Edna Morris Movies

An amoral American makes his way through genteel British society in this drama. Marco (Michael Thomas Parks) is a self-centered would-be artist from the United States who is living in England while supposedly studying his craft. Marco is close friends with Timothy (John Leyton), a native studying medicine, but when Marco meets Timothy's girlfriend Sarah (Jennifer Hilary), he makes plans to steal her away from him. Marco seduces Sarah at a party thrown by Timothy's mother Carol (Jennifer Jones); when Carol happens upon the couple in flagrante delicto, she decides that Marco is beneath contempt and shares this opinion with her son; Sarah moves in with Marco shortly afterward. Timothy forgives Marco after he comes to his aid in a fight, and Carol begins to think that she may have been wrong about the young man. But Marco decides that he's tired of Sarah, and he plans to break up with her; when Timothy gets wind of this, he rushes out to give her the bad news in advance. Marco, however, plans to meet Sarah at Timothy's house; when instead he encounters Carol, he decides to add her to his list of conquests. The Idol was scripted by Millard Lampell, a dramatist and musician who was once a member of the folk singing group The Almanac Singers with Woody Guthrie and Pete Seeger. ~ Mark Deming, Rovi

"All I want is a good time. The rest is propaganda." That's the philosophy of archetypal British "angry young man" Arthur Seaton (Albert Finney). A middle-class working stiff in a dead-end job, Arthur's principal goal in life is to survive the work week, then spend the weekend raising as much hell and drinking as much beer and other liquor as possible. Since pleasure is all that Arthur lives for, he thinks nothing of starting up an affair with the wife (Rachel Roberts) of one of his co-workers (Bryan Pringle). His efforts to secure her an abortion when he gets her pregnant stem not out of concern for her but out of his own selfishness: why should he be tied down with a squalling brat? Despite his carousing and his ongoing desire to escape the dull routine of his weekday existence, Arthur is doomed to perpetuate that routine via his marriage to a complacent "nice" girl (Shirley Ann Field) from his own neighborhood. ~ Hal Erickson, Rovi

Greek actress Melina Mercouri made her English-language film debut in The Gypsy and the Gentleman. Mercouri plays tempestuous gypsy girl Belle, while the "gentleman" is Sir Paul Deverill (Keith Michell). Escaping an arranged marriage, Sir Paul weds the bewitching Belle,who intends to take him for every penny he's got, then move on to other lovers. Imagine her disappointment when she discovers that her prize catch is flat broke. All sorts of bizarre complications ensue, including the kidnapping of an heiress (June Laverick) by Belle's gypsy compadres. Gypsy and the Gentleman was directed by American expatriate Joseph Losey, whose British film career wouldn't truly get off the ground until his collaborations with Harold Pinter in the 1960s. ~ Hal Erickson, Rovi

A bellboy gets sweet revenge upon the employers at the hotel where he once worked after he inherits a lot of money in this lively British comedy. The sweetest revenge of all comes when he and the other lackeys team up to scam the wealthy, who look down upon them, hoping to get them to finance his attempt to buy the posh establishment. ~ Sandra Brennan, Rovi

The Women of Twilight in this controversial British production are the unwed mothers living in a group home. Helen Alistair (Freda Jackson), owner of the shelter, uses a veneer of kindness and generosity to mask her true character: Helen exploits the young women as cheap labor, then farms out their babies to the black-market adoption market. The story concentrates on one of the young unfortunates (Rene Ray), whose tragic plight finally arouses the suspicions of the authorities. Considered raw meat in 1953, Women of Twilight seems to pull most of its punches today. The film was based on a play by Anatole de Grunwald. ~ Hal Erickson, Rovi

British actor Robert Donat's one-and-only film directorial effort was Cure for Love. Adapted from a popular stage play by Walter Greenwood, the film stars Donat as Jack, an army sergeant who returns home on leave. Having falling in love, Jack hopes that his hometown girl friend has forgotten his impulsive marriage proposal, but she hasn't. The film's comic complications arise from the fact that Jack, a war hero of conspicuous courage, turns into a quivering mass of jelly whenever dealing with affairs of the heart. The thick Lancashire dialect used by practically everyone in Cure for Love may be a bit difficult to comprehend for American audiences. ~ Hal Erickson, Rovi