Martin Miller Movies

Perhaps one of the most fascinating and maddening 48 minutes ever committed to television broadcast, "Fall Out" was the 17th and final episode of the British sci-fi/fantasy series The Prisoner. Having survived the ordeal of Degree Absolute in the previous episode "Once Upon a Time", Number Six is rewarded with the right to become an individual once more. With the begrudging blessing of the defeated Number Two (Leo McKern), Number Six is given back his original clothes, the key to his old house, a million pounds' worth of travellers cheques, and an international passport. But this is not enough for Number Six: He insists upon learning the identity of the enigmatic Number One, who was responsible for his ordeal in The Village. From this point on, the episode's already pervasive surrealism reaches a fever pitch, festooned with cryptic messages, verbal and visual puns, "reunions" with past antagonists, Beatles tunes in the background, and various "types" wandering around in white masks. One of these masked figures is the elusive Number One. . .and that's all that can be said without giving the game away (if indeed, the game could ever be given away). Written and directed by series star Patrick McGoohan, "Fall Out" was originally telecast in England on February 4, 1968, and in America on September 21, 1968. ~ Hal Erickson, Rovi

In this musical comedy, a dreamy Australian singer comes to London to seek his fortune. There he begins falling for a down-to-earth lass and a high-strung debutante at the same time. In between romances, the singer finds himself involved with a gang of thieves who begin using his home as a hide-out. ~ Sandra Brennan, Rovi

In this medical drama, a doctor loses his medical license after his addiction to drugs is discovered. Trouble ensues when he sees an ex-Nazi who is secretly leading the local drug ring. The police get wind of the operation and destroy it. The Nazi is killed too. Meanwhile the doctor overcomes his addiction and regains his license. ~ Sandra Brennan, Rovi

In the conclusion of the seven-part story arc "Marco Polo," the Doctor (William Hartnell) and Kublai Khan (Martin Miller) play a high-stakes game of backgammon. Whoever wins the game will be allowed to lay claim to the TARDIS -- and of course, the Doctor and his friends need the vessel to return to their own time. Meanwhile, the ruthless Tegana (Mark Eden) puts into motion his scheme to assassinate Kublai Khan and lay claim to all of Cathay. And where, in all this intrigue, is Venetian explorer Marco Polo (Mark Eden). Written by John Lucarotti, "Assassin at Peking" first aired on April 4, 1964; alas, none of the episodes in the "Marco Polo" arc are known to have survived. ~ Hal Erickson, Rovi

Terrence Rattigan, the playwright who brought us the multicharactered, multistoried Separate Tables, again offers us an episodic cross-section of humanity in The V.I.P.'s. When a heavy London fog paralyzes all air traffic, the lives of several people are profoundly affected. As indicated by the title, most of the characters in this portmanteau film are of the social and/or financial elite. Elizabeth Taylor wishes to leave her enormously wealthy husband Richard Burton in favor of playboy Louis Jourdan. Peripatetic European film producer Orson Welles is hoping to escape London with his newest protegee Elsa Martinelli in order to avoid paying his income tax. Australian businessman Rod Taylor, accompanied by his devoted (and adoring) secretary Maggie Smith, is anxious to head to New York to stave off a hostile takeover of his firm. And impoverished aristocrat Margaret Rutherford (who won an Oscar for her performance) would rather not go to Florida to accept a job as a social arbiter, but the wolf must be kept from the door. Before the fog disperses, you can be sure that at least one of the many plotlines will intersect with another. David Frost, in a tiny part as a reporter, was fond of recalling in later years that, while the major stars of The VIPS were introduced in the opening titles with animated limousines, he was consigned a tiny Volkswagen; alas, no such cartoon joke appears in the film, though on occasion the actors-particularly Mr. Welles-behave as though they were cartoons. Mercilessly skewered by the critics, The VIPS was a winner at the box-office, due in great part to the Cleopatra-inspired publicity concerning the top-billed Liz Taylor and Dick Burton. ~ Hal Erickson, Rovi

In the first in a series of detective comedies from director Blake Edwards starring Peter Sellers as bumbling French Inspector Jacques Clouseau, the mishap-prone snoop is actually a supporting player. David Niven stars as Sir Charles Litton, a suave jewel thief known as "The Phantom." Vacationing in a deluxe Alpine resort, Litton's real purpose is to purloin the Pink Panther, a gem of enormous worth owned by a princess (Claudia Cardinale). On his trail for years, Inspector Clouseau keeps losing his quarry, perhaps because his wife Simone (Capucine) is Litton's lover and alerts him every time her husband draws near. Also after the Panther is Litton's American nephew, George (Robert Wagner). At a posh costume ball at the princess' villa, the bauble is stolen and Clouseau, still trying to determine the bandit's identity, is framed for the crime himself. The Pink Panther made Sellers and his Clouseau act so popular that the character moved to center stage in a series of farcical sequels. ~ Karl Williams, Rovi

