Katya Wyeth Movies
- 1974
Comedian, actor, and author Barry Humphries wrote and co-stars in this sequel to the surprise international hit The Adventures of Barry McKenzie, based on the comic-strip character created by Humphries. Well-meaning but dunderheaded über-Aussie Barry McKenzie (Barry Crocker) is escorting his aunt, self-proclaimed "housewife superstar" Edna Everage (Barry Humphries), on a trip to France, where they've learned Barry's twin brother, Ken McKenzie, a progressive priest, will be speaking as part of a seminar on "Christ and the Orgasm." En route, a pair of Transylvanian agents, working under the command of the evil Communist vampire Count Plasma (Donald Pleasance), become convinced that Edna is actually Queen Elizabeth II, and not long after arriving in Paris, they kidnap Edna and spirit her away to the count's castle. When Barry learns that his aunt has fallen victim to foul play, he and his mates, including transplanted Australian Colin the Frog (Dick Bentley), set out to find her -- when they're not busy chasing "Shelias," swilling Foster's Lager, or projectile vomiting. In addition to playing Edna Everage, Humphries takes on two other roles in Barry McKenzie Holds His Own, and managed to persuade former Australian Prime Minister Gough Whitlam and his wife to make a cameo appearance in the film. ~ Mark Deming, All Movie Guide
- Starring:
- Barry Crocker, Barry Humphries, (more)
- 1974
- R
The British "Confessions" film series was reminiscent of the "Carry On" series, albeit far, far dirtier. Many fans consider the first entry, Confessions of a Window Cleaner, to be the best of the batch. Based on a supposedly autobiographical novel by Timothy Lea, the film stars Robin Askwith as an apprentice window washer with a voyeuristic streak. Nearly everyone with whom Askwith comes in contact is an oversexed, underdressed female. Potato-shaped
Dandy Nichols plays the protagonist's mother. An anachronism even before it was released, Confessions of a Window Cleaner was nonetheless successful enough to inspire several sequels, none of which were released to American theatres. ~ Hal Erickson, All Movie Guide
Dandy Nichols plays the protagonist's mother. An anachronism even before it was released, Confessions of a Window Cleaner was nonetheless successful enough to inspire several sequels, none of which were released to American theatres. ~ Hal Erickson, All Movie Guide
- 1974
In this British drama, a young socialite begins to have doubts about her upcoming marriage to a young nobleman after she encounters a sexually free woman and a spirited American traveler who provide her with a broader view of the world. ~ Sandra Brennan, All Movie Guide
In this thriller, a naive young woman travels from Liverpool to London to search for a man willing to sire her child. She meets a perfectly charming fellow and decides that he is the one. Unfortunately, "Mister Perfect" turns out to be a psychotic killer. The film is also titled Til Dawn Do Us Part. ~ Sandra Brennan, All Movie Guide
- 1971
Hammer's trademark gothic style permeates this suspenseful thriller, considered one of the acclaimed British studio's superior efforts, thanks largely to the directorial skills of Peter Sasdy. This marked his last feature-length collaboration with the studio until 1980, when he returned to direct installments of the Hammer House of Horror television series. In the film's prologue, young Anna, the infant daughter of the notorious Jack the Ripper, witnesses her mother's brutal murder at her father's hands. Years later, the lovely teenage Anna (Angharad Rees) is plagued by traumatic memories of the incident and repressed impulses in which love and death are inextricably linked. These impulses finally turn homicidal when her emotions are stirred, spelling doom for anyone who arouses her. Anna's case is handled by the repressed psychoanalyst, Dr. Pritchard (Eric Porter), whose growing physical attraction to the girl could result in far worse than a mere breach of professional ethics. Sasdy weaves the psychological elements through the story with finesse, paralleling the sexual tension between the doctor and his patient with the mounting horror of the inevitable outcome. ~ Cavett Binion, All Movie Guide
- Starring:
- Eric Porter, Angharad Rees, (more)
Roger Corman's New World Pictures took a stab at the tale of the nefarious real-life graverobbers -- and filled it with the studio's usual quota of nudity, softcore sex and tacky humor. The result is pretty much as one would expect -- nothing to rival the excellent Flesh and the Fiends, or even Tod Slaughter's campy The Greed of William Hart. Harry Andrews plays the unscrupulous Dr. Knox, who enlists the aid of grave-plundering dirtbags Derren Nesbitt and Glynn Edwards in obtaining fresh cadavers for the medical academy. When the demand increases and local cemeteries begin to run dry, the industrious pair turn to the living to keep the doctor supplied. This time out, Burke and Hare are particularly randy fellows, who spend more time carousing in Edinburgh whorehouses than stalking their prey. Despite the macabre subject matter, the producers opted for sexploitation over gruesome horror, but the end result is decidedly dull. ~ Cavett Binion, All Movie Guide
