Kieron Moore Movies
"Handsome in a slightly eccentric fashion" was how film historian Bill Warren described Irish leading man Kieron Moore. On stage in his native country from 1941, Moore made his first British film in 1944. Though there was nothing archaic about his acting style, Moore seemed best suited to period roles: Vronsky in Anna Karenina (1948), Uriah in David and Bathsheba (1951). Moore's honest intensity enhanced the credibility of many otherwise hard-to-swallow plotlines in such "fantastic" films as Satellite in the Sky (1958) Dr. Blood's Coffin (1961), Day of the Triffids (1962) and Crack in the World (1965); his honest intensity enhanced the credibility factor of the otherwise hard-to-swallow plotlines. After his retirement from acting in 1967, Moore directed and narrated two Third World documentaries, 1975's The Progress of Peoples and 1979's The Parched Land, and also served as associate editor of the Roman Catholic periodical The Universe. He died on July 15, 2007, at the age of 82. ~ Hal Erickson, Rovi- 1953
Paul Henreid stars in the compact British noir thriller Man in Hiding. Henreid plays a detective, out to capture a slippery murderer. At one point, our hero is forced by circumstances to elude the law himself. Future "Miss Moneypenny" Lois Maxwell, former "Saint" Hugh Sinclair, and Kieron Moore costar. For the record, in later years Henreid would claim that he did so many inexpensive foreign films in the 1950s because he'd been politically blacklisted in the US; who are we to doubt him? Man in Hiding was also released as Man-Trap. ~ Hal Erickson, Rovi
- 1953
In this thriller, an imprisoned psycho killer's wife tries to start a new life. She changes her name and marries again. Her true identity is known only by her employer. The trouble begins when the killer escapes from prison. A detective pursues him and discovers that the killer is perfectly sane and is only trying to find the man who framed him. He then discovers that the woman's employer is the real murderer, and fortunately, he is killed during the final chase. ~ Sandra Brennan, Rovi
- 1953
The British Conflict of Wings was also released as Fuss over Feathers: Both titles are applicable, but only the second title captures the mood of the proceedings. The story takes plays in a Norfolk-country village, where the populace is up in arms over the announcement that the RAF plans to build a target range. It seems that the village is the site for a bird sanctuary that was allegedly established 400 years earlier by King Henry VIII. Faced with an intractable government and an equally unsympathetic bureaucracy, the villages decide to resolve matters in their own inimitable way. Commendably, the RAF is not cast as the villain of the piece: both sides are well represented in the argument, though audience sympathy understandably leans in the direction of the bird-huggers. Conflict Over Wings was adapted by Don Sharp from his own novel. ~ Hal Erickson, Rovi
- Starring:
- John Gregson, Muriel Pavlow, (more)
- 1951
For his initial effort from his own Norma Productions, Burt Lancaster picked a winner in Ten Tall Men. Lancaster stars as "Sergeant Mike," a two-fisted Foreign Legionnaire presiding over a lovable band of mercenaries, sneak thieves and cutthroats. While sitting in the stockade for the umpteenth time, Mike learns of a Riff plan to attack his fort. He and his men break jail and embark on their own attack of the Riffian encampment. Part of their strategy (much of which is improvised on the spot) is to kidnap Mahia (Jody Lawrence), the toothsome daughter of the Riffian sheik. Understandably, Mahia despises her captors until she realizes that the film's real villain is the covetous Caid Hussan (Gerald Mohr). This one's got everything, from a campy reenactment of a key scene in Beau Geste to the old reliable threat of a red-hot iron upon female flesh. Mari Blanchard, fully clothed for a change, shows up early in the film as a coquettish French mademoiselle who foments an all-out donnybrook among Mike and his fellow legionnaires. With the exceptions of Jody Lawrence and Gerald Mohr, no one in Ten Tall Men takes the proceedings too seriously; the film has some of the cheeky insouciance of Lancaster's subsequent swashbuckler The Crimson Pirate. ~ Hal Erickson, Rovi
- Starring:
- Burt Lancaster, Jody Lawrance, (more)
- 1951
In this comedy, a braggart and his new bride head for a honeymoon in Italy. There they go to the small village the groom claims to have freed all by himself. Unfortunately, the villagers are most unhappy to see him. Before he can safely continue his honeymoon, he must clear his name with them. ~ Sandra Brennan, Rovi
David and Bathsheba is a respectable, slightly stodgy cinematic adaptation of the Old Testament story. King David (Gregory Peck), much beloved by his subjects and a war hero of long standing, falls victim to the sins of the flesh when he falls in love with Bathsheba (Susan Hayward), the wife of Uriah (Kieron Moore), one of David's most trusted soldiers. His downfall begins when David orders Uriah into a suicidal battle, knowing that this will clear the way for his relationship with Bathsheba. His infatuation leads him to neglect his kingdom and his people, and invokes the wrath of God. Only after his land has been devastated by God's hand does David offer atonement. The film's lavish production values compensate ever so slightly for the long-winded script. David and Bathsheba was the last major "flat-screen" Biblical epic; it was filmed in 1951 B.C. -- Before Cinemascope. ~ Hal Erickson, Rovi
