Robert Stephens Movies

A British officer is slated to parachute into Normandy. What he doesn't know is that he is being set up by British Intelligence to be captured by the enemy and reveal erroneous information to the Nazis. Officer Raine (Bradford Dillman) is the unknowing soldier who has intentionally been given false information. His superiors justify the expenditure of one man verses the thousands of lives that will be saved by his mission. The unlucky officer faces capture, brutal torture and debilitating guilt leading to alcoholism over his perceived "failure" to keep the information secret. ~ Dan Pavlides, All Movie Guide

Director Tony Richardson adapted the screenplay of A Taste of Honey from the "kitchen sink" stage play by Shelagh Delaney. Rita Tushingham plays a working-class British teenager, living with her drink-sodden, libertine mother Dora Bryan. Denied affection by her selfish mother, Tushingham is pushed further in the background when Bryan impulsively marries her latest boyfriend Robert Stephens. The girl takes a job at a shoe store, then moves in with her kindly homosexual employer Murray Melvin. The two lost souls live in harmony until Tushingham becomes pregnant after a casual affair with black sailor Paul Danquah. Melvin comes to the rescue by offering to look after the baby. This relatively blissful state of affairs is short-lived; before long, Tushingham's hateful mother, having been kicked out by Stephens, descends upon her daughter and her "family," with all her debilitating emotional baggage intact. A poignant denouement caps this riveting slice-of-life drama. ~ Hal Erickson, All Movie Guide

A young boy comes to fear that his blind mother may become the next victim of a serial killer in this complex psychological thriller. Unfolding at first as a traditional suspense tale, the film follows the terrified boy's attempts to determine the killer's identity, a task his policeman father has failed to achieve. Things take a more provocative and puzzling turn when the boy's penchant for fantasy is revealed, forcing the audience to question whether what has been shown has been real or merely a product of the boy's imagination. As a result, much of the anxiety in Afraid of the Dark emerges not from the violent shocks, but from the uncertain reality and the tantalizing, disturbing hints of the child's psychology. This purposeful ambiguity may strike some viewers as confusing and alienating, despite the film's assured performances and striking imagery. ~ Judd Blaise, All Movie Guide

Partly based on Charlie Chaplin's My Autobiography, this humorous and dramatic biopic features an all-star cast including Oscar nominee Robert Downey Jr., Dan Aykroyd, Anthony Hopkins, Kevin Kline, Diane Lane, and Chaplin's real-life daughter, Geraldine Chaplin, who portrays his mentally ill mother. With the use of flashback, an elderly Chaplin discusses his autobiography with his editor (Hopkins), who urges him to be more vulnerable and emotionally honest with his memoirs while journeying through his poverty-stricken childhood, closest friendships, many marriages, merciless pursuit by J. Edgar Hoover (Kevin Dunn), and ingenious invention of "The Little Tramp." Highlighted works such as The Gold Rush (1925) and The Great Dictator (1940) illustrate significant turning points in Chaplin's prolific filmography. Director Richard Attenborough's film also explores the circumstances surrounding Chaplin's exile from America and his eventual return to receive an honorary Academy Award. ~ Lisa Kropiewnicki, All Movie Guide

Set in the 1830s, this historical drama stars Robin Soans as George Loveless, a Methodist minister whose flock is a group of working families in Tolpuddle, a small town in the British Southwest. Most of the workers in the community are under the thumb of Frampton (Robert Stephens), a ruthless land owner, and his overseer Clerk (Murray Melvin); Frampton and Clerk demand long hours from their workers and pay meager wages. Convinced that the workers deserve a better shake, Loveless, encouraged by organizer Mr. Pitt (Michael Hordern), forms the Society of Friends, an early labor union, and organizes the men to negotiate with Frampton for better pay. When their salaries are instead cut, Loveless and his men go on strike, which could cripple Frampton financially. However, Frampton is well-connected, and soon both the government and private militias are sent in to break the strike and punish the rebellious laborers. The supporting cast includes James Fox, Freddie Jones, and Vanessa Redgrave. ~ Mark Deming, All Movie Guide

This British biopic attempts to chronicle the life of 17th-century tunesmith Henry Purcell. The filmmakers have had to do much speculating about Britain's first great composer, as little is known about his life back then. It is known that Purcell had been a chorister as a child and then became the court composer for three kings: Charles, James and William. Before his death at age 37, Purcell penned over 1,000 songs and sired a few children, most of whom died at birth. While little is actually known of Purcell, the film successfully recreates the tumultuous era in which he lived. Also running parallel to Purcell's story is a set in the 1960s when English society and values seemed to be rapidly eroding, just as they were in the composer's time. The story concerns a playwright's attempts to research the life of Purcell for his next play. In the last part of the film, several lavish musical numbers from Purcell's vast repertoire are presented. ~ Sandra Brennan, All Movie Guide

