Ian Richardson Movies

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

The Darwin Adventure stars Nicholas Clay as 19th century British naturalist Charles Darwin. The film covers the whole of Darwin's life, with emphasis on his volatile evolutionary theories. The "adventure" of the title is Darwin's 1831 fact-finding voyage on the good ship Beagle, in search of nature's secrets in the darker corners of South America. The story ends in Darwin's declining years, during which time many of his theories have been adopted and refined by younger, more broad-minded naturalists. The Darwin Adventure plays like a Cliff's Notes version of the subject's life, packing far too much into its 91 minute running time to be properly digested by the average filmgoer. ~ Hal Erickson, All Movie Guide

David Hemmings plays Charlie Muffin, a working-class British secret agent who suffers fools and aristocrats not at all well, and as such is in constant conflict with his superiors. Unlike James Bond, Charlie bleeds when you prick him...and he cares, deeply. Britain's M16 unit reluctantly assigns Charlie the task of protecting Valery Kalenin (Pinkas Braun), head of the KGB. Kalenin is ostensibly defecting, but Charlie gloms onto the truth of the whole affair early on. He also figures out that those unseen assassins taking potshots at him are not only in the employ of the KGB, but also the M16. Originally released in 1979, Charlie Muffin did not receive widespread American exposure until its October 1983 telecast on PBS. ~ Hal Erickson, All Movie Guide

The Cotswold Death was originally produced for British television. The title alludes to a tiny English village, where Ian Richardson serves as police inspector. Richardson's quietude is disturbed when an Arab shiek is murdered within his jurisdiction. "Why here?" is the question the inspector must ask himself as he seeks out suspects. Timothy Spall and Brian Cox also appear in this adroit whodunit, which was telecast several times over the A&E network between 1982 and 1986. ~ Hal Erickson, All Movie Guide

In this classic mystery story, Sherlock Holmes (Ian Richardson) is requested to investigate deaths around the Baskerville mansion because Henry (Martin Shaw), the last direct heir to the Baskerville fortune is worried that he may die by their unique curse; a ghost hound has eliminated his ancestors and is now wreaking havoc in the woods again. The crafty Holmes sends faithful Dr. Watson (Donald Churchill) ahead to check things out, while unknown to Watson, Holmes assumes the disguise of a local gypsy to observe the mansion and anyone connected with it. As the mist of Grimpen Moor and the howling hound lend an eerie atmosphere to the tale, false leads take the protagonists into dead ends, and the real culprit waits in the wings for his chance. ~ Eleanor Mannikka, All Movie Guide

Made for British television, this is a series of plays which focuses on the more sensational aspects of the lives of several notable men who were at some time British Prime Minister, including among others, Lloyd George and Disraeli. ~ Mark Hockley, All Movie Guide

Lord Mountbatten: The Last Viceroy was a 6-part British miniseries, first telecast in the US on PBS' Masterpiece Theatre. The series covers the years 1946 through 1947, during which time the British government granted independence to India. War hero Lord Mountbatten (Nicol Williamson), although considered a political lightweight, is appointed the task of overseeing the transition of power. It is the sort of test that separates the Lords from the boys: Mountbatten must not only unite the squabbling factions within India, but also counteract the rhetoric of Winston Churchill (Malcolm Terris), who is dead set against losing the Empire's "jewel of the crown." Once independence is officially granted, Mountbatten is challenged with open combat between the Hindus, Muslims and Sikhs, as well as territorial demands from Pakistan and the Kashmir. Also appearing in this epic production is Sam Dastor as Gandhi, Ian Richardson as Nehru, and Vladek Sheybal as Jinnah. Lord Mountbatten: The Last Viceroy was first seen on Masterpiece Theatre from January 26 through March 2, 1986. ~ Hal Erickson, All Movie Guide

Brazil constitutes Terry Gilliam's enormously ambitious follow-up to his 1981 Time Bandits. It also represents the second installment in a trilogy of Gilliam films on imagination versus reality, that began with Bandits and ended in 1989 with The Adventures of Baron Munchausen. To create this wild, visually audacious satire, Gilliam combines dystopian elements from Orwell, Huxley and Kafka (plus a central character who mirrors Walter Mitty) with his own trademark, Monty Python-esque, jet black British humor and his gift for extraordinary visual invention. The results are thoroughly unprecedented in the cinema.

