Sydney Bromley Movies

Based on Noël Coward's play "Still Life," Brief Encounter is a romantic, bittersweet drama about two married people who meet by chance in a London railway station and carry on an intense love affair. Sentimental yet down-to-earth and set in pre-World War II England, the film follows British housewife Laura Jesson (Celia Johnson), who is on her way home, but catches a cinder in her eye. By chance, she meets Dr. Alec Harvey (Trevor Howard), who removes it for her. The two talk for a few minutes and strike immediate sparks, but they end up catching different trains. However, both return to the station once a week to meet and, as the film progresses, they grow closer, sharing stories, hopes, and fears about their lives, marriages, and children. One day, when Alec's train is late, both become frantic that they will miss each other. When they finally find each other, they realize that they are in love. But what should be a joyous realization is fraught with tragedy, since both care greatly for their families. Howard and Johnson give flawless performances as two practical, married people who find themselves in a situation in which they know they can never be happy. ~ Don Kaye, All Movie Guide

In this costume drama, a woman finds herself the prize in a battle between two jealous brothers. Eventually she marries the suave one, but finds that he is most displeased by her inability to behave in a matter he deems appropriate for a woman of her station. The sad wife takes her troubles to the other brother who suggests she divorce her husband and take up with him. She ignores the advice and reconciles with her man. The angered brother then poisons the husband and tries to get the wife blamed for the death. ~ Sandra Brennan, All Movie Guide

Originally filmed in 1934 (see entry 84314), R.C. Sheriff's venerable stage comedy Badger's Green was given another screen treatment in 1949. The plot is the same as before: a group of villagers revolt when their precious cricket field is threatened with demolition by a fat-cat business firm. Most of the character names remain the same as well, with one curious exception: the heroine, played by Barbara Murray, is named Jane Morton rather than Molly Butler. Though shorter than the 1934 version, the 1949 Badger's Green enjoys far better production values. Still, the comedy content is rather dated, especially the jokes concerning class consciousness. ~ Hal Erickson, All Movie Guide

In this comedy, two rabid football fans begin an unstoppable train of events when they physically harass a referee. ~ Sandra Brennan, All Movie Guide

After an extensive talent search, producer-director Otto Preminger selected a 17-year-old unknown from Iowa, Jean Seberg, to play Joan of Arc, a role traditionally portrayed by actresses twice to three times Seberg's age. Seberg is cast opposite such venerable pros as Richard Todd (as Dunois), Anton Walbrook (the Bishop of Beauvais), John Gielgud (Earl of Warwick) and Felix Aylmer (The Inquisitor). Cast as the vacillating Dauphin is Richard Widmark. Graham Greene's screenplay refashions the original Shaw text in the form of a flashback. Seberg eventually became an accomplished actress by virtue of her appearances in such nouvelle vague films as Breathless, but it was too late to salvage Saint Joan, which was figuratively burned at the stake by critics and filmgoers alike. ~ Hal Erickson, All Movie Guide

In this engaging costume melodrama of skulduggery on the low seas set back in the 18th-century, the swamps of a small seaside town and the nocturnal activities of the towns' men provide the atmosphere and action. The Royal Crown suspects a bit of smuggling is going on in this locale, and they send Captain Collier (Patrick Allen) and his crew to check it out. As the Captain gets into his investigation, mysterious swamp phantoms cloud up the real issue which seems plain enough to see. Captain Collier suspects that the odd village vicar (Peter Cushing) might be hiding something, and what better way to do that than by fortuitous ghosts to scare away the curious -- or by posing as someone he is not? ~ Eleanor Mannikka, All Movie Guide

A woman must contend with her family's madness as she finds her own sanity in doubt in this thriller from British horror masters Hammer Films. After the death of her parents, Eleanor Ashby (Janette Scott) would seem a safe bet to inherit their estate, but at the funeral, she's convinced that she has seen Tony (Alexander Davion), her brother who killed himself seven years ago. Eleanor's other sibling Simon (Oliver Reed), who is inarguably alive, uses this as an excuse to contest the will, arguing that Eleanor is mentally unstable and an unfit heir. Simon's claims cause Eleanor to wonder about her sanity, and in a moment of weakness she attempts suicide. Tony rescues her and tells her that he never died but simply went into hiding. He returns to the family's mansion, but soon he and Eleanor become the subject of a number of violent attacks by a masked lunatic before Eleanor learns a surprising secret about Tony. Paranoiac marked the directorial debut of ace cinematographer Freddie Francis. ~ Mark Deming, All Movie Guide

