Andrew McCulloch Movies

Richard Harris is not who we've always envisioned as George Simenon's workaday French police Inspector Maigret (especially with that Irish brogue!) but one tends to overlook this odd bit of casting as the story rolls on. The usually businesslike Maigret has trouble maintaining his objectivity when a close friend is murdered. The suspect is American business mogul Patrick O'Neal, as cagey a customer as Maigret. Their guarded Columbo-style byplay is the heart of this British TV movie. Maigret was the latest in a long line of attempts to launch an internationally produced TV series based on the Simenon character. ~ Hal Erickson, Rovi

The later years of the life of author D.H. Lawrence are dramatized in this screen biography. Following the controversial reception of his novel The Rainbow, David Herbert Lawrence (Ian McKellen) and his wife Frieda (Janet Suzman) leave England for the U.S., where they hope that Lawrence's bold themes will be received in a more tolerant climate. Such is not the case, and the Lawrences travel first to Mexico, and then to Italy while David attempts to complete and then publish his best known (and most controversial) work, Lady Chatterley's Lover. However, as the furor over the book taxes David's well being, tuberculosis saps his physical health. The supporting cast includes John Gielgud as censorship crusader Herbert G. Muskett and Ava Gardner as Mabel Dodge Luhan. ~ Mark Deming, Rovi

More widely seen in Britain as Nothing but the Night, this atmospheric chiller -- based on the novel Children of the Night by John Blackburn -- stars the ubiquitous Christopher Lee and Peter Cushing as a Scotland Yard inspector and a forensics expert sent to investigate a series of mysterious deaths among the elderly caretakers of a Scottish orphanage. Their probing uncovers a diabolical plot perpetrated by members of a Satanic cult, involving the use of an experimental serum which contains the genetic memories of its departed members. The caretakers have been injecting the serum into their young charges in order to use their bodies as healthy vessels for the Satanists' return, and the resulting possession transforms them into sadistic murderers. Although Christopher Lee acted as co-producer on both this film and the superb mystical classic The Wicker Man, it bears little resemblance to the latter, playing more like a Hammer-style variant on the American-made Brotherhood of Satan, released the previous year. Also known as The Resurrection Syndicate. ~ Cavett Binion, Rovi

Perhaps William Shakespeare meant to have Lady Macbeth perform her sleepwalking scene in the nude -- it was this X-rated scene and the film's much-publicized spurts of violence, rather than the brilliant performances of Jon Finch as Macbeth and Francesca Annis as his Lady, that lured crowds to Roman Polanski's 1972 adaptation of Macbeth. Only a few critics glommed onto the most impressive aspect of Polanski's version: as Macbeth and his wife sink deeper and deeper into the morass of their murderous ambitions, they age and wither before our eyes (Shakespeare's play does cover several years, but this is usually forgotten or ignored by many actors and directors). Macbeth was financed and released by Playboy, which naturally necessitated a fold-out spread on "the witches of Cawdor." The original Shakespearean text was adapted for the screen by Polanski and Kenneth Tynan. Despite an excellent first week, Macbeth ended up in the red, compelling Hugh Hefner to think twice about future motion-picture projects. ~ Hal Erickson, Rovi

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, Rovi