angles for a position next term as one of the "gods," or master prefects, of his house. When a faculty member stumbles onto the homosexual fumblings of a pair of students, one boy commits suicide and a scandal erupts. The administration and senior students do their best to ensure nothing of this sort ever sullies their reputation again. Considering that homosexual experimentation is rampant and that Guy has slept with most of the prefects in his house, the strict new rules leave a bad taste in his mouth. They also put a damper on his Wildean lifestyle, especially after he falls hopelessly in love with James Harcourt (Cary Elwes), a dreamy boy from one of the other houses. Things come to a head when autocratic prefect Fowler (Tristan Oliver) intercepts a letter from Guy to James and sentences Guy to a savage beating. By film's end, Guy's complicity in the power games of the British class system has been challenged, and his friend Tommy's communist dogma has made a lasting impression; a framing device portrays Guy as an elderly former spy living in exile in Soviet Moscow. Another Country was shot at Cambridge, Oxford, and Althorp Hall (Princess Diana's childhood home) after the producers were denied permission to shoot at Eton. Everett and Firth both appeared in the original London theater production alongside Kenneth Branagh and Daniel Day-Lewis; on-stage, it was actually Firth who played Guy. For a more factual account of the Burgess-Maclean affair, see the TV movie An Englishman Abroad. ~ Brian J. Dillard, All Movie Guide

In this standard suspense thriller, Paul Hatcher (Charles Dance) has a habit of spying on the neighbors across the way, something that gets him into deep trouble. Hatcher is a movie critic, and for awhile it looks like his main problem is keeping reality and the silver screen separate. But then a double murder occurs across the street after some mobsters cannot find an incriminating negative. After Hatcher discovers where the negative is hidden, he is bumped to the top on the assassins' hit list. ~ Eleanor Mannikka, All Movie Guide

The best-known of the 12 filmed adaptations of Tolstoy's Anna Karenina include the 1936 Garbo vehicle and the 1947 Vivien Leigh vehicle. This made-for-TV version is every bit as elaborate and tasteful as those earlier efforts. Jacqueline Bisset makes her TV-movie debut as Anna, the wife of 19th century Russian nobleman Karenin (Paul Scofield). When she falls in love with the dashing Count Vronsky (Christopher Reeve), Anna runs afoul of the rigid social structure of the era-and of a husband whose anguish translates into revenge. The teleplay was by James Goldman, author of The Lion in Winter and screenwriter of another Russian-based period piece, Nicholas and Alexandria. Anna Karenina premiered March 26, 1985. ~ Hal Erickson, All Movie Guide

Victor Banerjee, the India-born star of David Lean's A Passage to India, is the central figure of director Ronald L. Neame's Foreign Body. Jobless in Calcutta, Banerjee steals money from his own father to afford passage to Britain. There he makes contact with his cousin Warren Mitchell, who arranges for Banerjee to get a job as a bus conductor. But when he begins to ardently pursue a lovely young white woman, Banerjee loses his job at the behest of the girl's influential father. His luck changes radically when Banerjee administers mouth-to-mouth resuscitation on a bus accident victim, whereupon he is mistaken for a doctor by friendly model Amanda Donohoe (probably the nicest she's ever been on film). Donohoe talks up the skills of this "new Indian doctor", and before he knows what has hit him, Banerjee is head physician to the Prime Minister of England--with virtually every woman in the land vying for his services in bed! Never letting on where it is heading next, Foreign Body is adapted from an equally tricky novel by Roderick Mann. ~ Hal Erickson, All Movie Guide