Donald Wolfit Movies

A high-class costume drama with a substantive historical basis, Becket is the true story of the friendship between King Henry II (Peter O'Toole) and Thomas à Becket (Richard Burton), a royal courtier and confidant whom Henry appoints as Archbishop of Canterbury. As Becket takes his duties with the Church seriously, he finds himself increasingly at odds with the King, who finally orders the death of his once-close companion when he continues to defy the throne. Burton is very good and O'Toole is even better: both men were nominated for the Best Actor Oscar, while Edward Anhalt's screenplay, based on the stageplay by Jean Anouilh, won for Best Adapted Screenplay. The basic theme of separation of church and state still reverberates today, while the top-notch production values ensure Becket's place as one of Britain's better historical epics. ~ Don Kaye, All Movie Guide

Calling the Tune uses its skeletal plot to celebrate the British record industry, circa 1936. Adele Dixon plays the daughter of a powerful record company executive. She falls in love with Clifford Evans, who happens to be the man her father once cheated in order to build up his show business empire. Amidst several specialty numbers, love finds a way. Calling the Tune anticipates the 20th Century-Fox "feel good" musicals of the 1940s by spotlighting several prominent guest stars, including actor Cedric Hardwicke, music hall legend George Robey, conductor Sir Henry Wood, and the Queen's Hall Light Orchestra. ~ Hal Erickson, All Movie Guide

Originally released in 1934 as Death at Broadcasting House, this musty British whodunit was distributed in the US in 1941 to cash in on the Hollywood-engendered popularity of its star, Ian Hunter. Set in a BBC radio studio, the story gets under way when a much-despised airwaves personality is murdered in the middle of a live broadcast. Scotland Yard inspector Gregory (Ian Hunter) shows up to piece together the clues and sift through the suspects. The solution of the mystery hinges on the fact that the victim insisted upon broadcasting in a private room, far removed from his fellow actors. Inspector Gregory provides this solution by coming up with a transcription of the fatal broadcast (this at a time when few radio programs were recorded for posterity). Elements of Death at a Broadcast resurfaced in the 1942 Abbott & Costello comedy Who Done It? ~ Hal Erickson, All Movie Guide

This crime drama is set in 1910, and tells the tale of a doctor accused of murdering his wife. He swore that he didn't do it. The evidence speaks otherwise. The doctor staunchly claimed the overdose of tranquilizers found in her tea got there by accident and that he and his beautiful mistress had absolutely nothing to do with it. Never mind that after his wife's "accidental" death, he and his lover just happened to choose that moment for a Canadian vacation. Despite their absence, the London police continue investigating until they find the poor wife's body buried in the doctor's cellar. Even after his subsequent capture, extradition and guilty sentence, Dr. Crippen swears his innocence. It's unbelievable, but the story is true. ~ Sandra Brennan, All Movie Guide

Sir Francis Drake (Lang), first English circumnavigator of the globe, is featured in this exciting adventure with his amazing defeat of the Spanish Armada in 1588 and a romance between the dashing sailor and a lady-in-waiting for Queen Elizabeth (Baxter). ~ All Movie Guide

Walter Hackett's popular stage farce Hyde Park Corner was smoothly transferred to the screen in 1935. Gordon Harker repeats his stage role as insouciant cockney Cheatie, a central figure in a bit of history that repeats itself. A duel to the death in 1780 turns out to have long-reaching effects for the ancestors of the two participants. When in 1935 it looks as though the duel will be repeated -- under the same circumstances, at the same location -- the outcome is significantly different, and a whole lot happier. Binnie Hale co-stars as Sophie, a role originated on stage by Marion Lorne (yes, the same Marion Lorne who later played dithery Aunt Clara on TV's Bewitched). ~ Hal Erickson, All Movie Guide

No relation to the 1924 D. W. Griffith film of the same name, Isn't Life Wonderful! is a bucolic British comedy which goes for quiet chuckles rather than bellylaughs. Set in a sleepy rural village in the early 1900s, the film centers around the efforts to transform sorry old sot Uncle Willie (Donald Wolfit) into a gentleman of prestige and property. It is all for the benefit of young Virginia (Dianne Foster), the American fiancee of Willie's prim-and-proper nephew Frank (Robert Urquardt). Set up by friends and relatives in the bicycle business, Uncle Willie continues his wastrelly ways, but somehow manages to make a success of his little shop. Somehow all this leads to a hectic finale at a health spa, replete with an amusing car chase. As a novelty, Isn't Life Wonderful! is told from the point of view of the film's youngest character, played by 6-year-old Peter Asher. ~ Hal Erickson, All Movie Guide

