John McEnery Movies

In 1946, Darman (Terence Stamp) followed orders from his Communist Party superiors, and went to Spain to kill someone the party had designated as a traitor, and he hasn't been comfortable with himself ever since. Now, it is 1962, and he receives word that he is wanted to perform a similar service. Obediently, he leaves his cozy, book-lined cottage in Britain and heads to Poland, where he gets his orders in some detail. Then he heads for Madrid, evading the Falangist regime's police forces and contacting the city's underground communists. He continues going through the motions of locating his victim, even though he is still very ambivalent about his assignment. At the end, he gets off the hook because another communist does the job. The complex situation grows more complex, leading to a final shootout. This political thriller is based on a novel by Antonio M. Molina and was quite well received in Spain. ~ Clarke Fountain, All Movie Guide

Little Dorrit was intended as the cinematic equivalent to the mammoth, eight hour Royal Shakespeare Company's staging of Dickens' Nicholas Nickelby. The film was released to theatres in two parts, each running approximately three hours. The first part, subtitled "Nobody's Fault," introduced us to the seamstress title character (Sarah Pickering), who chooses to live in debtor's prison with her father (Alec Guinness). Good samaritan Derek Jacobi endeavors to help both father and daughter. The second part, also known as "Little Dorrit's Story," details Dorrit's escape from penury to lasting happiness. Eschewing the usual 19th century-style British music often heard in Dickensian adaptations, director Christine Edzard creatively-and effectively--opts for the strains of Giuseppe Verdi. Edzard's eye for period detail is also deserving of unbounded praise. Unfortunately, Part Two of Little Dorrit spends nearly half of its running time recapping Part One, utilizing much of the same footage. For those familiar with "Nobody's Fault," "Little Dorrit's Story" is more a redundancy than a continuation. Still, taken together, parts one and two all fully deserving of the enthusiastic critical commentary that greeted them upon their original release-not to mention the multiple Academy Award nominations bestowed upon the project and its participants. ~ Hal Erickson, All Movie Guide

In this made-for-TV thriller, a sportscaster engineers a daring escape from a Soviet prison camp after being snared by a KGB scheme. Mickey Almon (David Keith), a sports star-turned-journalist, arrives in Moscow to cover an international tournament. Soon, though, he's tempted to play the hero once again, this time not as an athlete, but as a smuggler of repressed scientific research. Against the advice of his wife (Nancy Paul), Mickey agrees to help the Russians who've approached him, but the entire intrigue turns out to be a set-up. Physically neglected and emotionally tortured in a stinking hole for several weeks, Mickey agrees to sign a confession after being told that it will guarantee his release. Instead, he receives a ten-year sentence and soon finds himself on a train bound for Siberia. Sewing rough-hewn gloves with the other foreign prisoners and living for the day each month when his care package arrives, Mickey soon resolves to escape or die trying. To that end, he enlists a cynical British spy (Malcolm McDowell) and a group of Soviet prisoners in a plan to escape via a supply train that can get them within reach of the West -- if only they can find a way to get onto it undetected. Gulag was directed by Roger Young, who previously helmed such lauded TV movies as Bitter Harvest and would go on to direct the original televised version of Robert Ludlum's The Bourne Identity. ~ Brian J. Dillard, All Movie Guide

This made-for-TV remake of the Alfred Hitchcock adventure stars Patrick McGoohan as the head of a crew of smugglers; Jane Seymour plays his niece, who discovers the secret history of the title inn. ~ Jason Ankeny, All Movie Guide

Written by the prolific John Mortimer, the British drama series Will Shakespeare focused on the Bard of Avon's formative years. Deftly mixing fact with fancy, the story concentrates on such elements as the marriage of young Will (played by Tim Curry, no less) to the older and more affluent Anne Hathaway (Meg Wynn Owen) and his hot-and-cold relationship with rival playwright Christopher Marlowe (Ian McShane). Andre Morell provided an amusing turn as Shakespearean actor Edward Alleyn, while Patience Collier was seen as the playwright's erstwhile patron Queen Elizabeth. The six episodes comprising Will Shakespeare were first broadcast from June 13 to July 18, 1978. ~ Hal Erickson, All Movie Guide

