Julie Walters Movies

As directed by Brian Percival and adapted by scenarist Adrian Hodges from the bestselling period novel by Philip Pullman, the BBC production The Ruby in the Smoke recounts the 19th Century adventures of Sally Lockhart (Billie Piper), an aggressive and determined young Brit. Wielding a loaded pistol, fluency in Hindustani, and a fundamental knowledge of military maneuvers, Sally is anything but a typically submissive, Victorian Era girl. The tale finds her embarking on a quest to uncover the reasons for her father's premature death, and the reason why three seemingly harmless words from her mouth - "The Seven Blessings" - lead to the sudden demise of her father's associate. The film co-stars Robert Glenister, David Harewood and screen veteran Julie Walters as the vile Mrs. Holland. The film marks the first installment in a planned series of BBC productions based on Pullman's series of novels about Sally Lockhart. ~ Nathan Southern, All Movie Guide

This 2000 television adaptation of Charles Dickens' Victorian classic was originally released as a six-hour, three-part miniseries on PBS. Adapted by Alan Bleasdale, this version of Oliver Twist gives viewers a new look at an old story, waiting 90 minutes to even introduce its eponymous hero (played by Sam Smith), and taking pains to establish the background of Oliver's parents, good-hearted Agnes Fleming (Sophia Myles) and all-around coward Edwin Leeford (Tim Dutton). All of the resolutely Dickensian touches are here, from greedy relatives to secret wills, to stolen lockets containing valuable information, and all are ably brought to life by a talented cast that includes Julie Walters as Mrs. Mann, Michael Kitchen as Mr. Brownlow, Lindsay Duncan as Elizabeth Leeford, Marc Warren as Monks, and Robert Lindsay as Fagin. As an added bonus, the miniseries' score, by Paul Pritchard, contains additional music by none other than Elvis Costello. ~ Rebecca Flint Marx, All Movie Guide

Roger Michell directed this British drama based on Mary Costello's autobiographical novel about a Belfast housewife and peace activist. During early '70s conflicts in Northern Ireland, Bernie McPhelimy (Julie Walters) and her family move into a Catholic neighborhood in a West Belfast town famed as the location of the Titanic's construction but now a battlefield of bullets, tanks, and helicopters. When one of Bernie's old friends is trapped in a crossfire and killed, she attends a women's peace group but finds their approach ineffectual. Despite the resentment of her family, objections from her husband (Ciaran Hinds), and community hostility, the determined Bernie organizes her own group, teaming with co-campaigner Deidre (Aingeal Grehan) to mediate between the British government and the IRA, eventually collecting 25,000 petition signatures to limit residential neighborhood fighting. Shown in the market section at the 1998 Cannes Film Festival. ~ Bhob Stewart, All Movie Guide

Originally adapted for German television in 1966, Francis Durbridge's mystery novel Melissa was remade as a British miniseries in 1974. That version was sufficiently famous to warrant an expensive four-part reworking nearly a quarter of a century later. Expanding considerably upon the original, this new version of Melissa told the story of war correspondent Guy Foster (Tim Dutton), who, after the death of his wife in a car accident, embarked upon an ocean voyage to forget his troubles. En route, he enjoyed a shipboard romance with an ethereally beautiful woman named Melissa (Jennifer Ehle), who shortly afterward died in mysterious circumstances. The plot thickened as several of Guy's other acquaintances were likewise knocked off, one by one, until the hero found himself accused of their murders. Melissa debuted over Britain's Channel 4 on May 12, 1997. ~ Hal Erickson, All Movie Guide

Just Like a Woman is a contemporary cross-dressing farce played as if it were a romantic comedy. But still, in the deep recesses of the celluloid, the narrator from Ed Wood's Glen Or Glenda can be heard intoning, "Remember, transvestites are not homosexuals." The story begins when businessman Gerald (Adrian Pasdar) is kicked out of his house by his wife, who discovers Gerald in the possession of a strange woman's underwear. After being cast out of hearth and home, he ends up living in a rented room at the home of fortyish divorcee Monica (Julie Walters). The two proceed to fall in love, and all is well until Monica spots a mysterious woman creeping upstairs to Gerald's room. When Monica investigates, it turns out that the mystery woman is, in fact, Gerald. Monica is taken aback, but only for a moment, and they continue their affair -- dresses, panties, garter belts and all. As one of Monica's friends points out to her, "It's 'is 'obby, luv . . . like golf . . .except you see more of him." Unfortunately, so does Gerald's boss, Miles Millichamp (Paul Freeman) who abruptly fires him for being a transvestite. But Gerald's firing affects his firm's negotiations with an important Japanese company and he must muster up enough fortitude to both straighten out his career and his panty hose. ~ Paul Brenner, All Movie Guide

Having previously headlined a series of short TV skits and monologues, British comedienne-composer Victoria Wood graduated to the anthology format in this six-episode offering. Individual episode titles included "Mens Sana in Thingummy Doodah," "The Library," "Over to Pam," "We'd Quite Like to Apologize," "Val De Ree (Ha Ha Ha Ha Ha)," and "Staying In." All playlets were written by the star, as was the piano music heard between scenes. Appearing in support of Wood was an impressive coterie of British guest stars and comedy "regulars," including her old professional cronies Julie Walters, Duncan Preston, Celia Imrie, and Susie Blake. Victoria Wood originally aired from November 16 to December 21, 1989. ~ Hal Erickson, All Movie Guide