This sweeping, highly literate historical epic covers the Allies' mideastern campaign during World War I as seen through the eyes of the enigmatic T. E. Lawrence (Peter O'Toole, in the role that made him a star). After a prologue showing us Lawrence's ultimate fate, we flash back to Cairo in 1917. A bored general staffer, Lawrence talks his way into a transfer to Arabia. Once in the desert, he befriends Sherif Ali Ben El Kharish (Omar Sharif, making one of the most spectacular entrances in movie history) and draws up plans to aid the Arabs in their rebellion against the Turks. No one is ever able to discern Lawrence's motives in this matter: Prince Feisal (Alec Guinness) dismisses him as yet another "desert-loving Englishman," and his British superiors assume that he's either arrogant or mad. Using a combination of diplomacy and bribery, Lawrence unites the rival Arab factions of Feisal and Auda Abu Tayi (Anthony Quinn). After successfully completing his mission, Lawrence becomes an unwitting pawn of the Allies, as represented by Gen. Allenby (Jack Hawkins) and Dryden (Claude Rains), who decide to keep using Lawrence to secure Arab cooperation against the Imperial Powers. While on a spying mission to Deraa, Lawrence is captured and tortured by a sadistic Turkish Bey (Jose Ferrer). In the heat of the next battle, a wild-eyed Lawrence screams "No prisoners!" and fights more ruthlessly than ever. Screenwriters Robert Bolt and Michael Wilson used T. E. Lawrence's own self-published memoir The Seven Pillars of Wisdom as their principal source, although some of the characters are composites, and many of the "historical" incidents are of unconfirmed origin. Two years in the making (you can see O'Toole's weight fluctuate from scene to scene), the movie, lensed in Spain and Jordan, ended up costing a then-staggering $13 million and won seven Academy Awards, including Best Picture and Best Director. The 1962 Royal Premiere in London was virtually the last time that David Lean's director's cut was seen: 20 minutes were edited from the film's general release, and 15 more from the 1971 reissue. This abbreviated version was all that was available for public exhibition until a massive 1989 restoration, at 216 minutes that returned several of Lean's favorite scenes while removing others with which he had never been satisfied. ~ Hal Erickson, All Movie Guide

Life at the Top is a belated sequel to Room at the Top, John Blaine's "angry young man" British novel that was made into a film in 1959. Laurence Harvey is back as Joe Lampton, the man-on-the-rise protagonist who in Room had given up true love in favor of a career-boosting (and antiseptic) marriage to his boss' daughter. Ten years have passed: Lampton is a business success, but utterly bored by his dead-end marital setup. His wife feels the same, and it isn't long before Mr. and Mrs. Lampton begin conducting separate affairs. While the original Room was a fairly accurate evocation of its era, Life at the Top works too hard and too noisily to be "mod," in reflection of the ethereal Swinging London era. The inclusion of flashbacks from Room at the Top, in which Harvey is seen making love to Simone Signoret, only serves to emphasize the shortcomings of the sequel. The best moments in the later version can be found in the early establishing scenes set in Yorkshire. Life at the Top was followed by a TV series called Man at the Top, starring Kenneth Haigh as Lampton, which in turn was followed by a theatrical feature of the same name. ~ Hal Erickson, All Movie Guide

After spending most of the 1950s in Europe, writer/director Robert Siodmak filmed his only picture in England: The Rough and the Smooth (US title: Portrait of a Sinner). Based on a novel by Robin Maugham, the story concerns a young archaeologist (Tony Britton), engaged to marry the daughter (Natasha Parry) of a wealthy publisher (Donald Wolfit). At the last moment, the archaeologist leaves his bride-to-be for a nymphomaniac (Nadja Tiller) with a masochistic streak. He must wrest her away from an abusive relationship with a no-good lout (William Bendix). Even Robert Siodmak was embarrassed by the lunatic excesses of Rough and the Smooth, dismissing the film with "I've seen worse, but not much worse." ~ Hal Erickson, All Movie Guide

The topicality of Satellite in the Sky enabled the British-based Danzinger Bros. to release the film through Warner Bros., rather than their usual United Artists distribution channels. The story concerns the first manned space satellite, launched from England with commander Michael Hayden (Kieron Moore) at the controls. It is the mission of Hayden and his crew to test out the deadly "tritonium" bomb in outer space. Once he's left the atmosphere, Hayden discovers that he's been harboring a stowaway: reporter and anti-weapons activist Kim Hamilton (Lois Maxwell). Everyone's life is placed in peril when the bomb affixes itself to the side of the satellite. As tension mounts, the crew -- and Kim -- race against time to either remove or defuse the tick-tick-ticking weapon. Satellite in the Sky represented documentary filmmaker Paul Dickson's first fictional effort; like most other directors, Dickson was unable to curb the overacting of the venerable Donald Wolfit, here cast as the near-maniacal creator of the tritonium bomb. ~ Hal Erickson, All Movie Guide

In Svengali, the 1955 adaptation of George DuMaurier's classic novel Trilby, Donald Wolfit achieves the near-impossible: he out-hams John Barrymore, who'd played Svengali in the 1931 version. A last-minute replacement for the equally flamboyant Robert Newton, Wolfit pulls out all the stops as the scroungy, sinister musician/mesmerist who hypnotizes lovely artist's model Trilby (Hildegarde Neff) and transforms her into a world-famous singer. While under Svengali's spell, Trilby forgets all about "Little" Billy (Terence Morgan) the starving artist who loves her fervently. But Billy doesn't forget, and follows Svengali and Trilby all over the world. The film's best moment is the celebrated Covent Garden climax, wherein Svengali finally, and fatally, relaxes his hold on Trilby. ~ Hal Erickson, All Movie Guide