- Starring:
- Gregory Peck, Susan Hayward, (more)
- 1950
The Naked Heart was also released as Maria Chapdelaine, which also happened to be the title of its source, a novel by Louis Hemon. Adapter-director Marc Allegret has fashioned the material into a vehicle for one of his most successful discoveries, Michele Morgan. This is the story of a young woman whose romantic fantasies begin spilling over into actuality. The film's novelty value is its setting: a remote village in Northern Canada. Filmed simultaneously in French and English-language versions, The Naked Heart was produced independently on a tiny budget; while the seams begin to show towards the end, for the most part the film works. ~ Hal Erickson, Rovi
- Starring:
- Michèle Morgan, Kieron Moore, (more)
- 1949
Saints and Sinners is set in a remote Irish village where "appearances" take precedence over everything else. Having served two years in prison for a crime he didn't commit, Michael Kissane (Kieron Moore) returns to his home town of Kilwarra. While many of his old friends believe in Michael's innocence, he is obliged to prove that innocence before he will be fully accepted again. Christine Norden plays Blanche, the girl who promised to wait for Michael but who went back on that promise at the behest of her family. Drenched in atmosphere and local color, Saints and Sinners falters only in its depiction of a stereotypical American visitor. ~ Hal Erickson, Rovi
- Starring:
- Kieron Moore, Christine Norden, (more)
This 1948 adaptation of Leo Tolstoy's Anna Karenina was produced in England by Alexander Korda, and released in the US by 20th Century-Fox. Vivien Leigh plays the title role, a 19th-century Russian gentlewoman married to Czarist official Ralph Richardson. Though her marriage is not intolerable, Anna is swept off her feet by dashing young military officer Vronsky, played by Kieron Moore. The ensuing scandal ruins Anna's status in society. Anna Karenina had previously been filmed twice in Hollywood, with both versions starring Greta Garbo. ~ Hal Erickson, Rovi
- Starring:
- Vivien Leigh, Ralph Richardson, (more)
- 1947
A novel by Francis Brett Young and its theatrical adaptation by John Perry were the sources for the even-keeled melodrama A Man About the House. Handsome Italian laborer Kieron Moore works as caretaker of the Neopolitan villa inherited by plain-Jane Englishwomen Margaret Johnston and Dulcie Gray. Johnston is swept off her feet by the raffishly charming Moore, and before long they are wed. Their connubial bliss lasts just long enough for Moore to poison his bride; the villa had once belonged to his family, and he's willing to use any means to get it back. Though it seems as if Moore has committed the perfect crime, Dulcie joins forces with doctor Guy Middleton to prove that Moore murdered Johnston. Since the villa fronts a vertigo-inducing clifftop, it is inevitable that someone will topple into the ocean with a piercing scream. ~ Hal Erickson, Rovi
- Starring:
- Margaret Johnston, Dulcie Gray, (more)
- 1947
London psychiatrist Burgess Meredith takes on the case of schizophrenic ex-POW Kieron Moore. So long as Meredith is diligent in his approach, Moore shows signs of improvement, and a lessening of his more violent tendencies. But the moment Meredith takes too much for granted, Moore goes off the deep end, murdering his wife and committing suicide. Brought up on malpractice charges, Meredith is saved by the testimony of his loyal physician-friend John Laurie, though for a time the psychiatrist's own mental condition is as fragile as that of his late patient. While Burgess Meredith was fond of noting that he had to leave Hollywood for England to find a worthwhile film role, Mine Own Executioner suffered from a bout of Hollywood-style interference in delineating the shady background of its protagonist, which might have clarified several confusing plot points. Still, the film has a lot of "guts," especially for a late-1940s effort. ~ Hal Erickson, Rovi
- Starring:
- Burgess Meredith, Dulcie Gray, (more)
- 1945
In this crime drama two brothers in the IRA become rivals when they fall in love with the same woman--their adopted step-sister. When one of the two needs to flee Ireland, the other is more than happy to oblige so he can have the girl to himself. Unfortunately, the conniving brother accidentally kills a constable during a smuggling and then tries to frame the brother planning to leave. Fortunately, by the end, the bad brother is caught and is forced to confess. ~ Sandra Brennan, Rovi
- 1964
- PG
Set during the Allied invasion of the island of Guadalcanal in the Pacific theater during WWII, this film is based on the novel by James Jones. Keir Dullea is Private Doll, who dreads the invasion and steals a pistol to help him protect himself. Sergeant Welsh (Jack Warden), a caustic, battle-scarred veteran, hates Doll, whom he considers a coward. In battle, Doll kills a Japanese soldier and is filled with remorse, which further angers the sergeant. The next day, an emboldened Doll wipes out an entire enemy machine gun post and begins to feel as sadistic as Welsh. The two must work together to clear away some mines, but as they do, their platoon is surprised by a Japanese raid. ~ Michael Betzold, Rovi
