Billie Whitelaw

A group of trailblazing female musicians try to take another shot at success in this musical comedy-drama produced for the premium cable network HBO. In the 1940s, the Blonde Bombshells were the finest all-female jazz band in the U.K., playing hot swing music that helped raise England's spirits during the dark days of WWII. Fifty years later, Elizabeth (Judi Dench), one of the band's sax players, is trying to decide what to do with herself after the death of her husband. Pulling her axe out of mothballs, Elizabeth starts playing again, and after meeting Patrick (Ian Holm), the group's former manager (and drummer-in-drag), they decide to put the group back together for a reunion tour. But they soon discover that putting the band back on the road after over fifty years is no easy task. The Last of the Blonde Bombshells also stars Leslie Caron, Olympia Dukakis, and jazz vocalist Cleo Laine. ~ Mark Deming, All Movie Guide

The Lost Son brings together talented British director Chris Menges with a well-known face of French cinema, Daniel Auteuil, who plays a detective in self-exile in London who deals mostly with cases of adultery. At the same time, he is trying to come to terms with the ghosts of his past. While trying to locate the brother-in-law of an old friend who once saved his life, he finds himself in the middle of a network of pedophiles. The director tries to avoid voyeurism or over-simplification in dealing with such a sensitive issue. The tone is not judgmental. One memorable image sums up the thrust of the film: a silent boy urinating on the corpse of one of his torturers. ~ Gönül Dönmez-Colin, All Movie Guide

Director Franco Zeffirelli stresses emotional realism over gothic chills in this restrained adaptation of Charlotte Bronte's classic. The screenplay, by Zeffirelli and Hugh Whitmore, remains relatively faithful to the original story, beginning with a condensed look at the troubled childhood of young Jane (Anna Paquin) and her mistreatment by a cruel aunt (Fiona Shaw). The bulk of the film centers on Jane as an adult (Charlotte Gainsbourg), a prim governess who accepts a position at Thornfield Hall caring for the young Adele (Josephine Serre). There Jane also must deal with the estate's head, Edward Rochester (William Hurt), a mysteriously brooding yet oddly alluring older man. She finds herself drawn to Rochester, but their potential romance is threatened by Jane's fears and Rochester's internal torment. Rather than the spooky visuals of earlier adaptations, Zeffirelli and cinematographer David Watkins opt for a subdued gloominess, placing emphasis on Gainsbourg's and Hurt's wounded portrayals. Fans of the gothic will likely find Zeffirelli's interpretation anemic in comparison to the passionate 1944 version with Joan Fontaine and Orson Welles, though others may appreciate the more naturalistic and faithful approach. ~ Judd Blaise, All Movie Guide

This film offers a glimpse into the abuse of disabled people in residential homes while also offering a look into the human spirit. The Skallagrigg is said to be "the mythical protector of disabled people," and 16 year old Esther who suffers from cerebral palsy wants to find him. Esther had lived most of her life in a rehab center for the handicapped. When her widowed father John, finally comes to take her out, Esther is bitter until she convinces him to help her quest for the Skallagrigg. They are accompanied by Esther's friends Raj, a cynical young man in a wheelchair, and Tom who suffers from Down's syndrome. Esther and John become closer as they discover that the Skallagrigg is a really a palsied fellow named Arthur who has been horribly abused in a nursing home. ~ Sandra Brennan, All Movie Guide

The made-for-TV Duel of Hearts is based on a novel by Barbara Cartland. It is difficult to believe that there's a Gothic-romance TV movie in existence that isn't based on a Cartland novel. Alison Doody plays gorgeous debutante Lady Caroline Faye, who falls for dashing nobleman Genuse Warlingham (Michael York). To be near the love of her life, Lady Caroline poses as a humble servant. The top-drawer British supporting cast includes Geraldine Chaplin, Billie Whitelaw, Virginia McKenna, Richard Johnson, Jeremy Kemp and Beryl Reed. Duel of Hearts made its American TV bow over the TNT Cable service on February 24, 1992. ~ Hal Erickson, All Movie Guide

A murder investigation at a cloistered boy's school is the subject of this British made-for-television adaptation of John Le Carre's novel. Le Carre's famous detective-hero George Smiley (Denholm Elliott) returns from retirement to look for answers in a mysterious murder at a boarding school, where secret societies, rituals and abuse are the norm. ~ Bernadette McCallion, All Movie Guide

