Michael Percival Movies

The second British TV miniseries based on the semi-autobiographical stories of H.E. Bates, My Uncle Silas 2 was, like its predecessor, built around the exploits of a cantankerous, imbibing, and slightly libidinous farm laborer of the early 1900s. The series was told from the viewpoint of young Edward (Joe Prospero), who had recently come to live with his roguish Uncle Silas (Albert Finney) in England's North Country. In the tradition of the original Uncle Silas, this series was inspired by five separate Bates short stories. In "Shandy Lil," Silas tried to pair off the titular Lil (Sandy McDade) with the shy Pikey (Tony Maudsley); in "The Race," Silas challenged archrival Goffy Windsor (Tim Preece) to a five-mile foot race; in "A Funny Thing," Silas' efforts to match wits with his worldly cousin Cosmo (Oliver Ford Davies) found him posing for an exceedingly amorous female sculptor; in "Finger Wet, Finger Dry," our hero was enmeshed in a compromising situation with the wife (Lesley Dunlop) of the local police constable (Gary Wheelan); and in "A Happy Man," it's Silas vs. old campaigner Walter (Bryan Pringle) at the annual flower show. Originally telecast by Yorkshire Television in 2001, My Uncle Silas 2 premiered as a component of the American PBS anthology Masterpiece Theatre on January 12, 2003. ~ Hal Erickson, All Movie Guide

Peter Greenaway wrote and directed this typically surreal and iconoclastic black comedy. Three generations of women who share the same name -- 63-year-old Cissie Colpitts (Joan Plowright), her daughter Cissie Colpitts II (Juliet Stevenson), and granddaughter Cissie Colpitts III (Joely Richardson) -- have all discovered the same way of dealing with their marital problems. The senior Cissie has drowned her husband Jake (Bryan Pringle) in the bathtub, her daughter sent her spouse Hardy (Trevor Cooper) to a watery grave in the ocean, and the youngest Cissie sent her husband Bellamy (David Morrissey) down in a swimming pool. Needless to say, local coroner Henry Madgett (Barnard Hill) has some questions about this sudden rash of drownings among the Colpitts husbands, and again all three women respond in the same way: they promise to sleep with Henry in exchange for recording the deaths as accidental (though none of the Cissies make good on this promise). When the local gossip mill begins working overtime about this sudden rash of water-related deaths, Henry's teenage son Smut (Jason Edwards) comes to the aid of the Cissies and organizes a tug-of-war, with he and the Colpitts women on one side and the doubting townspeople on the other (and, of course, a river in the middle). Along the way, Greenaway often stops to contemplate his obsessions with literature, astronomy, and numbers. Drowning by Numbers was released in Europe in 1988, but didn't find its way to American screens until 1991, following the success of Greenaway's The Cook, the Thief, His Wife and Her Lover. ~ Mark Deming, All Movie Guide

John Cleese's knack for mining hilarity from the growing frustration of a dignified gentleman is fully exploited in the British comedy Clockwise. Cleese portrays Brian Stimpson, a perfectionist English headmaster who has been selected to make an important presentation before a group of his peers. When Stimpson sets out upon his journey, however, he finds himself facing a seemingly never-ending series of delays and inconveniences, which range from missing a train to becoming a fugitive from the police. The film goes no deeper than its farcical surface, but is nevertheless consistently entertaining, thanks to former Monty Python member Cleese's precisely tuned transitions from composure to complete collapse. ~ Judd Blaise, All Movie Guide

In this British drama, Mal Stanton (Reece Dinsdale), a young British Royal Air Force recruit, meets and falls in love with the lovely Angie (Nicola Cowper). However, when Mal discovers that Angie is pregnant with the child of her former lover, he is forced to struggle with the complicated feelings this provokes. ~ Iotis Erlewine, All Movie Guide

Adapted from his own Royal Shakespeare Company production of Peter Weiss' play entitled The Persecution and Assassination of Jean-Paul Marat as Performed by the Inmates at Charenton Under the Direction of the Marquis de Sade, Peter Brook directs this fascinating look into revolution, power, and human frailty. During the 19th century, fashionable theatergoers would attend ostensibly therapeutic stage performances by mental asylum inmates. The film opens on July 19, 1809, with Monsieur Coubnier (Clifford Rose), the officious head of the Charenton asylum, introducing that night's show -- a drama about the assassination of French Revolutionary War firebrand Jean-Paul Marat, written by that institution's most notorious resident, the Marquis de Sade (Patrick Magee). The play begins conventionally enough , considering that the lead actress (Glenda Jackson) is a narcoleptic, the actor playing Marat (Ian Richardson) is a paranoiac, and another actor, a sex maniac with very pressing urges, is kept in chains. But the work soon evolves into a dialogue between Marat and De Sade. Though both men were early supporters of the Revolution, their ideas of the shape of the movement took very different courses. Espousing a form of proto-Marxism, Marat is at first presented as the sort of tyrannical idealist that became depressingly familiar in the 20th century, a la Lenin and Pol Pot. But then later, Marat seems haunted by the terror he has unleashed and unable to understand where he went wrong. De Sade, on the other hand, preached his own unusual brand of Nietzschean existentialism. Unlike Marat, he not only recognizes the inherent weakness of the human character, but he revels in it. Murder as an act of individual passion should be celebrated, De Sade at first argues; murder as an anonymous act of statecraft should be deplored. The individual is not given meaning though politics but through acts of spontaneous passion and desire. As the play progresses, the revolution depicted in the play soon develops into an outright revolution on the stage. ~ Jonathan Crow, All Movie Guide