Henry Woolf Movies

Rich but repulsive teenager Jessie (Ally Sheedy) can't stand the notion that the whole world doesn't jump to the crack of her whip. Her overindulgent father, millionaire Charles Montgomery (Tom Skerritt), wishes he could teach his daughter a lesson, but can't bring himself to deny his little darling everything her heart desires. Unfortunately, she gets her comeuppance when, after finding out that Jessie has been arrested, her father mutters a wish that she'd never been born. Zap! Enter fairy godmother Beverly D'Angelo, who grants the girl her wish. With no name, no friends, and no money, Jessie has no choice but to look for work. She is hired as a maid by a filthy-rich Malibu couple (Valerie Perrine and Dick Shawn), whose selfish excesses make Jessie look like Pollyanna. Worse still, Jessie is compelled by circumstance to meet up with her father, who doesn't even recognize her. The key to the film's success is the wonderfully many-sided performance of Ally Sheedy. ~ Hal Erickson, All Movie Guide

In the dead of a Moscow winter, three bodies are found in Gorky Park. Police Inspector Renko (William Hurt) is unable to identify the corpses, since even their fingerprints have removed. For reasons unknown to him, Renko's investigation is somehow being stymied by his higher-ups. Ferreting out information on his own, Renko makes the acquaintance of Soviet dissident Irina (Joanna Pacula), a friend of one of the victims, and Lee Marvin as Armand Hammer-style American businessman. As in Martin Cruz Smith's novel, the identity of the killer is not as well hidden as the reasons behind the killing. "Glasnost" had not yet taken effect in 1983, thus Gorky Park was filmed in Finland rather than Russia. ~ Hal Erickson, All Movie Guide

In the third episode of the four-part story "The Sun Makers," the Doctor (Tom Baker) has been exposed to the fear-inducing PCM gas which holds the human laborers on the planet Pluto in a state of enforced servitude. Fortunately, the Doctor and Leela (Louise Jameson) are rescued by a resistance movement, dedicated to toppling the ruling Usurians from power. This, of course, puts the two time travelers on top of the "hit list" of Pluto's despotic human leader, Gatherer Hade (Richard Leech). First telecast December 10, 1977, "The Sun Makers, Episode 3" was written by Robert Holmes. ~ Hal Erickson, All Movie Guide

In the second episode of the four-part story "The Sun Makers," the Doctor (Tom Baker) and Leela (Louise Jameson) have arrived on Pluto in the distant future, only to discover that the previously stone-cold planet is throughly inhabitable thanks to artificial sunlight. On a less positive note, the dictators leaders of Pluto have industrialized the planet by using as slave labor the last remnants of the Earth's population. In attempting to put an end to the overlord's tyranny, the Doctor is himself exposed to the fear-inducing gases which hold the workers in bondage. First telecast December 3, 1977, "The Sun Makers, Episode 2" was written by Robert Holmes. ~ Hal Erickson, All Movie Guide

An institutionalized schizophrenic with a Messiah complex inherits the position of an English Earl in this cutting satire of British society, based on a play by Peter Barnes. The film's irreverent tone is established with the disturbingly hilarious death of the thirteenth Earl of Gurney during a bizarre attempt at auto-erotic asphyxiation. To the dismay of the earl's family, the title passes to his son Jack (Peter O'Toole), who has been locked away for eight years after claiming to be the second coming of Jesus Christ. Mad but harmless, Jack is released to assume his seat. However, his embrace of Christianity proves incompatible with a position of power in "normal" society, where peace and love are considered serious weaknesses, and a somewhat unhinged psychiatrist is called to help him adjust. Meanwhile, Jack's scheming uncle, Sir Charles (William Mervyn), works on developing a complex scheme to trick Jack out of his position. Loaded with idiosyncratic touches from eccentric camera angles to unexpected outbursts of song, the film creates an experience nearly as inspired and mad as O'Toole's brilliantly hilarious central performance. The film's devilish invention may at times seem overloaded, but most drawbacks are redeemed by the sharpness of the satire, particularly during the memorably disturbing finale. ~ Judd Blaise, All Movie Guide

This sex related comedy features the development of a pill to instill insatiable sexual appetites in women. ~ All Movie Guide

The specter of atomic warfare raises its head once again in this bizarre 1969 black comedy, directed by Richard Lester and hatched from the mind of twisted British comic Spike Milligan. England lays in ruins after World War III, and a number of dazed survivors try to carry on as if nothing is wrong, even when one woman (Rita Tushingham) announces that she is seventeen months pregnant, and others begin to mutate into parrots, wardrobes, and bed-sitting rooms. The often slapstick comedy provides a surreal foreground for the bleak, devastated settings, portions of which were filmed in actual, environmentally blasted industrial areas in Wales. The comedy duo of Dudley Moore and Peter Cook appear as hapless government officials, while Marty Feldman makes his screen debut in a film that could best be described as England's answer to Dr. Strangelove. ~ Don Kaye, All Movie Guide

Subtitled A Film About London, this drama is a quintessential experimental counter-culture film of the late 1960s that centers on the questions raised by the Vietnam war. Renowned Shakespearean theater director Peter Brook serves as producer and director. It includes many members of the Royal Shakespeare Company, such as London actors Mark Jones, Robert Lloyd), and Pauline Munro, who essentially play themselves. They become obsessed with a photograph of a wounded Vietnamese child and begin discussing the war with their friends and fellow actors. They attend a series of lectures and teach-ins, discussing the issues of the day with a number of activists, including the American Black Panther leader Stokely Carmichael. The discussions are combined with newsreel footage in a bizarre collage of images. Moved to do something, the group of actors puts on a series of skits about the war. ~ Michael Betzold, All Movie Guide

Adapted from his own Royal Shakespeare Company production of Peter Weiss' play entitled The Persecution and Assassination of Jean-Paul Marat as Performed by the Inmates at Charenton Under the Direction of the Marquis de Sade, Peter Brook directs this fascinating look into revolution, power, and human frailty. During the 19th century, fashionable theatergoers would attend ostensibly therapeutic stage performances by mental asylum inmates. The film opens on July 19, 1809, with Monsieur Coubnier (Clifford Rose), the officious head of the Charenton asylum, introducing that night's show -- a drama about the assassination of French Revolutionary War firebrand Jean-Paul Marat, written by that institution's most notorious resident, the Marquis de Sade (Patrick Magee). The play begins conventionally enough , considering that the lead actress (Glenda Jackson) is a narcoleptic, the actor playing Marat (Ian Richardson) is a paranoiac, and another actor, a sex maniac with very pressing urges, is kept in chains. But the work soon evolves into a dialogue between Marat and De Sade. Though both men were early supporters of the Revolution, their ideas of the shape of the movement took very different courses. Espousing a form of proto-Marxism, Marat is at first presented as the sort of tyrannical idealist that became depressingly familiar in the 20th century, a la Lenin and Pol Pot. But then later, Marat seems haunted by the terror he has unleashed and unable to understand where he went wrong. De Sade, on the other hand, preached his own unusual brand of Nietzschean existentialism. Unlike Marat, he not only recognizes the inherent weakness of the human character, but he revels in it. Murder as an act of individual passion should be celebrated, De Sade at first argues; murder as an anonymous act of statecraft should be deplored. The individual is not given meaning though politics but through acts of spontaneous passion and desire. As the play progresses, the revolution depicted in the play soon develops into an outright revolution on the stage. ~ Jonathan Crow, All Movie Guide