Joan Young Movies

The swan song for director Seth Holt (who died shortly before filming was completed), this stylish Hammer production transcends its low budget thanks to lush photography, a stylish look, and fine performances from the leads. The plot, adapted from Bram Stoker's novel The Jewel of the Seven Stars, involves an expedition led by Professor Fuchs (Andrew Keir) to find the cursed tomb of an evil Egyptian princess. Upon discovery of her sarcophagus, Fuchs finds her perfectly preserved, still-bleeding severed hand -- which also sports a dazzling ruby ring. Several years later, Fuchs gives the pilfered ring to his voluptuous young daughter Margaret (Valerie Leon), whereupon she slowly begins to take on the malevolent traits of its original wearer, seeking revenge for the defilement of her tomb. Though Christopher Wicking's adaptation of Stoker's obscure novel is a bit uneven, it still provides ample suspense and the production has an overall richness that captures the flavor of Hammer's other mummy projects. Remade eight years later (with less effective results) as The Awakening; traces of the same story can also be found in Universal's 1999 mega-budget version The Mummy. ~ Cavett Binion, All Movie Guide

In this slapstick comedy two bumbling workmen attempt to take a long wooden plank through a London suburb to a building site. Mayhem ensues. ~ Sandra Brennan, All Movie Guide

In the conclusion of the four-part story "The Massacre of St. Bartholomew's Eve," The religious differences that have suddenly cropped up between the Doctor (William Hartnell) and Steven (Peter Purves) serve to heighten Steven's feelings of isolation. Of far greater importance, the Catholic hierarchy of 16th century Paris prepares its final fatal assault on the Huguenot population. Jackie Lane joins the cast in the role of the Doctor's new travelling companion Dorothea "Dodo" Chaplet. Written by John Lucarotti and Donald Tosh, "Bell of Doom" first aired on February 26, 1966; this episode apparently no longer exists. ~ Hal Erickson, All Movie Guide

In this lush, lurid adaptation of the 1957 Tennessee Williams one-act, Elizabeth Taylor and Katharine Hepburn play a seemingly insane, young New Orleans debutante and the wealthy aunt who wants to lobotomize her. Dr. John Cukrowicz (Montgomery Clift) is a gifted Chicago brain surgeon stymied by the primitive operating conditions at the New Orleans asylum where he works. Society matron Violet Venable (Hepburn) offers a solution in the form of a million-dollar grant -- as long as Cukrowicz will treat her niece, Catherine (Taylor). Catherine, it seems, has been institutionalized since the sudden death of her cousin, Violet's son, Sebastian, overseas the previous summer. As the young doctor tries to get to the bottom of what happened to Catherine, Violet's steely demeanor and devotion to Sebastian present a formidable barrier. Catherine herself doesn't offer much help, her recollections jumbled by medication and the trauma of Sebastian's demise. Under pressure to seal the deal and cut into Catherine's brain, Cukrowicz's principles (and attraction to the young woman) prevent him from proceeding until he uncovers what actually happened to Sebastian. In his memoirs, Gore Vidal claims to have written the screenplay for Suddenly, Last Summer single-handedly, although Williams took half the credit. Vidal toned down the original play's allusions to pedophilia, cannibalism, and incest, but the film nonetheless provoked heated controversy. As for the cast, an unhappy Hepburn reportedly was threatened by the attention lavished on Taylor by director Joseph L. Mankiewicz, whom Hepburn had hired to produce The Philadelphia Story two decades earlier. Mankiewicz, for his part, allegedly hated Clift, whose drinking and partial paralysis from an auto accident prevented him from working more than half a day at a time. ~ Brian J. Dillard, All Movie Guide

Alan Burgess' novel The Small Woman was the source for the British/American co-production Inn of the Sixth Happiness. Set in the China of the 1930s, the film stars Ingrid Bergman as real-life missionary Gladys Aylward. Against the advice of practically everyone, Gladys heads into the war-ravaged interior to spread the Christian gospel. She finds a powerful ally in the form of an elderly Mandarin (Robert Donat) who, despite his early efforts to rid himself of the troublesome Gladys, eventually converts to Christianity. Gladys' burgeoning romance with Chinese army officer Lin Nan (Curt Jurgens) is interrupted when she is obliged to guide a group of Chinese children to safety over some of the most treacherous of Northern China's mountain regions. Inn of the Sixth Happiness retains its entertainment value some four decades after its production, even allowing for the preponderance of Occidental actors in Oriental roles. The film also served to breathe new life into the old children's nonsense song "This Old Man" (aka "Knick, Knack, Paddywhack"). ~ Hal Erickson, All Movie Guide

Jill Day plays Mary in this frolicksome British comedy. While on vacation in Switzerland, Mary finds herself the object of several tourists' affection. Two of the men, Nigel Patrick and David Tomlinson, are British. The third, Leo McKern, is a wealthy, boorish Greek. Throughout the film, the actors remain vastly superior to their material. All for Mary was adapted from a play by Harold Beck and Kay Bannerman. ~ Hal Erickson, All Movie Guide

