Bill Maynard Movies

The owner of a British nightclub attempts to do the impossible by coaxing a legendary Irish tenor out of retirement for a once-in-a-lifetime show in this engagingly quirky comedy. The owner, Mickey O'Neill, is particularly desperate to land a performance by the great Josef Locke, as his already questionable reputation was ruined when he booked an impostor claiming to be Locke. Now only providing a show by the real thing can make up for it. Trouble is, Locke fled England several decades before to avoid charges of tax evasion, and would face immediate arrest upon his return. Naturally, the comedy emerges from O'Neill's desperate attempts to convince Locke to participate in the scheme. Much of the film's charm comes from the presentation of eccentric but believable characters, particularly Locke himself -- a real historical figure given warm life by Ned Beatty, who was nominated for a Best Supporting Actor Golden Globe for his performance. The film as a whole manages a similar balancing act between realism and comic fantasy, grounding even the less believable aspect of the narrative in strongly observed local color. ~ Judd Blaise, Rovi

In this comic-detective movie, Dangerous Davies, a bungling gumshoe uses archaic methods to solve his cases. This time he must solve a 15-year-old murder involving an adolescent girl. He finds himself on a convoluted trail surrounded by the lowest of the lowlife. It is not until the picture is almost over that he realizes that the solution to the mystery has been under his nose all along. ~ Sandra Brennan, Rovi

Britain's Confessions series, like the Carry On films, were episodic slapstickfests with emphasis on questionable taste. Based on an autobiographical novel by Timothy Lea, the film stars Robin Askwith as a feckless driving teacher named...Tom Lea. His customers range from inept to dangerous. Their "victims" include golfing dowagers, violinists and boy hikers. Somehow or other, a group of former borstal boys (reform school students) gets mixed up with Lea and his reckless charges. Chronologically, Confessions of a Driving Instructor was wedged between Confessions of a Window Cleaner (one of the few series entries to get an American release) and Confessions of Holiday Camp. ~ Hal Erickson, Rovi

Though the story told in Robin and Marian is unfamiliar to most audiences, it is actually quite faithful to several of the ancient Robin Hood legends. During the Crusades, Robin (Sean Connery) is still loyal to King Richard the Lionheart (Richard Harris), but even he has trouble adjusting to the monarch's ever-increasing paranoia and lunacy. After Richard's death, Robin returns to England, his first visit to his home turf in 20 years. He looks up his beloved Maid Marian (Audrey Hepburn, last seen in 1967's Wait Until Dark), who is now a middle-aged nun. No sooner do Robin and Marian renew their relationship than the aging Merry Men demand Robin's services in thwarting their old foe, the Sheriff of Nottingham (Robert Shaw). Marian is aghast that the long-standing feud between Robin and the sheriff threatens to expand into wholesale bloodshed. The two venerable enemies agree to one last mano a mano battle -- only to watch helplessly as the all-out war they'd tried to avoid commences anyway. Both the tragic climax and Robin's last, defiant arrow shot are drawn directly from authentic Robin Hood ballads of the 14th and 15th centuries. ~ Hal Erickson, Rovi

In this ribald erotic comedy, brothers team up to promote a rock band. Even though the musicians are remarkably untalented and one of the brothers is an incredible klutz, somehow they manage to succeed. Unfortunately, the band's fall to the bottom is nearly as quick as its rise to the top, for the boys find themselves unable to resist the temptations of several, seductive and large-breasted women. ~ Sandra Brennan, Rovi

The British "Confessions" film series was reminiscent of the "Carry On" series, albeit far, far dirtier. Many fans consider the first entry, Confessions of a Window Cleaner, to be the best of the batch. Based on a supposedly autobiographical novel by Timothy Lea, the film stars Robin Askwith as an apprentice window washer with a voyeuristic streak. Nearly everyone with whom Askwith comes in contact is an oversexed, underdressed female. Potato-shaped
Dandy Nichols plays the protagonist's mother. An anachronism even before it was released, Confessions of a Window Cleaner was nonetheless successful enough to inspire several sequels, none of which were released to American theatres. ~ Hal Erickson, Rovi

The last of four "medical" entries in the Carry On series is also the lewdest; whether it's the funniest is a matter of taste (taste?) The action takes places at Finisham Maternity Hospital. If you liked that "Finisham" gag, you'll adore such characters as Susan Ball, Miss Willing, and Mrs. Putzova. Oh, yes, we must have a plot somewhere. It seems that a group of thieves hope to steal a huge shipment of contraceptives from the hospital. Alas and alack for them, Matron (Hattie Jacques) and head doctor Sir Bernard Cutting (Kenneth Williams) remain forever underfoot. Other stalwart Carry On-ers in the cast, many in surprisingly fleeting roles, include Kevin Connor, Joan Sims and Barbara Windsor. ~ Hal Erickson, Rovi

In this episode of the popular British comedy series, the characters must cope with the chaos caused when big business and the unions get together. ~ Sandra Brennan, Rovi

This bawdy entry in the long-running series of British "Carry On" comedies is set in the court of King Henry the VIII and centers on the gang's attempt to freshen up the odiferous Queen Marie and thereby save her head. ~ Sandra Brennan, Rovi

The British television series Til Death Do Us Part was the forerunner to the American TV hit All in the Family. The original series' Archie Bunker was Alf Garnett, a bigoted, profane cockney played by Warren Mitchell. The "Edith" was the dimwitted Else, portrayed by Dandy Nichols. The British series' catchphrase was not "Stifle yerself, dingbat" but instead "You silly moo!" Eschewing the heavy-handed social commentary indulged in by All in the Family producer Norman Lear, Til Death Do Us Part existed principally to invoke loud (and sometime embarrassed) gusts of laughter. Several feature films were spun off from the property: the first of these, Alf 'N' Family flashed back to Alf and Else's marriage, skipped ahead to the wedding of the Garrett's daughter Rita (Una Stubbs) to unwashed hippie Mike (Anthony Booth), and concluded with the family's move from their crowded flat to a home in the suburbs. Alf 'N' Family was scripted by Til Death Do Us Part creator Johnny Speight. ~ Hal Erickson, Rovi