Amy Veness Movies

Comparatively little known, the British A Woman for Joe is an excellent showcase for leading lady Diane Cilento (later better known as Mrs. Sean Connery). The actress is cast as Mary, a carnival performer hired by fairground impresario Joe Harrap (George Baker). Mary was employed at the behest of midget George Wilson (Jimmy Haroubi), the real brains behind Harrap's sideshow. Mary is instantly attracted to Joe, which does not rest well with the jealous, manipulative George. The plot is resolved by a sudden death during one of George's performances. What could have been an exercise in tawdriness is redeemed by the colorful camerawork of Georges Perinal. ~ Hal Erickson, Rovi

"Angels One Five" is the cognomen bestowed upon a group of WW II British fighter pilots. The squadron leader is Tiger Small (Jack Hawkins), who is taken out of commission after an accident. Despite the protests from his fellow flyboys, Tiger insists upon taking to the air again, thereby setting the stage for the film's exciting and inspirational finale. Angels One Five differs from other combat films in that the battles generally take place offscreen; the progress of the principal characters is relayed to the audience via radio reports and control-room charts. If this sounds dull and static, it isn't: in fact, Angels One Five is among the best of the "Battle of Britain" war epics. ~ Hal Erickson, Rovi

Tom Brown's Schooldays was the second film version of Thomas Hughes' semiautobiographical novel. John Howard Davies, who'd previously essayed the title role in Oliver Twist, stars as first-year Rugby student Tom Brown. In his efforts to adjust to boarding-school life, Tom must contend with the calculated cruelties of all-around bully Flashman (John Forrest). One of the boy's few allies is new schoolmaster Doctor Arnold (Robert Newton), who believes that discipline can be tempered with kindness, a "radical" notion so far as his colleagues are concerned. Despite the authenticity of its British surroundings, the 1951 version of Tom Brown's Schooldays isn't quite as good as the 1940 Hollywood adaptation. ~ Hal Erickson, Rovi

With his previous collaborator David Lean busy on other own projects, Noel Coward had to rely on director Terence Fisher to bring his The Astonished Heart to the screen. Fisher and his stars--Celia Johnson, Margaret Leighton, and Coward himself--vividly convey the playwright's brittle, sophisticated view of the world. Coward stars as Christian Faber, a psychiatrist who falls in love with the much-younger Leonora Vail (Leighton). This means that Faber must convince himself that his blissful 10-year marriage to wife Barbara (Johnson) is truly at an end. Once he's made this compromise with his conscience, Faber further deteriorates into petulant jealousy when Leonora begins roaming. The surprise ending is all the more surprising because the audience is pulling for Faber (despite his emotional immaturity) and is hoping that he'll pull himself out of his self-imposed mess. In addition to writing and starring in The Astonished Heart, Noel Coward also composed the musical score. ~ Hal Erickson, Rovi

The title is a reference to the mental state of leading lady Phyllis Calvert. Ms. Calvert plays an amnesiac, a victim of the wartime air raids, whose past is literally closed off to her. She doesn't know why, but everyone at every turn seems to want something from her--and some of these strangers have a homicidal glint in their eyes. Among the supporting players is Richard Burton, making his fourth screen appearance. Retitled as Her Panelled Door for U.S. theatrical release. ~ Hal Erickson, Rovi

Anticipating The Defiant Ones by nearly ten years, the British My Brother's Keeper concentrates on the exploits of two handcuffed-together escaped convicts. The protagonists are career criminal George Martin (Jack Warner) and terrified "first timer" Willie Stannard (George Cole). The film is one long chase, with a brief respite to establish the relationship between Martin and his girlfriend Nora Lawrence (Jane Hylton). Despite the fact that they're polar opposites, George and Willie develop a grudging friendship and dependence upon one another, broken only by the events in the final scenes. Director Alfred Roome's utilization of actual exterior locations adds a great deal of credibility to the story. ~ Hal Erickson, Rovi

The boy is Sam Walters (Patrick Holt). The girl is Susie Bates (future Avengers star Honor Blackman). The bike is one of several used by a British cycling club. Boy and girl have fun peddling about the countryside until the girl's pretty head is turned by David Howarth (John McCallum), a wealthy young man with a snazzy sportscar. When David joins the cyclers, Susie glows and Sam glowers. Set in Yorkshire, the film is pleasant to look at but difficult to understand (at least for those not accustomed to regional British accents). The presence of sex symbol Diana Dors in the cast enabled A Boy, a Girl and a Bike to secure good bookings in the U.S. ~ Hal Erickson, Rovi

