Peter Vaughan Movies

Based on John Trenhaile's A Man Called Kyril, this byzantine-plotted spy melodrama stars Ian Charleson in the title role. Kyril is a supposed Soviet defector who relocates in London. In fact, his defection is a smoke-screen: Kyril has been sent by the KGB to seek out a British mole in Moscow Centre. At four hours, Codename: Kyril affords plenty of breathing space for the various plots and counterplots, but its excess of espionage verbiage may prove confusing to the average viewer. Filmed for British television in locales ranging from Norway to Holland, Codename: Kyril was first telecast in the US on the Showtime cable network on April 27, 1988; a videocassette version running 115 minutes was made available in 1991. ~ Hal Erickson, Rovi

The hardcore metal band Strife has their 1995 winter tour documented on this film. In addition to live performances, the film shows how the band has become one of the mainstays of the hardcore movement. The DVD release of the film boasts music videos, and a full Japanese concert that is excerpted in the film itself. ~ Perry Seibert, Rovi

A made-for-TV miniseries set during World War II, Monte Carlo features a Russian singer (Joan Collins) who works in the French city. She moonlights, however, as an Allied spy to retaliate against the Nazis who murdered her husband. ~ John Bush, Rovi

Gene Wilder directed and wrote (along with Terence Marsh) this mild farce which is a pale reminder of Wilder's glory days in Mel Brooks' Young Frankenstein. Wilder plays ham radio actor Larry Abbot, who takes his fiancee Vickie Pearle (Gilda Radner) out to meet his relations on a gloomy country estate before they are married. The creepy clan is lorded over by the bizarre Aunt Kate (Dom DeLuise), who keeps babbling about a local rampaging werewolf. As Larry and Vickie try to spend a quiet weekend in the mansion, they are assaulted with all manners of spooky goings-on -- the kind of routines that were already growing whiskers when Abbott and Costello first dusted them off over fifty years ago. ~ Paul Brenner, Rovi

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, Rovi

Forbidden represented not only the TV-movie bow of Jacqueline Bisset, but also the American debut of German film favorite Jurgen Prochnow. Filmed in Berlin by a British production crew, this fact-based story concerns German countess Nina von Halder (Bissett). Despite the anti-Semitic edicts of the Hitler regime, Nina becomes romantically involved with Jewish Fritz Friedlander (Jurgen Prochnow). Complicating matters is the fact that Fritz is already married. The infidelity angle is put on hold as Nina hides her lover from the Nazis, all the while remaining active with the Resistance. Based on the Leonard Gross novel The Last Jews of Berlin, Forbidden originally aired March 24, 1985, over the HBO cable service. ~ Hal Erickson, Rovi

Czech Mate isn't nearly as clumsy as its title. This British made-for-TVer stars the lovely Susan George as a political naif. In spite of herself, the woman is sucked into a sinister conspiracy (there's another kind?) Patrick Mower co-stars as one of those "whose side is he really on?" types. Czech Mate premiered on American television over the USA network on March 2, 1985; it was double-billed with another British TV feature, The Late Nancy Irving. ~ Hal Erickson, Rovi

Coming Out of the Ice stars John Savage as the real-life Victor Herman, an American athlete born to Ukrainian immigrants. In 1931, when Herman was sixteen, he and his family moved to the Soviet Union when his father was transferred there for his job with Ford Motor Company. Four years later, Victor won the world parachute jump competition, but refused to accept an award bestowed by Josef Stalin or to renounce his American citizenship. Presumably as a result, Herman was sentenced to hard labor and then exile in Siberia; he would not be cleared of "counterrevolutionary" charges until 1955. He eventually returned to the United States nearly 45 years after he was first imprisoned. Filmed in Finland, Coming Out the Ice was first telecast on May 23, 1982. ~ Hal Erickson, Rovi

A young boy joins a group of renegade dwarves on an unpredictable journey through time in this humorous fantasy. Monty Python animator Terry Gilliam mostly achieves a tricky balancing act in his second feature as sole director, creating a dark, irreverent comedy disguised as a family adventure. Particularly amusing are the boy's encounters with various historical figures, including an entertainment-starved Napoleon (Ian Holm), a powerful Agamemnon (Sean Connery), and a surprisingly stuffy Robin Hood, embodied by Gilliam's Python cohort John Cleese. Episodic by nature, the film is less successful when dealing with the larger narrative, which concerns the pursuit of the dwarves and their time-traveling map by the Supreme Being. However, the combination of Gilliam's visual exuberance and the witty script (by Gilliam and Michael Palin) ensures an entertaining, if erratic, journey. ~ Judd Blaise, Rovi

As indicated by its title, this British miniseries concentrated on the years between the two world wars, when the eminent Winston Churchill (Robert Hardy) was politically out of favor in his own country. Acutely aware of the danger looming in a newly re-armed Germany, Churchill vainly tried to warn his fellow Britishers that Hitler was not a man to be trusted. It was only after the benighted PM Neville Chamberlain (Eric Porter) saw the promise of "Peace in Our Time" blow up in his face that Churchill was ensconced in his proper position as leader of his nation. First telecast in the U.K. in 1981, Winston Churchill: The Wilderness Years aired in the U.S. two years later. ~ Hal Erickson, Rovi

Rudolph Valentino, born in Italy in 1895 as Alfonzo Raffaele Pierre Philibert Guglielmi, emigrated to the U.S. and became for a time the reigning male romantic lead of the silent-film era. He died in 1926, having led a short, troubled and tempestuous life which included several stints in prison. The crowds surrounding his coffin before and during his funeral were among the largest ever seen in the U.S. In this film, Ken Russell has used events from the famous actor's life as the basis for an extended meditation on the nature of stardom, and especially on what it means to be a sex idol. Beginning and ending with the funeral of Valentino (Rudolf Nureyev), the story chronicles his rise to Hollywood stardom from life as an Italian emigrant dishwasher and show-dancer. Often embroiled in controversies about his manliness (or perceived lack of ), in the film he dies as a result of internal injuries suffered in a boxing match he fought in to defend his honor. ~ Clarke Fountain, Rovi