Anna Massey Movies

Hazard of Hearts was adapted for television from a 1948 bodice-ripper by Barbara Cartland. Set (where else?) in 1810 England, the film stars Helena Bonham Carter as the obligatory innocent young lass with a dynamite figure. Falling in love with a Rochester-like Marquis (Marcus Gilbert), Helena is whisked off to the mysterious Castle Mandrake ("played" by England's Belvoir Castle and Burghley House). Here, our heroine is menaced by Diana Rigg, the Marquis' evil, possessive mother. First broadcast December 27, 1987, Hazard of Hearts was buried in the ratings by NBC's repeat showing of Terms of Endearment (1983) and ABC's telecast of Stir Crazy (1980). ~ Hal Erickson, All Movie Guide

The fourth presentation of Masterpiece Theatre's 1989-90 season, a four-part adaptation of Dickens' Tale of Two Cities, was so lavish an undertaking (especially for TV) that it ended up a Production of Two Cities. Part of the program was taped at London's Granada studios, while the remaining scenes were shot at the Dune Studios of France. Part One, telecast November 11, 1989, begins with the release of Dr. Manette (Jean-Pierre Aumont) from the Bastille in 1775. Five years later, dissipated attorney Sidney Carton (James Wilby) saves the life of Charles Darnay (Xavier DeLuc), the beloved of Dr. Manette's daughter Lucie (Serena Gordon). This expository installment ends with the observation that Carton and Darney closely resemble one another...and all of us who read Tale of Two Cities in high school know where this is going.

The second chapter of the four-part British/French TV adaptation of Tale of Two Cities was telecast November 18, 1989 on PBS' Masterpiece Theatre. We pick up the story with Lucie Manette (Serena Gordon) choosing to wed Charles Darnay (Xavier DeLuc). This leaves Sidney Carton (James Wilby) out in the cold, but also sets the stage for the "far far better thing" he'll do on Lucie's behalf in Part Four. Meanwhile, the seeds of the French Revolution are sown when Gaspard (Jean-Paul Tribout) avenges the death of his child at the hands of the callous nobles. Coming up in parts three and four: The storming of the Bastille, the fancy needlework of Madame DeFarge, and Sidney Carton's curtain speech at the guillotine. ~ Hal Erickson, All Movie Guide

Directed by Harley Cokliss, An Angel for May follows a modern boy (Matthew Beard) living in Yorkshire, England, and his dog, who cross through a brick wall leading directly into the early 1940's. Tom (Beard) looks very strange to Sam Wheeler (Tom Wilkinson), who owns the property which Tom managed to land on. Sam, who lives with his adult daughter, Alison (Julie Cox), also provides shelter for a traumatized waif named May (Charlotte Wakefiled). May, who had been buried under the rubble when her entire family was killed in a bombing raid, sleeps with the dog outside and refuses to come inside the house even for meals. However, after she spends some time with Tom, she quickly progresses. Tom, meanwhile, is intent on finding his way back to the future. However, once he gets there, he realizes that he left something very important back in the past. ~ Tracie Cooper, 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

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

This lackluster 1970 version of Charles Dickens' classic novel, David Copperfield (made as a film twice before) turns Dickens' picaresque tale into an extended flashback, with David Copperfield (Robin Phillips) as a young man, brooding on a deserted beach, recalling his youth. The characters are all trotted out in choppy flashbacks as David remembers his life as a young orphan, brought to London and passed around from relatives, to guardians, to boarding school. ~ Paul Brenner, 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

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

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

Adapted from the novel by James Herbert, this subtle, melancholy British chiller owes a great deal to Henry James's The Turn of the Screw. The story opens with a chilling prologue in 1905 England, in which a young boy fails to prevent the accidental drowning of his sister. As a young man, David (Aidan Quinn) is still tormented by guilt and remorse. After several years in the United States, David returns to England to continue his work researching and debunking claims of the supernatural. His latest investigation into the alleged haunting of Edbrook Manor -- at the behest of the Marriell's family nanny, Tess (Anna Massey) -- introduces him to the eccentric company of the lovely Christina Mariell (Kate Beckinsale) and her brothers Robert and Simon (Anthony Andrews and Alex Lowe). Despite repeated warnings from Tess that mischievous spirits are at work, David refuses to concede that the house is haunted -- until the angelic vision of his drowned sister reveals the true nature of his strange hosts. The rich period setting lends a classy Merchant Ivory touch to the film, and the high production values indicate the guiding hand of executive producer Francis Ford Coppola, but the performances are a bit too cold and detached to provide any legitimate tension. Fans of the classic 1961 film The Innocents will not find the central mystery particularly challenging. ~ Cavett Binion, All Movie Guide

This made-for-TV adaptation of Anita Brookner's novel is an account of a novelist, still smarting from a failed relationship, who finds refuge at a Swiss lakefront resort. ~ Jason Ankeny, All Movie Guide

When a father attempts to return to his abandoned family after 23 years his grown son tries to murder his drunk, unemployed father. ~ All Movie Guide