Jonathan Pryce stars as Sam Lowry, a civil servant who chooses to blind himself to the decaying, drone-like world around him. It's a world marred by oppressive automatization and towering bureaucracy, and populated by tyrannical guards who strongarm lawbreakers. And Lowry is stuck in the middle of this nightmare. Whenever real life becomes too oppressive, Sam fantasizes (to the tune of Ary Baroso's 1930s hit "Brazil") about sailing through the clouds as a winged superhero, and rescuing beautiful Jill Layton (Kim Greist) from a giant, Samurai warrior. The omnipresent computer that controls everything in the "real" world malfunctions, causing an innocent citizen to be arrested and tortured to death. When Sam routinely investigates the error, he meets - and pursues Jill , literally the girl of his dreams. But in real life, she's a tough-as-nails truck driver who initially wants nothing to do with him. It turns out that she is suspected of underground activities, in connection with a terrorist network wanted for bombing public places. The price Sam pays for his association with her is a close encounter with the man in charge of torturing troublesome citizens (Michael Palin). He is rescued - at the last minute - by maintenance man Harry Tuttle (Robert de Niro) who moonlights as a terrorist, but that only represents the beginning of his plight, for now the "system" is onto him.

Gilliam ran into enormous problems with Brazil. Universal - which produced the picture - originally slated it for release in 1984, but the studio - intimidated by the film's whopping length of 142 minutes - demanded that Gilliam trim the film to bring it in under two hours and alter the pessimistic ending. Gilliam refused; Universal shelved the picture for a year. In response, the director took out a full page ad in Variety asking studio president Sid Sheinberg when the film would be released. Sensing tremendous pressure, Universal bowed to Gilliam's insistence on fewer cuts but still demanded a happy ending. Gilliam trimmed only eleven minutes and altered the conclusion just slightly (instead of cutting to black, it fades into puffy white clouds on a blue sky, with a reprise of the title tune). It was thus released in early 1985 at 131 minutes, and of course became a seminal work; many critics regarded it at the time as the best film of the eighties. ~ Nathan Southern, All Movie Guide

Robin Chapman based his teleplay for the 1986 BBC production Blunt: The Fourth Man on a true story. Ian Richardson plays Sir Anthony Blunt, an above-reproach aristocrat and renowned art expert. In 1951, Blunt sells out his country by helping turncoat British spy Donald MacLean (Michael McStay) escape to Moscow. Blunt's stake in all this intrigue is personal: he is the former gay lover of MacLean's partner in espionage, the notorious Guy Burgess (Anthony Hopkins). The revelation of Blunt's role as the "fourth man" in Britain's most famous modern spy scandal is not made public until 1979. Blunt: The Fourth Man was first telecast in the US over the A&E cable network on July 24, 1987. ~ Hal Erickson, All Movie Guide

Scripted by Frederick Forsyth from his own novel, The Fourth Protocol is a fact-based spy thriller. The titular protocol is a secret agreement between America, Britain and Russia to cease smuggling nuclear weapons into their respective countries. This figures into the schemes of several rogue spies, who hope to destroy NATO by embarking on just such a smuggling endeavor. Russian agent Valeri Petrofsky (Pierce Brosnan) is ordered to stage a nuclear accident in England, then arrange the evidence to point to the Americans. British intelligence agent John Preston (Michael Caine) begins wondering why such nuclear-weapon components like lithium are showing up in the unlikeliest places. Ignored by his superiors, who figure that Preston is merely an old-line anti-Commie paranoic, Preston gathers the clues that will enable him to find out who's behind the potential breaking of The Fourth Protocol. ~ Hal Erickson, All Movie Guide