Written for television by Victoria Wood, Happy Since I Met You is an excellent showcase for the talents of Educating Rita star Julie Walters. Cast as a ditsy dramatics teacher, Julie tries to help aspiring actor Duncan Preston. Though both resist the inevitable as long as possible, love inevitably blooms. Several well-known British actors show up in cameo roles, notably the irrespressible Tracey Ullman. Filmed in 1986, Happy Since I Met You was first seen on American cable TV in 1989. ~ Hal Erickson, All Movie Guide

Vacillating between the suspense of a thriller and the absurdity of a farce, this uneven story about a demonized telephone company intent on controlling everyone's lives ends up in cinematic limbo -- neither farce nor thriller. When Mavis (Julie Walters) leaves her gay husband to go live in an apartment with her daughter, she receives a call from him saying he is about to come over for a visit. Nothing happens. Then the telephone does other strange things, and as she sets out to discover why, the people she meets are as odd as her phone. She comes across a dwarf with a giant libido and an expert in conspiracy theories who holds his own views (not created jointly with others). The woman would have been better off getting an answering machine, much needed to resolve the plot holes in this story. ~ Eleanor Mannikka, All Movie Guide

Having worked her way up the guest-star ranks to headline her own occasional TV specials, British comedienne/writer/singer Victoria Wood scored one of her biggest successes in the 1979 one-off drama Talent, in which she was teamed with actress Julie Walters. Two years later, Wood and Walters were reteamed in the free-flowing comedy special Two Creatures Great and Small. From this spawned the weekly, half-hour comedy sketch anthology Wood and Walters, for which Wood again supplied the scripts and the songs. This project aired in the U.K. from January 1 to February 21, 1982. ~ Hal Erickson, All Movie Guide

Originally filmed in 2001 under the title "My Beautiful Son," the made-for-cable Strange Relations stars comedian Paul Reiser in the largely noncomic role of 39-year-old Manhattan psychiatrist Dr. Jerry Lipman. Diagnosed with leukemia, Lipman desperately seeks out a close relative -- any close relative -- for a crucial bone marrow transplant. The news from his mother, Esther Lipman (Olympia Dukakis), is both dispiriting and shocking; Jerry, it seems, was adopted as an infant, and his real family is in far-off England. Flying to Liverpool in search of that all-important donor, Jerry is reunited with his birth mother, an earthy Liverpudlian named Sheila Fizpatrick (Julie Walters). The ensuing rapport between stars Reiser and Walters is ample compensation for the film's weaker passages and unbelievable plot contrivances. Lensed on-location in New York City and London, Strange Relations made its Showtime network bow on March 31, 2002. ~ Hal Erickson, All Movie Guide

In 1954, all of England was rocked by a shocking crime that took place in a quiet coastal town and involved a socially upstanding landlady, her smart, newly blossomed teenage daughter, and a handsome but troubled Australian in search of family he had never known. In retelling this true story, first-time filmmaker Philip Goodhew offers a blackly comic and ironic look behind the proper lace curtains of a seemingly normal British household and reveals a seething pit of repressed lust, jealousy and deadly obsession. The tale begins as Harold Guppy (Rupert Graves) leaves a ship and ambles toward the home of his long-lost brother Maurice Guppy (Les Dennis). The reunion is tepid, for Maurice's wife Iris (Elizabeth McKechnie) is suspicious of Harold and unwilling to welcome him into her home. It doesn't help that the callow Harold reveals a troubled, though somewhat cloaked past. Unable to stay with his brother, Harold finds lodging in the home of friendly, late-middle-aged Mrs. Beasley (Julie Walters). With her rhinestoned glasses, boxy dresses, short bouffant, and prim take-charge manner, Mrs. Beasley seems the epitome of 1950s motherhood and good housekeeping. Harold soon meets the rest of the family, the fresh-faced, bright, but rather macabre Joyce (Laura Sadler in her feature-film debut), and Mr. Beasley, a quiet, hen-pecked (the Mrs. hasn't had relations with him in years and forces him to sleep in his own room) WW I survivor who despite his missing leg, still supports his family. Things seem normal enough until a fateful game of spin-the-bottle during Joyce's 14th birthday party reveals an entirely different side to Mrs. Beasley. That night she creeps to Harold's bedroom and pleads with him until he weakens and accepts her advances and they begin to make wild love. The row awakens Joyce who pops into Harold's room and refuses to leave until the would-be lovers allow her into the bed. Thinking her asleep and unaware, Mrs. Beasley and Harold quietly resume their cavorting. Joyce is very much awake and spends the night scheming to get Harold to come to her. Thus begins an inescapable downward spiral for the weak-willed Harold that culminates in a desperate and horrific act of violence. Though it is not difficult to guess that none of the three protagonists will come to a good end, the graphic nature of the story's climax is jarring and out of place in the otherwise low-key and rather dry comedy. That the trio's characters are so broadly drawn, even bordering on cariactures, lessens the impact and the actual horror of the case. Still, Intimate Relations is a well-made film that aptly captures the flavor of post WW II England and contains many memorable lines.That the three try so hard to keep up the appearances of a normal household (Mrs. Beasley insists that Harold call her "Mum," a word he later has tattooed upon his arm) only adds to the bitter humor. ~ Sandra Brennan, All Movie Guide