In this gentle, tragic drama, Olivier (John McEnery) is a wealthy young man with a lively and attractive mother (Valentina Cortese), which is a pity, really, as he can't bear her, or the men she gets involved with. When he gets too upset with her escapades, he begins to break things, or runs off. Otherwise, he spends his time building a boat on the lawn with his friend David (Jean-Pierre Cassal), a poor fisherman whom he grew up with. Though hardly idyllic, the relative calm provided by their friendship is disrupted by Eleonor (Claude Jade), a cute and determined young woman who sets her sights on David. She wants to wean David from his friendship with Olivier and plays on David's long-dormant jealousy of Olivier's wealth and easy life. She also plays the flipside of the jealousy issue, claiming that Olivier has made passes at her. This film is in the French language. ~ Clarke Fountain, All Movie Guide

The 1965 Othello is literally a photographed stage play: a filmed record of the National Theatre Production of 1964, as staged by John Dexter and starring Laurence Olivier. As the easily led, fatally jealous Moor of Venice, Olivier wears thick black-faced makeup and speaks in an uncharacteristically deep, bellow-like voice. Some considered his portrayal of Othello to be an unflattering stereotype; others regard Olivier's interpretation as one of the finest Shakespearean performances ever captured on film. Less flamboyant, but no less effective, are Frank Finlay as Iago, Maggie Smith as Desdemona, Derek Jacobi as Cassio, and Joyce Redman as Emilia. Oscar nominations went to Olivier, Finlay, Smith, and Redman. ~ Hal Erickson, All Movie Guide

Peter Medak directed this fact-based drama, chronicling the lives of the infamous Kray Brothers, notorious celebrities in 60s London. The Krays were twin gangsters who ruled London's stylish East End club scene, staking out their territory by committing the most violent crimes imaginable, preferring to perform the most torturous acts themselves. The film stars Gary Kemp and Martin Kemp, founding members of the pop group Spandau Ballet, as Ronald and Reginald Kray. The film opens as their mother Violet Kray (Billie Whitelaw) recalls a dream in which she is a swan from which two beautiful babies have hatched. She can't tell if the swans are angels or demons, but the film soon answers that question for her. Brought up in London's East End in the 1930s, Ronald and Reginald Kray are raised in the resentful world of Violet, who is hateful of her lot in life and bitter at the control men have in running the world ("Housework is a lethal business," she says). The twins react to each other almost telepathically and they take out their anger by clogging the nose of their sleeping father (Alfred Lynch), pushing around fellow schoolboys, and even beating each other to pulp at a boxing match. When her mother chastises them for their fight in a fairground boxing ring ("You fight them up, but you don't fight each other"), the twins veer into the London underworld. In their self-contained world of Us-Against-Them, the Krays rapidly rise to the height of power, first taking over the territory of a petty mobster by violent means and then putting together an underworld empire of posh clubs, cars, and fancy suits. But at the height of their fame, the twins begin to break from each other. Reginald falls in love with Frances (Kate Hardie), while Ronald gets involved in a homosexual relationship with one of his underlings. Ronald, in a jealous rage over Frances stealing his brother away from him, becomes even more brutal in his crimes and while the brothers' backs are turned, a group of older mobsters challenge the Krays' authority, invoking a horrible bloodbath that effects not only the two brothers but Frances and Violet as well. ~ Paul Brenner, All Movie Guide

Based on M. Lermontov's novel Vadim, this costume drama, set in Russia during the 1700s, chronicles the battle between a vengeful, anarchic peasant and the tyrannical landowner who killed his mother and father. ~ Sandra Brennan, All Movie Guide

The subject of one of Johannes Vermeer's most enduring portraits becomes the focus of this biographical period piece from director Peter Webber. Girl With a Pearl Earring is told from the point of view of Griet (Scarlett Johansson), a teenaged girl who leaves her family's care in the country to become a servant for the Vermeer household in the comparatively bustling, canal-laden burgh of Delft. When she arrives, she finds herself at the low end of the servant totem pole, until she's allowed to clean "the master's" painting quarters. There, she catches the eye of the taciturn, reclusive Vermeer (Colin Firth), and over a period of time, he begins to craft her portrait. Of course, this does little to further his relationship with his jealous, pregnant wife, Catharina (Essie Davis), or with his most vocal benefactor, van Ruijven (Tom Wilkinson), who often dictates what portraits Vermeer should paint. Meanwhile, Griet navigates a sweet, tentative relationship with a peasant boy her age (Cillian Murphy). Girl With a Pearl Earring had its North American premiere at the 2003 Toronto Film Festival. ~ Michael Hastings, All Movie Guide