Robert Beatty Movies

A mind-bending sci-fi symphony, Stanley Kubrick's landmark 1968 epic pushed the limits of narrative and special effects toward a meditation on technology and humanity. Based on Arthur C. Clarke's story The Sentinel, Kubrick and Clarke's screenplay is structured in four movements. At the "Dawn of Man," a group of hominids encounters a mysterious black monolith alien to their surroundings. To the strains of Strauss's 1896 Also sprach Zarathustra, a hominid invents the first weapon, using a bone to kill prey. As the hominid tosses the bone in the air, Kubrick cuts to a 21st century spacecraft hovering over the Earth, skipping ahead millions of years in technological development. U.S. scientist Dr. Heywood Floyd (William Sylvester) travels to the moon to check out the discovery of a strange object on the moon's surface: a black monolith. As the sun's rays strike the stone, however, it emits a piercing, deafening sound that fills the investigators' headphones and stops them in their path.

Cutting ahead 18 months, impassive astronauts David Bowman (Keir Dullea) and Frank Poole (Gary Lockwood) head toward Jupiter on the spaceship Discovery, their only company three hibernating astronauts and the vocal, man-made HAL 9000 computer running the entire ship. When the all-too-human HAL malfunctions, however, he tries to murder the astronauts to cover his error, forcing Bowman to defend himself the only way he can. Free of HAL, and finally informed of the voyage's purpose by a recording from Floyd, Bowman journeys to "Jupiter and Beyond the Infinite," through the psychedelic slit-scan star-gate to an 18th century room, and the completion of the monolith's evolutionary mission.

With assistance from special-effects expert Douglas Trumbull, Kubrick spent over two years meticulously creating the most "realistic" depictions of outer space ever seen, greatly advancing cinematic technology for a story expressing grave doubts about technology itself. Despite some initial critical reservations that it was too long and too dull, 2001 became one of the most popular films of 1968, underlining the generation gap between young moviegoers who wanted to see something new and challenging and oldsters who "didn't get it." Provocatively billed as "the ultimate trip," 2001 quickly caught on with a counterculture youth audience open to a contemplative (i.e. chemically enhanced) viewing experience of a film suggesting that the way to enlightenment was to free one's mind of the U.S. military-industrial-technological complex. ~ Lucia Bozzola, All Movie Guide

The title character of Albert, R.N is portrayed by-well, by no one. Albert is a papier-mache dummy, constructed by the British inmates of a German POW camp. The dummy is used as a diversion in a daring escape plan. Anthony Steel plays the mastermind of the getaway scheme, while Anton Diffring costars as the shrewd-and utterly despicable-Nazi commandant. Albert, R.N was released in the US under the unimaginative title Break to Freedom. ~ Hal Erickson, All Movie Guide

Leo Martin (William Hartnell) is a low-level member of a smash-and-grab gang run by shady dance-club owner Loman (Raymond Lovell), who is cajoled into a risky job on a major jewelry store. When the robbery goes wrong, and Martin is caught (and his wrists broken), the hood keeps silent and does his stretch in prison -- all along, he nurses a grudge against Loman and his driver Hatchett (Victor Weske) for running out on him. And that grudge grows to full-blown, murderous vengeance when Loman blows off the newly-released Martin as no use to the gang (as his hands aren't what they used to be). Now Martin plans to get even by squeezing Loman dry of everything he has, starting with his peace-of-mind -- he implicates the club owner in a murder, while planning a seemingly perfect alibi for himself, and also manages to latch on to the ring-leader that Loman is fronting for, "respectable" art dealer Gregory Lang (Herbert Lom). Lang has a knack for tying up loose ends -- including Loman -- and thinks he can handle a low-level spiv like Martin, but he doesn't reckon with the latter's rage, deviousness, or resourcefulness. Martin's planning gets him past all of the obstacles in his way, even -- so it seems -- the plodding efforts of Inspector Rogers (Robert Beatty), still investigating the killing that put Martin's plan into operation. ~ Bruce Eder, All Movie Guide

In the far distant future, the Earth and its space colonies are under the dictatorial rule of the Federation, which uses everything from physical torture to mind-controlling drugs to keep the populace under its thumb. Among the Federation's "perfect" citizens is Roj Blake (Gareth Thomas), whose memories of his previous life as a freedom fighter have been obliterated by the authorities. Upon recovering his full mental capacities and learning his true identity, Blake agrees to lead a revolt against the Federation -- only to be framed on a phony child-molestation charge and sentenced to the prison planet Cygnus Alpha. While onboard the prison transport vessel, Blake meets two fellow "outlaws" -- smuggler Jenna Stannis (Sally Knivette) and safecracker Vila Restal (Michael Keating) -- who are destined to join him in a bold escape attempt. Thus, with the episode titled "The Way Back," began the BBC1 TV run of Blakes 7 on January 2, 1978. ~ Hal Erickson, All Movie Guide