Stanley Kubrick dissects the nature of violence in this darkly ironic, near-future satire, adapted from Anthony Burgess's novel, complete with "Nadsat" slang. Classical music-loving proto-punk Alex (Malcolm McDowell) and his "Droogs" spend their nights getting high at the Korova Milkbar before embarking on "a little of the old ultraviolence," such as terrorizing a writer, Mr. Alexander (Patrick Magee), and gang raping his wife (who later dies as a result). After Alex is jailed for bludgeoning the Cat Lady (Miriam Karlin) to death with one of her phallic sculptures, Alex submits to the Ludovico behavior modification technique to earn his freedom; he's conditioned to abhor violence through watching gory movies, and even his adored Beethoven is turned against him. Returned to the world defenseless, Alex becomes the victim of his prior victims, with Mr. Alexander using Beethoven's Ninth to inflict the greatest pain of all. When society sees what the state has done to Alex, however, the politically expedient move is made. Casting a coldly pessimistic view on the then-future of the late '70s-early '80s, Kubrick and production designer John Barry created a world of high-tech cultural decay, mixing old details like bowler hats with bizarrely alienating "new" environments like the Milkbar. Alex's violence is horrific, yet it is an aesthetically calculated fact of his existence; his charisma makes the icily clinical Ludovico treatment seem more negatively abusive than positively therapeutic. Alex may be a sadist, but the state's autocratic control is another violent act, rather than a solution. Released in late 1971 (within weeks of Sam Peckinpah's brutally violent Straw Dogs), the film sparked considerable controversy in the U.S. with its X-rated violence; after copycat crimes in England, Kubrick withdrew the film from British distribution until after his death. Opinion was divided on the meaning of Kubrick's detached view of this shocking future, but, whether the discord drew the curious or Kubrick's scathing diagnosis spoke to the chaotic cultural moment, A Clockwork Orange became a hit. On the heels of New York Film Critics Circle awards as Best Film, Best Director, and Best Screenplay, Kubrick received Oscar nominations in all three categories. ~ Lucia Bozzola, All Movie Guide
- Starring:
- Malcolm McDowell, Patrick Magee, (more)
- 1971
This entry in Hammer Films' long-running vampire series of the '60s and '70s is one of the most evocative and original. The story features voluptuous twin Playboy centerfolds Madeleine and Mary Collinson as sisters who, without parents, are sent to stay with their oppressive uncle (Peter Cushing, looking more emaciated than ever), who happens to live near the sinister Karnstein Castle, the locale of countless vampiric happenings in two prequels (The Vampire Lovers and Lust for a Vampire). One of the twins wanders over and meets the dashing Count Karstein (Damien Thomas), a vampire who later uses the girl's blood to awaken his long-lost ancestor from the dead. Of course, the uncle predictably gives chase once trouble starts, but there is a clever plot twist as the count switches the twins before one is about to be burned at the stake for her supposed satanic involvements. Twins of Evil unabashedly exploits the twins' assets to pump up the film's sex appeal; it also seems to cater to viewers with a vampire fetish. Still, neither is necessarily a bad thing in a vampire film; Twins of Evil does create an effectively sensuous mood while also managing to sustain a fair amount of tension throughout the picture. Although Universal Pictures, the U.S. distributor, extracted nearly all of the flesh and bloodletting from its release, the original British cut retains everything and is the usual copy found on video. Like its predecessors, the script for Twins of Evil is loosely based on LeFanu's classic vampire story Carmilla. ~ Jeremy Beday, All Movie Guide
- Starring:
- Peter Cushing, Madeleine Collinson, (more)
- 1969
Steed is assigned to protect a key witness against the other side. Only Tara is informed of Steed's secret whereabouts, compelling the enemy to hatch an elaborate scheme to extract the necessary information from our heroine. In rapid succession, Tara is kidnapped, her flat is bombed, and her superior, Mother, is killed. Written by Brian Clemens, "Requiem" was first broadcast in America on March 31, 1969, then shown in England on April 16 of that same year. ~ Hal Erickson, All Movie Guide
The famously inept but accidentally brilliant Inspector Clouseau returns to help foil a group of daring robbers in this comedy, the only film in the long-running series not to feature Peter Sellers as the bumbling inspector. Instead, the talented Alan Arkin assumes the role, blundering his way through the expected series of absurd, slapstick situations. The plot centers on a series of Swiss bank robberies under investigation by an uptight Scotland Yard inspector (Patrick Cargill), who naturally becomes infuriated by Clouseau's unwelcome intervention. Meanwhile, the robbers decide to confuse matters by wearing Clouseau masks, offering further opportunities for farcical mistaken identities. Due to the absence of both Sellers and director Blake Edwards, Inspector Clouseau has largely been forgotten in comparison to the other Pink Panther films, though it maintains some interest as a curious aberration in the popular comic series. ~ Judd Blaise, All Movie Guide
- Starring:
- Alan Arkin, Frank Finlay, (more)
- 1960
The oft-filmed Maurice Renard novel Hands of Orlac was given another cinematic go-round in this Franco-British production. Famed concert pianist Stephen Orlac (Mel Ferrer) survives a plane crash, but his hands are permanently destroyed. Helpful surgeon Volcheff (Donald Wolfit) grafts a pair of new hands on the hapless Orlac. Unfortunately, they're the hands of an executed murderer--useless for a pianist, but quite handy (no pun intended) for less delicate work. Before long, Orlac is convinced that he himself has become a killer thanks to his new extremeties. Two-bit magician Nero (Christopher Lee) decides to exploit Orlac's fears for his own financial gain, with horrifying results. Originally filmed in 1959, Hands of Orlac was finally released in the US in 1964 . ~ Hal Erickson, All Movie Guide
- Starring:
- Mel Ferrer, Dany Carrel, (more)