- Starring:
- Keir Dullea, Jack Warden, (more)
Opening with a montage depicting its subject's Civil War exploits, Custer of the West carries us across four years of fighting in less than four minutes of screen time. The Civil War ended, George Armstrong Custer (Robert Shaw) longs for action and to hold onto his rank of general, so General Phil Sheridan (Lawrence Tierney) sends him West, admitting that there will be no nobility to his cause there -- the government and the people want the land, and that means getting the Indians off of it by any means necessary. He arrives in time to see a party of Cheyenne (whom the real Custer never fought) kill a pair of miners by sending them rolling down a long hill in a runaway wagon -- that motif is repeated, in ever more striking, elaborate, and violent fashions, in two subsequent action scenes. Custer organizes his command around Major Marcus Reno (Ty Hardin), depicted as an ambitious officer with a drinking problem, and Captain Benteen (Jeffrey Hunter), a humane officer with a strange, almost mystical streak, who understands the Indians better than anyone else in Custer's command. Also present are Mary Ure as Custer's loving wife and Robert Ryan in a very flamboyant performance as a larcenous sergeant who comes to no good end after being stricken with gold fever. After getting his command into the shape it needs to be -- mostly by running everyone except a lone sergeant into the ground in an extended drill -- he carries out his mission, quietly detesting the motives behind his orders but executing them out to the letter. Regarded as a hero in the East, Custer returns to Washington only to jeopardize his career by testifying about the corruption he's found around him in the West. He is left a political pariah but once more. Sheridan intercedes, again getting Custer posted with the Seventh Cavalry now engaged against the Sioux. He is, by this time, disillusioned with the army that he serves and the politicians and the business interests in whose service it functions. Though he craves the glory that comes with battle, he sees soldiering of the type he is being asked to carry out as little more than organized slaughter, even relying on machines to do the killing in ever more indiscriminate ways with none of the contest between men, of strategies, and arms and resourcefulness -- that was his real joy. The demons and goals that drive him culminate with Custer's disastrous action at Little Big Horn, which is beautifully (if not necessarily accurately) staged, in a stunning visual and aural denouement. ~ Bruce Eder, Rovi
- Starring:
- Robert Shaw, Mary Ure, (more)
- 1959
- G
- Add Darby O'Gill and the Little People to Queue Add Darby O'Gill and the Little People to top of Queue
Baby boomers who may not remember the plot particulars of Walt Disney's Darby O'Gill and the Little People nonetheless retain fond memories of Disney's publicity campaign, which included an episode of the producer's weekly TV series, wherein the actor playing leprechaun king Brian (Jimmy O'Dea) was passed off as a genuine little person. One look at Darby O'Gill itself and one is willing to believe Disney's subterfuge. The story, based on the writings of H.T. Kavanagh, involves one Darby O'Gill (Albert Sharpe) an Irish tall-tale spinner who works as a caretaker. On the night that he is replaced by a younger man (Sean Connery), Darby heads home to tell his daughter Katie (Janet Munro) that he has lost his job. En route, he stumbles into the underground leprechaun kingdom, thanks to the intervention of King Brian, who wants to save Darby the shame of telling his daughter about his job. Advised that he will never be able to leave the land of the leprechauns, Darby escapes, and Brian follows. Because he stays above ground until dawn, Brian loses his powers and becomes the property of Darby, who won't let the leprechaun go until he grants three wishes. Brian tricks Darby out of the first two wishes, but is honor-bound to grant the third: that Darby's daughter Katie be wed to the handsome new caretaker. Before this can happen, Katie is seriously injured. As she lies comatose, the Death Coach descends from the sky to gather her to the heavens. Darby rapidly alters his third wish and begs that he be taken in Katie's place. Brian saves Darby's life by tricking him into making a fourth wish, which immediately cancels the first three. The young caretaker wins Katie on his own merits, and Darby has a whole new slew of stories with which to regale the villagers. The principal drawing card of Darby O'Gill and the Little People is its special effects, the most famous of which finds a life-sized Darby O'Gill fiddling away as hundreds of tiny leprechauns dance about him. Even in this era of computerized "F/X," few films have been able to duplicate the sublimely convincing visual magic -- and the effortless charm -- of this 1959 Disney effort. ~ Hal Erickson, Rovi
- Starring:
- Albert Sharpe, Janet Munro, (more)
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