Norman Wooland Movies

Thirty-four years after the release of National Velvet, MGM came up with this attractively filmed sequel. Tatum O'Neal stars as the niece of Velvet Brown, Elizabeth Taylor's character from the first film (the Taylor role is played herein by Nanette Newman, the wife of director Bryan Forbes). Like her aunt, O'Neal is horse-happy, and hopes to become an Olympic equestrienne. There are a few tense moments when O'Neal fails to measure up to her aunt's overexacting standards, and when the girl evinces jealousy concerning auntie's live-in love Christopher Plummer. But with the help of crusty old trainer Anthony Hopkins, O'Neal proves herself every inch the horsewoman that Velvet had been so long ago. ~ Hal Erickson, Rovi

During the 16th century, it was prophesied that "When Hugh succeeds Hugh, Ireland shall be free." Hugh was the Prince of Donegal and his son Red Hugh, his successor. This lush and lively Disney adventure chronicles the young man's tumultuous ascension to the throne and his attempts to unite the many clans of Erin. Along the way, Red Hugh falls in love, is imprisoned by the British in Dublin Castle, and then fights to free Donegal Castle where his lady is being held. The film was shot in the United Kingdom and is based on Robert T. Reilly's story "Red Hugh, Prince of Donegal." ~ Sandra Brennan, Rovi

This biblical epic chronicles the rocky relationship between David the giant-killer and Saul, King of the Israelites who listens to the subversive whispers of his jealous wife and ultimately loses his life. This is one of a series of Bible tales. ~ Sandra Brennan, Rovi

This 1962 Biblical epic was adapted by Christopher Fry from the novel by Pär Lagerkvist. Anthony Quinn stars as Barabbas, the thief who was pardoned in place of Jesus. For the rest of his life, the guilt-ridden criminal tries to justify his existence and to determine his place in the scheme of things. Along the way he encounters the self-righteous pomposity of Pontius Pilate (Arthur Kennedy), the stoning of Sara (Katy Jurado), the gladiatorial sadism of Torvald (Jack Palance), and the burning of Rome. The film's unbilled Christ is played by Roy Magnano, the brother of Quinn's second-billed costar Silvia Mangano. Watch for the genuine solar eclipse during the Crucifixion sequence, an effect that director Richard Fleischer spent several days preparing for. ~ Hal Erickson, Rovi

In this crime thriller, a convicted embezzler kidnaps his son after his release from prison, not knowing that the boy is diabetic and will die without insulin injections. The police launch a massive manhunt. ~ Steve Huey, Rovi

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, Rovi

This once-notorious British expose film now seems as innocent as a community choir rehearsal. Based on the real-life activities of London's Messina gang, The Flesh is Weak tells the story of a decent girl named Marissa Cooper (Milly Vitale) who is inveigled by a family of pimps into a life of prostitution. When she tries to break away from her sordid surroundings, her "protectors" have her thrown in jail on a phony assault charge. It takes the intervention of journalist Lloyd Buxton (William Franklyn) to rescue Marissa and convict the man responsible for her downfall. John Derek heads the cast as Tony Giani, a ruthless young punk with a smooth line and movie-star looks. ~ Hal Erickson, Rovi

In this thriller a French woman is arrested for the death of her cruel lover. She certainly had motive as the man was a real snake. She hides him from the Nazis during WW II; he gets her pregnant, betrays her, and has her sent to a concentration camp. Even though it seems obvious that she was the killer, the woman pleads innocent. Two reporters believe her and begin investigating the stabbing. They soon find themselves entangled in a ring of international counterfeiters. ~ Sandra Brennan, Rovi

An American army officer is stationed in West Germany and assigned with keeping classified information out of the hands of the Communists. Unfortunately, Red spies know that he suffers from sudden black-outs and use this to make it appear that he is a traitor. ~ Sandra Brennan, Rovi