Originally produced for the BBC, the seven-part Fortunes of War was adapted from Olivia Manning's "The Balkan Trilogy" and "The Levant Trilogy". Kenneth Branagh and Emma Thompson, who in 1987 were husband and wife, star as Guy and Harriet Pringle, a British couple who move to Rumania in 1939. As the war clouds gather, Guy becomes involved in political resistance activities, which tends to make him neglectful of Harriet, who'd just as soon remain aloof from world events. While Guy goes off on such missions as destroying the German supply lines along the Danube, Harriet attempts to maintain decorum in her home-a task rendered well nigh impossible when such "guests" as Prince Yakimov (Ronald Pickup) drop in. Separated in mid-war, the Pringles are reunited in Greece, where the lonely Harriet becomes involved with handsome army officer Jeremy Brudenell. Then it's off to further adventures in Alexandria, Cairo, and finally, Damascus. Fortunes of War was first telecast in America from January 17 to February 28, 1988, as part of PBS' Masterpiece Theatre series. ~ Hal Erickson, All Movie Guide

Katherine (Jacqueline Bisset) is a photographer who lives in the exotic Greek islands with her sculptor husband Patrick (James Fox) in this comedy. The film lampoons tourists, contains beautiful scenery, and focuses on the relationship and eventual reconciliation of Katherine and Patrick. Side plots include a rebellious local involved in politics, an elderly Russian spy (Sebastian Shaw), and the search for an antique urn. Kenneth Branagh and Lesley Manville play British tourists and co-star with Irene Pappas, Robert Stephens, and Paris Tselios. ~ Dan Pavlides, All Movie Guide

In this eerie, atmospheric tale, a young woman is on a train when she sees some people she thinks she knows from her childhood. On arriving home, her husband tells her that a certain countess has died. At that point, the film cuts to a scene of the countess singing in a mausoleum while the visual image of the graveyard's many tombstones passes before one's eyes. Back home, the husband -- also a "father-figure" -- is looking over his collection of wooden angels. Some time elapses, and he surreptitiously sees a thief come down through the chimney, steal some things, and then leave. To combat any recurrence, he builds an iron, escape-proof cage around the fireplace, and then goes away on a trip. When he comes back, he finds the thief dead in the cage. Thus far, the camera has only shown the husband in profile or from the back. Then there is another story about a young girl, with a spiteful, nasty mother, who is trying to cope with her own attraction to a man. When she grows up, she either commits suicide or manages to leave the past behind her. Is this little girl the same married woman on the train at the beginning of the film? In the final, dramatic scenes, the viewers see the husband full-face for the first time, as he confronts his wife. ~ Eleanor Mannikka, All Movie Guide

When a junior executive organizes a romantic encounter with a designer everything falls about creating this comedy. ~ All Movie Guide

Dutch cult director Rene Daalder's fascinating debut was this unfairly neglected and richly idea-laden political allegory set in an American high school. Derrel Maury stars as David, a new student at Central High School who is shocked at the degree of control wielded by three preppie thugs who run the school with an iron fist. At first befriended by Mark (Andrew Stevens), David is soon the victim of bullying when Mark believes that he is courting his girlfriend, Teresa (Kimberly Beck), and points him out to the "ruling class." The worst is still to come, however, when David threatens the pecking order by foiling the three boys' attempted gang rape of a female student and has his leg crushed for his efforts. Eventually, the crippled David politicizes the underclass to fight their oppressors, and all three are killed by falling (from political power, the analogy clearly suggests). Daalder then takes the film in a different direction, with the newly liberated student body becoming an oppressive force themselves, and David enraged to the point of mass murder, deciding to wipe out the entire school. Stirred to action, it is up to the formerly apolitical Mark and Teresa to stop him. Daalder shrinks the entire political spectrum into the crucible of what seems on the surface to be a standard exploitation film. There are representatives of the extreme left, extreme right, disaffected center, intellectual bourgeoisie, and so forth, and all are nicely sketched without sacrificing the film's visceral appeal. Beyond the portraits, however, Daalder also skillfully shows the transitions which occur in many political movements, notably those which start as populist and develop into oppressively hierarchical castes. Perhaps disheartened by the failure of Massacre at Central High at the box office, Daalder did not direct again for nearly two decades, but returned with two more conceptually challenging (if equally unsuccessful) genre films, Hysteria and Habitat, in the mid-'90s. ~ Robert Firsching, All Movie Guide