This Gothic melodrama from Hammer Studios is in color, but the plot is basically the same as the two previous efforts. Instead of Paris, the action takes place at the Royal Opera House in London. The Phantom (Herbert Lom) is a facially disfigured musician/composer who had his opera stolen by a conniving composer, the lecherous Lord d'Arcy. The Phantom -- who lives in the sewer beneath the opera house -- has his dwarf assistant (Ian Wilson) kidnap Christine Charles (Heather Sears), the lead actress in Gough's production, with whom he has fallen in love, and trains her to become an opera singer, performing a work he has written. Meanwhile, Christine's fiance, Harry Hunter (Edward de Souza, researches the phantom's history and, after locating his whereabouts and finding him, decides to unmask the mysterious fellow. ~ Dan Pavlides, Rovi

Produced and directed by Otto Preminger, Exodus is a 212-minute screen adaptation of the best-selling novel by Leon Uris. The film is concerned with the emergence of Israel as an independent nation in 1947. Its first half focuses on the efforts of 611 holocaust survivors to defy the blockade of the occupying British government and sail to Palestine on the sea vessel Exodus. Paul Newman, a leader of the Hagannah (the Jewish underground), is willing to sacrifice his own life and the lives of the refugees rather than be turned back to war-ravaged Europe, but the British finally relent and allow the Exodus safe passage. Once this victory is assured, 30,000 more Jews, previously interned by the British, flood into the Holy Land. ~ Hal Erickson, Rovi

A man is forced to prove who he really is -- and discovers that it isn't as easy as one might think -- in this drama. Sir Mark Loddon (Dirk Bogarde) is a titled member of the British aristocracy who lives a life of wealth, privilege, and notoriety, until one day Jeffrey Buckenham (Paul Massie), a pilot from Canada, makes a startling accusation. Buckenham and Loddon were both inmates in the same POW camp during WWII, and Buckenham is convinced that Loddon is not the man he claims to be; Frank Welney, an actor who was also a prisoner in the same camp, bore a striking resemblance to Loddon, and he is convinced that the actor has taken Loddon's place. The press picks up Buckenham's story, and the question of Loddon's identity becomes the talk of all England; Lady Maggie Loddon (Olivia de Havilland), Mark's wife, is deeply offended and insists that he sue for libel to restore his good name. Mark obtains the services of Sir Wilfred (Robert Morley), one of the nation's best-respected attorneys, but it soon becomes evident that proving Mark's identity in court may not be as simple as it might seem; Mark suffered severe head injuries during the war that cause him to stutter at times and also result in periodic spells of amnesia; the testimony of the many witnesses called by Sir Wilfred and his opponent, Hubert Foxley (Wilfrid Hyde-White), establish no clear consensus of who Loddon really is. Libel was based on the popular stage drama by Edward Wooll. ~ Mark Deming, Rovi

In this drama, a man becomes fixated on a doll belonging to his illegitimate son. The obsession begins after his lover gives the infant up for adoption. The man is angered by this and kills the mother. More trouble ensues when he loses the doll. He attempts to get it back and this eventually causes him to confess his crime. ~ Sandra Brennan, Rovi

The British Seven Thunders was released in the US as Beasts of Marseilles. Set in 1943, the film stars Stephen Boyd and Tony Wright as escaped POWs Dave and Jim. Hiding out in Marseilles, the two protagonists battle over the affections of local gamine Lise (Anna Gaylor). When they find the time, Dave and Jim plan an elaborate breakout for the other POWs sequestered in the French port city. After an engaging opening, the film relies upon serial-like thrills and hairbreadth escapes to keep the audience awake. Stealing the show from the nominal stars are those grand old British troupers James Robertson Justice and Kathleen Harrison. ~ Hal Erickson, Rovi

Time is of the essence in this comedy when an American cabaret singer learns that she is in line for a large inheritance. The money will be hers if her ex-husband cannot produce a son by a given date. She immediately takes off to London to find him. Unfortunately, she discovers that his new wife is due to give birth any day. The situation grows complicated as they deal with the unborn's unknown gender, and the fact that neither the man's new marriage, nor the divorce may be legal. The time difference between New York and London is also a factor. At the last possible minute, the new wife bears twins: one girl, and one boy. The singer still gets the money, as the newlyweds did not consider the ramifications of Daylight Savings Time. Fortunately, she shares the wealth. Songs include "Give Me a Man" and "You're the Only One." ~ Sandra Brennan, Rovi

British sailors John Mills and Richard Attenborough would like to take Neopolitan lass Lisa Gastoni out on a date. But Gastoni can't leave the house unless her baby brother tags along. During a rowdy evening on the town, Mills is forced to sneak the infant on board his ship. When Gastoni and Attenborough arrive to claim the kid, they find that the ship has already sailed. Essentially a British Abbott & Costello picture, Baby and the Battleship manages to deliver a sufficient supply of hearty chuckles. The film was based on a somewhat subtler novel by Anthony Thorne. ~ Hal Erickson, Rovi