Peter Medak directed this fact-based drama, chronicling the lives of the infamous Kray Brothers, notorious celebrities in 60s London. The Krays were twin gangsters who ruled London's stylish East End club scene, staking out their territory by committing the most violent crimes imaginable, preferring to perform the most torturous acts themselves. The film stars Gary Kemp and Martin Kemp, founding members of the pop group Spandau Ballet, as Ronald and Reginald Kray. The film opens as their mother Violet Kray (Billie Whitelaw) recalls a dream in which she is a swan from which two beautiful babies have hatched. She can't tell if the swans are angels or demons, but the film soon answers that question for her. Brought up in London's East End in the 1930s, Ronald and Reginald Kray are raised in the resentful world of Violet, who is hateful of her lot in life and bitter at the control men have in running the world ("Housework is a lethal business," she says). The twins react to each other almost telepathically and they take out their anger by clogging the nose of their sleeping father (Alfred Lynch), pushing around fellow schoolboys, and even beating each other to pulp at a boxing match. When her mother chastises them for their fight in a fairground boxing ring ("You fight them up, but you don't fight each other"), the twins veer into the London underworld. In their self-contained world of Us-Against-Them, the Krays rapidly rise to the height of power, first taking over the territory of a petty mobster by violent means and then putting together an underworld empire of posh clubs, cars, and fancy suits. But at the height of their fame, the twins begin to break from each other. Reginald falls in love with Frances (Kate Hardie), while Ronald gets involved in a homosexual relationship with one of his underlings. Ronald, in a jealous rage over Frances stealing his brother away from him, becomes even more brutal in his crimes and while the brothers' backs are turned, a group of older mobsters challenge the Krays' authority, invoking a horrible bloodbath that effects not only the two brothers but Frances and Violet as well. ~ Paul Brenner, All Movie Guide

Mary (Patricia Kerrigan) is a battered wife with two small children, living in a grim section of Dublin. Unable to stand the abuse any longer, she runs away from home, leaving her kids behind. Without money or a place to stay, she's befriended by a somewhat shady character named Perky (Andrew Connolly). He steals a car, and together they go to the coastal town where she'd honeymooned years earlier. Mary and Perky argue constantly, and since she's determined to never let a man abuse her again, she leaves him and gets a job at a dance hall. At the dance hall she encounters a singer (Billie Whitelaw) who she'd idolized as a child. The singer is now a pathetic alcoholic, so another one of Mary's illusions is shattered. On top of that, the dance-hall manager is making unwanted sexual advances to her. Perky returns to rescue her, and they briefly find happiness on a farm owned by a wryly philosophical old widower ($David Kellly}. The film ends on a somewhat upbeat note, as they rescue one of Mary's daughters from a Dublin orphanage, but we're left in doubt as to whether Mary and Perky have a future together. Joyriders was the first effort by female director Aisling Walsh. It was financed by the Irish Film Board. ~ Clarke Fountain, All Movie Guide

Director James Ivory brings his subdued, "Masterpiece Theater" style to a forbidden subject -- homosexual love. Maurice is based on E.M. Forster's suppressed 1914 novel that was held back from publication until after his death. The film takes place at Cambridge, before World War I, when homosexuality was outlawed in Great Britain. Clive (Hugh Grant), an aristocratic Englishman with a life of privilege, suddenly shocks his close friend Maurice (James Wilby) by declaring his love for him. Maurice is initially stunned by the pronouncement, but in the end finds himself giving Clive a passionate kiss and telling him that he loves him as well. Clive, in the stiff-upper-lip British manner, considers their love to be more of an intellectual concept, but Maurice becomes passionate about the affair. Clive, afraid of being exposed as a homosexual, backs off and breaks up with Maurice for marriage, family, and politics. Maurice is crestfallen, but then he has a passionate affair with Clive's gamekeeper, Scudder (Rupert Graves), and Maurice and Scudder decide to risk their reputations by openly living together as lovers. ~ Paul Brenner, All Movie Guide

This surreal British black comedy tells the tale of poor Oliver Shadey, a mechanic who longs to become a woman but lacks the money for the operation. Oliver is a talented lad and has the rare ability to read the minds of people and put their thought on film. He has the best of intentions when he hooks up with greedy Sir Cyril Landau with a way to earn some money and achieve his goal. ~ Sandra Brennan, All Movie Guide

Alexandre Dumas fis first dramatized his own novel La Dame aux Camelias in 1852. Before the century was out, the work had been transformed by Giuseppe Verdi into the opera La Traviata; before the next century was out, the Dumas book had been made into no fewer than 25 films. The 1984 TV-movie adaptation, titled Camille like most of the others (including the first film, way back in 1907), stars Greta Schacchi as Marguerite, the popular Parisian courtesan who is wooed by innocent young Armand (Colin Firth). She is willing to give up her libertine lifestyle for Armand, but is gently convinced by the boy's father (John Gielgud) that such a union would be impossible. She renounces Armand, but he returns to her side, just as she is dying of consumption. Blanche Hanalis' adaptation of the Dumas novel takes a franker approach to the subject matter than the more familiar 1937 filmization with that other Greta (Garbo), and also manages to insert a soupcon of feminism. Filmed in Paris, the 1984 Camille was originally offered as a Hallmark Hall of Fame special. ~ Hal Erickson, All Movie Guide

In this undistinguished crime drama, Peter Coyote plays a thief on the run after an attempt to rob an armored car in upstate New York ends in the death of a little girl. Her father sends a hitman (Philip Sayer) to avenge her death, and the rest of the film is a long series of near-misses as the hitman chases the thief, until the latter ends up in England at the home of a friend whose wife owns an amusement park. But in this jet age, an ocean does not offer much of a barrier, and the chase continues on British soil. ~ Eleanor Mannikka, All Movie Guide