Marie Ney Movies

In this spooky horror film set in an old English village, the trouble begins when a man endeavors to dig up a cemetery containing the charred bodies of witches burned at the stake 300 years before. The warlock who looks after the family cemetery tries to stop him, but cannot. As soon as their graves are disturbed, the witches arise and strange things begin to happen to the family of the man who dug them up. Later the true culprit behind the mayhem is revealed. ~ Sandra Brennan, Rovi

This is an uneven drama about high-powered, emotional teens caught up in the turmoil of rampaging hormones and obvious misjudgments. The young men and women are energetically pursuing life and love in spite of school demands until one day one of them dies because of an accident. That death changes the teens' energy into a destructive force, turned outward at the society and especially at the person who was responsible for the death, even if it was an accident. Perhaps too long and too intense to work efficiently, director Michael Cacoyannis would hit a better balance in 1964, in his acclaimed Zorba the Greek. ~ Eleanor Mannikka, Rovi

Mary Hilton (Diana Dors) is a young salesgirl in the cosmetics department of a major London store, who chances to meet -- and fall hopelessly in love with -- Jim Lancaster (Michael Craig), a young would-be professional musician. She is attracted to him sufficiently to leave her own, neglectful husband (Harry Locke). But Jim's interest in her, although also sincere, is deflected by his attraction to Lucy Carpenter (Mercia Shaw), a much wealthier and older woman, who seems to be able to offer him the security that he's always lacked. That's difficult enough for Mary to take, but when Jim's relationship with Lucy takes a tragic turn, she snaps -- her love for Jim is transformed into a murderous hatred for her rival, resulting in murder, and a death sentence. Mary's story is told entirely in flashbacks, as she awaits her final sentencing or possible reprieve, and attempts to tie up the loose ends in her life involving her mother, brother, and husband. ~ Bruce Eder, Rovi

This British psychological melodrama stars Michael Gough as a man who is lost in the Brazilian jungles and presumed dead. He returns to civilization, only to discover that his wife (Elizabeth Sellars) has remarried. When it becomes obvious that Gough's mind has been unhinged by the ordeal, his former wife does what she can to help and comfort him. Instead of being grateful, the addled Gough commits suicide, arranging the evidence so that his wife will be accused of murder. The Night Was Our Friend was the sort of second feature on which director Michael Anderson cut his teeth before being entrusted with such loftier projects as Around the World in 80 Days (56). ~ Hal Erickson, Rovi

Barry Jones stars as an idealistic British professor working on atomic research. Upset by the apocalyptic ramifications of his work, Jones constructs his own bomb and threatens to blow up London within one week. His terms: Stop the atomic research or suffer the consequences. As London is evacuated, the authorities close in on Jones, using a rather sophisticated form of psychological warfare to trap the unhinged scientist. Seven Days to Noon manages to sustain its suspense and realism the most part, but is slightly undermined by grainy stock footage of London's children being evacuated during World War II. ~ Hal Erickson, Rovi

This British drama was originally titled Naughy Arlette. The title character, played by future director Mai Zetterling, is a French exchange student at a British art school. Teacher Hugh Williams is unable to resist Arlette's seductive charms, a fact that brings about his downfall. The girl's randiness also adversely affects Williams' daughter Petula Clark. Based on Serge Weber's novel Lycee des jeaunes filles, The Romantic Age lacks the stylishness demanded by its subject matter. ~ Hal Erickson, Rovi

Alfred Hitchcock directed this disappointing misfire, memorable solely for the fact is that it is the final film from Hitchcock's early British period before he left for the Hollywood studio system and David O. Selznick. In the England of the 1800s, a group of ruthless smugglers, led by Sir Humphrey Pengallon (Charles Laughton), prey on ships by blacking out warning signals. When the ships crash on the rocks, the nefarious group loots the remains and kills the sailors. The plot kicks in when the beautiful orphan Mary Yelland (Maureen O'Hara) goes to visit her uncle Joss Merlyn (Leslie Banks) at a creepy hotel called the Jamaica Inn, the home of the gang of smugglers. Mary doesn't realize that Uncle Joss is one of them. Meanwhile, Lloyd's of London sends one of their ablest men, Jem Trahearne (Robert Newton), to investigate the recurring shipwrecks. Jem checks in to the Jamaica Inn, and when the coven of smugglers finds out who he is, they capture him and attempt to kill him. But Mary comes to his rescue and saves him. Through the inn, the smugglers try to recapture Jem -- along with Mary. Thrown together by dire circumstances, the two fall in love. Meanwhile, all the shenanigans occurring at the Jamaica Inn appear to be driving Pengallon insane. ~ Paul Brenner, Rovi

In this romantic drama, a May-December relationship goes awry when the bride finds herself in love with her aged groom's young son, a dashing pilot. It seems that she and the pilot have met before. Matters are not helped by the fact that her husband is the young man's legal guardian. ~ Sandra Brennan, Rovi

This story is based both on a long-standing legend and a play by E. Temple Thurston. Veteran British director Maurice Elvey brought years of experience with theatrical adaptations to the difficult task of filming a movie that spans centuries and strains credulity. Conrad Veidt stars as the Jew who urges Roman authorities to crucify Jesus and release Barabbas. As a punishment, he is condemned by God to wander the Earth for many centuries, enduring innumerable trials and tribulations on several continents. ~ Michael Betzold, Rovi

Filmed in the Yiddish language, The Wandering Jew features Jacob Ben-Ami as a young Jewish artist living in Germany in the early 1930s. As the Nazis gain in influence, the artist's life and livelihood are slowly eroded: his non-Jewish fiancee leaves him and his paintings are rejected by the Academy of Art. Growing to despise his heritage, the artist prepares to destroy his latest painting, a portrait of his father titled The Eternal Jew. Suddenly the figure in the portrait comes to life, and as the astonished artist listens in rapt attention, the figure relates the history of Jewish perseverance in the face of such horrors as the Spanish Inquisition and the Russian pogroms. Inspired, the artist vows to devote his life to the anti-Nazi cause. The Wandering Jew is a remarkable film for its era, so far and yet so near to the "Final Solution." In retrospect, the film's most poignant moments occur when the hero's father describes the comparatively benign treatment of Jews in the Soviet Union. The filmmakers weren't in possession of all the facts in 1933--nor was the rest of the world, for that matter. ~ Hal Erickson, Rovi