Lord John Brabourne Movies

Racial conflicts provide the impetus for this heavy, socially conscious British drama. The film begins in North Carolina, 1652, as an Ibo family calmly walks into the sea to drown themselves. To them death was preferable to slavery. The film quickly shoots into a future time, not too distant from our own, where the incarnated family lives in the Terrordome, a rundown ghetto neighborhood. There viciously racist Anglo policemen continually spar with drug-dealing gangs. Spike, a black gangster, is in love with a white woman. She's pregnant and ends up having an abortion after her former boyfriend beats her. Black Rad gets revenge by taking over a TV station after his wife, one of Spike's relations, is killed by police. She had rampaging around with a gun. On TV, Black Rad reads his propaganda. ~ Sandra Brennan, Rovi

A Passage to India, director David Lean's final film (for which he also received editing credit), breaks no new ground cinematically, but remains an exquisitely assembled harkback to such earlier Lean epics as Doctor Zhivago and Ryan's Daughter. Based on the novel by E. M. Forster, the film is set in colonial India in 1924. Adela Quested (Judy Davis), a sheltered, well-educated British woman, arrives in the town of Chandrapore, where she hopes to experience "the real India". Here she meets and befriends Dr. Aziz (Victor Banerjee), who, despite longstanding racial and social taboos, moves with relative ease and freedom amongst highborn British circles. Feeling comfortable with Adela, Aziz invites her to accompany him on a visit to the Marabar caves. Adela has previously exhibited bizarre, almost mystical behavior during other ventures into the Indian wilderness: this time, she emerges from the caves showing signs of injury and ill usage. To Aziz' horror, he is accused by Adela of raping her. Typically, the British ruling class rallies to Adela's defense, virtually convicting Aziz before the trial ever begins. Though he is eventually acquitted due to lack of evidence (in fact, director Lean never shows us what really happened), Aziz is ruined in the eyes of both the British and his own people-as is Adela. Woven into these proceedings is a subplot involving Adela's elderly travelling companion Mrs. Moore (Peggy Ashcroft), who through a series of plot twists too complex to describe here becomes a heroine of the Indian Independence movement. A Passage to India was nominated for several Academy Awards, scoring wins in the categories of Best Supporting Actress (Peggy Ashcroft) and Best Original Score (Maurice Jarre). A theatrical version of A Passage to India, written by Santha Rama Rau, was previously adapted for television by the BBC in the mid-1970s. ~ Hal Erickson, Rovi

Angela Lansbury takes over the legacy of Margaret Rutherford as Agatha Christie's dogged sleuth Miss Marple in The Mirror Crack'd. The story takes place on a film set in a small British town in the 1950s. Elizabeth Taylor plays a washed-up actress trying to make a comeback but is plagued by a mysterious incident from her past. Unfortunately for her mental state, a collection of murders jar the quiet village where the movie is being made. Miss Marple arrives on the scene with her nephew, Inspector Craddock (Edward Fox), to investigate. In addition to Taylor, an assortment of other movie stars grace the roster of suspects, including Rock Hudson, Kim Novak, and Tony Curtis. ~ Paul Brenner, Rovi

Peter Ustinov began his long association with the Hercule Poirot character of murder mystery novelist Agatha Christie with this lavish but financially disappointing follow-up to the popular Murder on the Orient Express (1974). During a luxurious pleasure cruise down the Nile aboard a lavish vessel populated with wealthy passengers, widely despised heiress and home wrecker Linnet Ridgeway (Lois Chiles) is murdered. Also aboard is famed Belgian detective Poirot (Ustinov) and his taciturn traveling companion, Colonel Race (David Niven). Poirot undertakes an investigation into Ridgeway's killing. Among the colorful suspects are Salome (Angela Lansbury) and Rosalie Otterbourne (Olivia Hussey), Doctor Bessner (Jack Warden), Mrs. Van Schuyler (Bette Davis), Miss Bowers (Maggie Smith), and Jacqueline De Bellefort (Mia Farrow). As more bodies pile up, however, it appears that nearly everyone aboard has a motive. The script for Death on the Nile (1978) was adapted by Anthony Shaffer, the writer of Sleuth (1972) and the identical twin brother of Amadeus (1984) author Peter Shaffer. ~ Karl Williams, Rovi