Generally forgotten today, Romeo and Juliet is a satisfactory, if perfunctory, adaptation of Shakespeare's immortal tragedy. Cast as the "star cross'd lovers" this time out are Laurence Harvey, who's quite good, and Susan Shentall, who isn't. Whether or not Shentall would have improved with experience is a moot point, since she retired from the screen to get married soon afterward. Director Renato Castellani was showered with praise for his decision to lens the story on location in Italy. Less popular was his decision to delete several of Shakespeare's more famous passages, arguing that they held up the progress of the story (sometimes whole scenes, including the one with the apothecary, were chopped out). The supporting cast includes Dame Flora Robson as Nurse, Mervyn Johns as Friar Laurence, Bill Travers as Benvolio, Norman Wooland as Paris, John Gielgud as the (unseen) Chorus, and Sebastian Cabot as Capulet; the rest of the major roles were filled by Italian actors. Though overshadowed by later film versions, this Romeo and Juliet was impressive enough in 1954 to win the Grand Prix at the Venice Film Festival. ~ Hal Erickson, Rovi

Produced by MGM's British facilities, the Technicolor Ivanhoe starred Robert Taylor in the title role. Returning to England from the Third Crusades, Ivanhoe is given a cool but cordial reception by his estranged father Cedric (Finlay Currie), a Saxon who despises the Norman king Richard the Lionhearted. Cedric introduces Ivanhoe's fellow knights De Bois-Guilbert (George Sanders) and Sir Hugh de Bracy (Robert Douglas) to Cedric's lovely ward Rowena (Joan Fontaine), who was in love with Ivanhoe until he cast his lot with Richard. Leaving his father's castle, Ivanhoe rescues Isaac (Felix Aylmer), a wealthy Jew, from a band of anti-Semitic Normans. In gratitude, Isaac's beautiful daughter Rebecca (Elizabeth Taylor) finances Ivanhoe's entry into an upcoming tournament; he'd been denied backing by his father because he'd planned to use the prize money to ransom the captured King Richard. At the tournament, the disguised Ivanhoe vanquishes all comers, dedicating his victory to Rebecca, which causes a gust of bigoted gossip from the crowd. Behind the scenes, Richard's wicked brother Prince John (Guy Rolfe) plots to discredit Ivanhoe so that the ransom can never be paid. Joining John in this conspiracy is De Bois-Guilbert, who covets Rebecca, and Sir Hugh, who wants to make Rowena his own. After several thrilling adventures and villainous double-crosses, Rebecca is kidnapped and tried as a witch, the better to bring Ivanhoe out in the open and dispose of him once and for all. But the deux-ex-machina appearance by King Richard (Norman Wooland) and the assistance of loyal "outlaw" Robin Hood (Harold Warrender) brings the bad guys to heel and clears the path for a happy ending. Lensed on an epic scale, this adaptation of the Sir Walter Scott classic remains one of MGM's most solid swashbucklers. The property was remade for television in 1982, with Anthony Andrews in the title role. ~ Hal Erickson, Rovi

Originally advertised as "Colossal Quo Vadis," this opulent MGM production is far and away the most elaborate of the many versions of Henryk Sienkiewicz's novel. The plot, as always, concerns the romance between a beautiful early Christian woman (Deborah Kerr) and the initially agnostic Roman soldier Marcus Vinicius (Robert Taylor). This love story is laid against the larger intrigues of the debauched emperor Nero (Peter Ustinov), who hopes to gain immortality by destroying Rome with a fire and remaking it in his own image. Part of Nero's master plan is the elimination of the Christian "threat," leading to the climactic lion picnics in the arena. In spite of the many more celebrated highlights (the burning of Rome, the rescue of Lygia [Deborah Kerr] from a rampaging bull, the upside-down crucifixion of Simon Peter), the scene that remains most vivid in the memory is the posthumous "final insult" delivered to Nero by his contemptuous former aide Petronius (Leo Genn). Sophia Loren can be briefly spotted as an extra during one of the crowd scenes. ~ Hal Erickson, Rovi

David Lean's Madeleine was inspired by a true story that rocked the English legal system to its foundations in the mid-19th century. Told in flashback, the film explains why aristocratic young Scotswoman Madeleine Smith (Ann Todd, then the wife of director Lean) is on trial for murder. The audience is apprised of Madeleine's illicit romance with deceptively charming Frenchman Emile L'Angelier (Ivan Desny), her futile attempts to break off the relationship, her "proper" betrothal to Englishman William Minnoch (Norman Wooland), and the murder by poison of the now-inconvenient L'Angelier. The jury's verdict was as controversial in 1950 as it had been a century earlier. David Lean and scenarists Stanley Haynes and Nicholas Phipps refuse to take sides, permitting the viewers to draw their own conclusions about the notorious Madeleine. ~ Hal Erickson, Rovi