All the various Bulldog Drummond movie series had run their courses by 1951; nonetheless, MGM decided to revive the property (and simultaneously liquidate some "frozen funds") with the British-filmed Calling Bulldog Drummond. Walter Pidgeon stars as novelist Sapper's soldier-of-fortune, here retooled as a respectable retired military officer. Summoned to London by Scotland Yard, Drummond is assigned to break up a dangerous criminal gang. He is aided by female undercover officer Helen Smith (Margaret Leighton), who turns out to be not much help at all. Trapped in a bombed-out building and surrounded by hulking henchmen, Drummond seems to have run out of luck. Some of the film's brightest moments are provided by David Tomlinson as a traditional "silly ass" type who is lot smarter than he seems. Bernard Lee, the future "M" in the James Bond films of the 1960s, appears as a secondary villain. ~ Hal Erickson, All Movie Guide

Nazi war criminal Bruckner (Mervyn Johns) manages to escape capture at the end of WW II. Bruckner sets up shop in England, where he continues his diabolical germ-warfare experiments. Murdering an Australian physician, the regenerate Nazi assumes the dead man's identity to escape detection. His downfall comes when he falls in love with pretty lab assistant Tracy Shaw (Nova Pilbeam), and he refuses to murder her when ordered to do so by his superiors. The ending is right of the "hoist on his own petard" school of dramatics. Devil's Plot was released in the U.S. in mid-1953, and within a few months was making the TV Late-Show rounds. ~ Hal Erickson, All Movie Guide

Written by Kit Pedler and Gerry Davis, the four-part "The Tenth Planet" was the first "transitional" adventure in the Doctor Who canon. When the TARDIS docks at the South Pole in December 1986, the Doctor (William Hartnell) and his companions find that they've arrived just in time to witness a missile launching -- but they'd better get out of the way lest they be launched as well. This crisis is but a prologue for an even greater danger in the form of the dreaded Cybermen. The first of four episodes, Doctor Who: The Tenth Planet, Episode 1 first aired on October 8, 1966. ~ Hal Erickson, All Movie Guide

In the third episode of the four-part story "The Tenth Planet," the Cybermen set in motion their scheme for conquering the Earth. In his efforts to thwart the aliens, General Cutler (Robert Beatty) may cause far more harm than good. The conspicuous absence of the Doctor (William Hartnell) in this episode was intended to prepare the audience for a startling "transition" in the concluding chapter. Written by Kit Pedler and Gerry Davis, Doctor Who: The Tenth Planet, Episode 3 first aired on October 22, 1966. ~ Hal Erickson, All Movie Guide

Produced by Britain's Teddington Studios on behalf of Warner Bros., The Flying Fortress stars Richard Greene, who had to be furloughed from the Army to participate in this wartime morale-booster. Greene plays millionaire playboy Jim Spence, a carefree aviation enthusiast whose avocation becomes his vocation when the war breaks out. Giving up wine, women and song for the duration (well, at least wine and song), Spence mans the controls of a British "flying fortress" for periodic bombing forays over Berlin. The film's "money scene" finds Spence clambering out of his plane to repair a hole in its side in mid-air-a bit of bravado which, amazingly, is based on a true incident. For unknown reasons, Flying Fortress was heavily edited for its American release, rendering its storyline a tad hard to follow at times. ~ Hal Erickson, All Movie Guide

In this melodrama, a fisherman begins studying to be a doctor. Although he isn't finished with medical school, he begins treating his landlady's daughter who is believed to have a terminal illness. He seems to cure her, and the case draws a lot of attention, some of it negative because he was unlicensed when he treated her. He still does not have a degree when he marries the daughter and begins practicing osteopathy. He soon finds success and happiness until he begins having an affair. Later he jilts his mistress and she kills herself. During the autopsy he is appalled to learn that it was actually his misdiagnosis of her illness and the resulting medical treatment that caused her to die. The distraught osteopath then takes off and does not return until his wife, whose disease has come back, begs him to help her once again. He succeeds and their happiness resumes. ~ Sandra Brennan, All Movie Guide

The inspiration for this British seriocomedy was Victor Skutezky's stage play She Met Him One Sunday. "She" is Moya Malone (Barbara White), an Irish maid living in Liverpool. "He" is Tom Stevens (Robert Beatty), a Canadian sailor. That "one Sunday" is a busy one, encompassing a few romantic strolls down the dock, Moya's renouncing of her servant status, and a run-in with crooks. Playwright Skutezky also served as producer of It Happened One Sunday. ~ Hal Erickson, All Movie Guide

George Lucas produced and Jim Henson directed this gothic fantasy which pits living and breathing actors Jennifer Connelly and David Bowie (who, along with Trevor Jones, provides the film's music) against a motley collection of Muppet monsters. The film centers upon teenage Sarah (Connelly), who lives in a fantasy world of myth and magic, evil spells, and wondrous enchantment. She is baby-sitting her little brother when she cavalierly wishes that goblins would take him away. She gets her wish, and a coterie of goblins abduct him. She then encounters Jareth (David Bowie), the ruler of a mystical world one step removed from reality. He tells Sarah that the only way to get her brother back is to find her way through a M.C. Escher-like labyrinth and find the castle at the center. As she makes her way through the maze, she faces a number of horrific challenges (like the Bog of Eternal Stench) before she finds her way to the gravity-defying castle, where her brother is being held by the evil goblins. ~ Paul Brenner, All Movie Guide