The Royal Ballet Company brings Squirrel Nutkin, Tom Thumb, Hunca Munca, Jemima Puddle-Duck, Jeremy Fisher, Pigling Bland, and Pigwig to the screen doing pirouettes and pas de deux in this filmed ballet production directed by Reginald Mills. The film more properly belongs, however, to choreographer Frederick Ashmore, composer John Lanchbery, and costume designer Rostislav Douboujinsky. This literal adaptation concerns the shy Beatrix Potter and how, when all of the toy animals in her room come to life, she emerges from her shell and begins to enjoy life. Sequences include a rowdy dance with Tom Thumb and Hunca Munca destroying a collection of plaster food, a midnight pas de deux between Pigling Bland and Pigwig, and a corps de ballet of dancing mice. ~ Paul Brenner, Rovi

This Swedish melodrama is set upon a small fortresslike island. Upon the island lives a bitter artillery captain, his wife and his family. The officer is angry at never receiving the promotion he felt was his due. He constantly argues with his wife. Complicating matters is the captain's illness, which he has kept secret. His wife cousin, a quarantine officer, comes to the isle with his son. The captain immediately begins trying to destroy him socially, professionally, and financially. More trouble ensues when the cousin's son and the captains daughter fall in love. The two perceptive youths observe the twisted relationship between the fathers. As the daughter finally chastises the father for his behavior, the captain has a stroke, writhes about upon the floor with foam dripping from his mouth, and dies. ~ Sandra Brennan, Rovi

This TV adaptation of Gilbert and Sullivan's The Mikado was produced by British Home Entertainment in 1966 and released to American public television one year later. John Wood heads the D'Oyly Carte Opera Company in a virtually uncut version of the venerable comic opera. The story, set in an old Japan that never existed outside the imaginations of the authors, concerns Koko (Wood), Lord High Executioner to the Mikado. The timorous Koko is in danger of losing his own head because he's never chopped off anyone else's. He finally selects a willing victim named Nanki-Poo--who unfortunately is the son of the Mikado. The songs, including "Tit Willow", "A Wandr'ing Minstrel I", "The Object Most Sublime" and "Three Little Maids From School", are consummately performed, but the stage directions seem forced and stilted, as if done once too often in rehearsal. A shorter but more cinematic version of The Mikado was filmed in 1939, again featuring the D'Oyle Carte (including the peerless Martyn Green) and starring American crooner Kenny Baker as Nanki-Poo. ~ Hal Erickson, Rovi

Damn the Defiant! is an 18th-century seafaring drama from director Lewis Gilbert. Alec Guinness plays the stern but compassionate captain of a British warship, engaged in the Napoleonic wars. Guinness is popular with his men, which is more than can be said for his new second-in-command Dirk Bogarde. When Guinness tries to modify Bogarde's sadistic adherence to discipline, Bogarde responds by mistreating Guinness' cabin-boy son, knowing that the captain cannot intervene under the edicts of British maritime law. During an incipient mutiny, Bogarde is accidently killed, and Guinness knows that the crewmen responsible must hang once they reach shore. But after these same men perform courageously in battle, Guinness suffers a crisis of conscience: How can he condemn these fearlessly patriotic men to death, as he knows he must? Based on the novel Mutiny by Frank Tilsley. ~ Hal Erickson, Rovi

The mysterious Indian jungle provides the setting for this adventure where a one-legged hunter pursues a terrifying tiger, a man-eater. On the hunt, the man encounters the cowardly fellow who caused him to lose his leg in a POW camp. Together they face the snarling, cornered jungle cat. Again, the fellow chickens out, resulting in the near-fatal mauling of the hunter. Later, the coward's wife helps the battered hunter recuperate. As she ministers to him, the hunter can't help but fall in love with her. He begins to drink heavily. He stops when he learns that the coward's son has wandered off into the dangerous jungle. Not wanting the lad to be tiger chow, the hunter sets off to kill the beast. He succeeds. ~ Sandra Brennan, Rovi