Blanche Fury combined two elements that were surefire moneymakers in postwar Britain: a brooding, Gothic-novel storyline and the dazzlingly handsome Stewart Granger. Heroine Blanche Fury (Valerie Hobson) is an impoverished governess who marries into wealth and sets herself up as the mistress of a vast estate. Enter Heathcliffe-like stable boy Philip Thorn (Granger), who intends to run the estate and eventually claim Blanche as his own. After a torrid, bodice-ripping romance between Blanche and Philip, the story segues into a no-names-please reenactment of the infamous 19th-century "Rush Murder." To "explain" the motives of the characters, the screenwriters deviate from the original Joseph Shearing novel by imposing all sorts of 20th-century "psychological disturbances" upon hero and heroine, with an abruptness and lack of logic that takes the viewer's breath away. Up until the end, however, Blanche Fury is a prime example of high-budget postwar British melodrama. Oddly, despite its $1.5 million price tag, con brio performances and superb Technicolor cinematography, Blanche Fury was a box-office disappointment, bringing an end to the "Gothic cycle" that had begun so promisingly with 1943's The Man in Grey. ~ Hal Erickson, Rovi

The second of director David Lean's adaptations of a Charles Dickens novel (Great Expectations (1946) was the first), Oliver Twist expertly boils down an enormous novel to a little less than two hours' screen time. The film begins with baby Oliver left on the doorstep of an orphanage/workhouse by his unwed mother. Proving a difficult charge to the wicked orphanage official, Oliver (John Howard Davies) is sold into a job as an undertaker's apprentice. He runs away and joins a gang of larcenous street urchins, led by master pickpocket Fagin (Alec Guinness). Oliver is rescued from this life by the kindly Mr. Brownlow (Henry Stephenson); but, with the complicity of evil Bill Sikes (Robert Newton), Fagin abducts Oliver. Sikes' girl friend Nancy (Kay Walsh) restores Oliver to Brownlow, leading to tragic consequences before an ultimately happy ending. Oliver Twist was filmed in England in 1948, but its American release was held up for three years due to the allegedly anti-Semitic portrayal of the duplicitous Fagin. Even in its currently censored form, Oliver Twist is one the best-ever film versions of a Dickens novel. It served as a blueprint for Oliver! (1968), the Oscar-winning musical version. ~ Hal Erickson, Rovi

In this comedy drama, a taxi driver finds an abandoned greyhound puppy and takes it home to his daughter who raises it and trains it to race. While at the track, a corrupt dog owner sees the dog as a threat to his champion and tries to buy it from her. She refuses, and so he tries to frame the taxi-driver on fake drunk-driving charges. Fortunately, the dog wins the Big Race and the cabby's good name is eventually cleared. ~ Sandra Brennan, Rovi

A classic in gothic-romantic excess, Madonna of Seven Moons was one of the most successful British films of its genre. Though she doesn't know it at first, young convent-bred Rosalinda (Phyllis Calvert) has been born under a curse: before her life comes to a close, she will be wife, mother and mistress all in one. As a child, Rosalinda is raped by a gypsy, an experience that renders her a schizophrenic. Years later, she is the seemingly contented wife of prosperous Italian businessman Giuseppe (John Stuart) and the mother of attractive teenager Angela (Patricia Roc). From time to time, however, Rosalinda disappears from her home and retreats to the slums of Florence, where she assumes the identity of lustful gypsy girl Maddelina, the mistress of criminal leader Nino (Stewart Granger). Then she returns to her husband and daughter, completely unaware of her "other" self or even that she's been absent. Understandably curious about her mother's long absences, Angela follows Rosalinda during one of her sojourns into the Florentine underworld. Far from home and hearth, poor Angela is targetted for seduction by Sandro (Peter Glenville)--the very gypsy who'd assaulted the younger Rosalinda! And just when it seems that things can't get any more unbelievable?..well, this one is definitely better seen than described. Originally released at 100 minutes, Madonna of Seven Moons was expertly cut to 88 minutes for US consumption. ~ Hal Erickson, Rovi

The crown jewels are at stake in this crime comedy featuring the efforts of London bobby Gray against American gangster Hunter. ~ Rovi

Don't Take It to Heart is an amiable entry in the 1940s cycle of "ghost comedies". A British castle is rocked by a German bombing raid, releasing a jaunty wraith (Richard Greene) from his house-haunting job. As long as he's got the run of the castle, the ghost decides to take a hand in the romance between mistress-of-the-house Patricia Medina and young researcher Richard Bird. Also in line for ghostly visitation is the nasty landlord who holds the local townsfolk in his avaricious clutches. Don't Take It to Heart received almost uniformly good reviews from the British press, which during wartime was often resistant to comedy films. ~ Hal Erickson, Rovi