In this comedy, a physicist's son invents atomic popcorn at the center for atomic research. ~ Sandra Brennan, All Movie Guide

The Magic Box was the English film industry's contribution to the 1951 Festival of Britain. Its all-star cast generously forsook their usual salaries for the privilege of paying tribute to that unsung pioneer of cinema, William Friese-Greene, here played by Robert Donat. Adapted by Eric Ambler from the controversial biography by Ray Allister, Magic Box contends that Friese-Greene was the true father of motion pictures, and not such upstarts as W. K. L. Dickson and Thomas Edison. Told in flashback, the film details Friese-Greene's tireless experiments with the "moving image," leading inexorably to a series of failures and disappoints, as others hog the credit for the protagonist's discoveries. The huge cast includes such British film luminaries as Joyce Grenfell, Miles Malleson, Michael Redgrave, Eric Portman, Emlyn Williams, Richard Attenborough, Peter Ustinov, Cecil Parker, Kay Walsh, and, best of all, Laurence Olivier as the confused bobby who witnesses Friese-Greene's first motion picture demonstration. ~ Hal Erickson, All Movie Guide

The Gay Lady is better known by its British title, Trottie True. Jean Kent stars as Trottie, a turn-of-the-century British music-hall performer who works her way up the ladder from chorus girl to headliner. As her fame increases, Trottie has no time for true love, preferring instead the attentions of men of nobility and wealth who can advance her career. But it's not enough, and at the end Trottie trots back to her husband. Based on the play by Caryl Brahms and S.J. Simon, The Gay Lady is best seen in its original Technicolor British release version, which unlike some American prints leaves most of the musical numbers intact. ~ Hal Erickson, All Movie Guide

Adapted from the Graham Greene story The Basement Room, director Carol Reed's The Fallen Idol is told almost completely from a child's eye view-but it isn't a children's story. Young Bobby Henrey idolizes household butler Ralph Richardson. Therefore, when it seems as though Richardson might be implicated in a murder, Bobby does his best to throw the police off the track. The boy succeeds only in casting even more suspicion upon Richardson. As the story progresses, Henrey's hero worship is eroded by Richardson's shifty behavior, and even more so when the boy discovers that the butler's boasts of previous heroism are just so much hot air. The ending of the film differs radically from Greene's story. While it would seem that director Reed was merely paying homage to the "happy ending" philosophy (hardly likely, given the doleful climaxes of such films as Odd Man Out and The Third Man), the director had very solid reasons for altering the story: he was more fascinated by the concept of the boy's imagination nearly sending his idol to the gallows, rather than having the butler entrapped by facts. And though the ending is happy for the boy, the butler's fate is much more nebulous. ~ Hal Erickson, All Movie Guide

Good Time Girl, directed by David MacDonald and based on a story by Arthur La Bern (It Always Rains On Sunday) starts off unpromisingly, as juvenile justice official Flora Robson tries to keep a would-be female felon on the straight-and-narrow, telling the cautionary tale of Gwen Rawlings (Jean Kent). A victim of an unhappy home and her own stupidity, Rawlings leaves home and, with help from her sleazy new neighbor Jimmy Rosso (Peter Glenville, the future director), gets a job as a hat-check girl at a club run by Max Vine (erbert Lom). But Jimmy's jealousy soon gets him fired, and leaves him aiming for revenge on Max and Gwen. Despite the best efforts of Michael Farrell (Dennis Price), the one truly decent man she's ever met, Jimmy achieves his goal and Gwen is sent to a reformatory. It is there that she's truly corrupted by being locked up with more seasoned juvenile (and not so juvenile) felons, who know how to game the system -- whem she escapes, she's a professional criminal, and, taking on a new alias, falls in with a pair of loose-living gents. She manages to commit a vehicular homicide, and then falls in with a pair of American military deserters (Bonar Colleano, Hugh McDermott) who aren't above committing pre-meditated murder. ~ Bruce Eder, All Movie Guide

The Small Voice is a tense British character study utilizing an old plot device with a modicum of freshness. American actor Howard Keel (mistakenly billed as Harold Keel in the credits) makes his film debut herein as an escaped convicts. He and fellow fugitive David Greene invade a country cottage and hold its occupants, a writer and his wife (James Donald and Valerie Hobson), hostage. Keel's carefully shaded portrayal of a desperate man with a spark of decency was duly noted by MGM, which promptly signed the actor to a long contract. The Small Voice was released in the US under the spell-it-out title of Hideout. ~ Hal Erickson, All Movie Guide

Written and directed by Peter Ustinov, Vice Versa is a one-joke fantasy comedy which manages to hold up almost to the very end. Anthony Newley plays the funloving son of stuffy stockbroker Roger Livesy. Father and son come into possession of a magic stone, and place a wish upon it. The result: Newley inherits Livesy's brain and personality, and vice versa. The best moments involve the suddenly matured Newley's besting of feet-of-clay schoolmaster James Robertson Justice. Not successful enough to spawn a cycle in 1947, Vice Versa is nonetheless an intriguing precursor of the brief spate of identity-switch comedies of the late 1980s--one of which was also titled Vice Versa. ~ Hal Erickson, All Movie Guide