Also known as Monster of Terror, this British-made horror opus is very loosely based on H.P. Lovecraft's story "The Colour Out of Space". The story begins with an American scientist (Nick Adams) paying a visit to the remote estate of his fiancee's family (located in Lovecraft's fictional Arkham County, Massachusetts) and finding many of the surrounding flora and fauna horribly mutated by strange radiation. The source of the contamination is discovered to be a glowing meteorite kept hidden in the basement by his girlfriend's father (Boris Karloff), who has been using the radiation to mutate local plant life. As one might expect, the experiment has gotten a bit out of hand... and poor mommy has changed into something unspeakably horrible. Designed as a vehicle for Karloff (who is excellent), this is a decent freshman effort from director Daniel Haller (formerly Roger Corman's production designer), but the effectively creepy atmosphere would have been greatly assisted by a better script -- perhaps one more loyal to the source material. The same story was adapted (again, loosely) in 1987 for The Curse. ~ Cavett Binion, All Movie Guide

In this children's film, a gang of boys try to prove that the innocence of a peer wrongly accused of stealing the school bell. They succeed and the real crooks are brought to justice. ~ Sandra Brennan, All Movie Guide

A pair of bumbling vampire-hunters attempts to destroy an undead nobleman and his cronies and rescue a buxom maiden in actor/director Roman Polanski's playful update of the venerable vampire genre. Bat expert and vampire obsessive Professor Abronsius (Jack MacGowran) barely survives his journey through the Alps into snowy Slovenia to continue his oft-maligned research into the undead. Thawed out by his hapless assistant, Alfred (Polanski), and the frisky local innkeeper, Shagal (Alfie Bass), Abronsius quickly notices the overabundance of raw garlic as a decorating motif in the inn and its environs. Too ineffectual to save Shagal from having his blood sucked, the professor and Alfred miss the boat again when the mysterious Count Von Krolock (Ferdinand Mayne) kidnaps Shagal's built, beautiful daughter, Sarah (Sharon Tate). The itinerant vampire hunters must travel through the icy wilderness to Von Krolock's abode and evade his manservant and his effete son Herbert (Iain Quarrier) before Sarah joins the ranks of the ghouls. They soon learn, however, that the luxury-starved lass actually enjoys her captors' lavish attentions. The action climaxes during a costume ball attended by a phalanx of blood-suckers, although the laughs and surprises continue until the very end. Sixteen minutes of unauthorized cuts have been restored in some video editions of The Fearless Vampire Hunters, although the animated credits sequence that replaced them is also retained. The film marks the feature debut of Tate, who replaced Polanski's original choice, Jill St. John, on the advice of producer Martin Ransohoff. ~ Brian J. Dillard, All Movie Guide

British musical star Tommy Steele had starred in Half a Sixpence in London and on Broadway, thus he was first choice for this garish film version. Based on the H.G. Wells story Kipps (previously filmed in 1941 with Michael Redgrave), Half a Sixpence tells the tale of a humble London drapery clerk (Steele) who inherits a fortune. He briefly forgets his old mates and his faithful girl friend (Julia Foster), but soon discovers that High Society isn't his cup of tea. Filmed during the "monster musical" cycle fostered by The Sound of Music, Half a Sixpence isn't really suited for the spectacular approach dictated by co-producer Charles H. Schneer. Fortunately, the guiding directorial hand is the film's other producer: George Sidney, a veteran of MGM's Arthur Freed unit, who knew how to successfully weld music with story. Thanks to Sidney and star Steele, Half a Sixpence never gets too out of hand, though we'd argue with some of the eyestrain-inducing color choices in the bigger numbers. The film might have done better at the box office had the score yielded a few hit songs. ~ Hal Erickson, All Movie Guide

This collection of music focusing on British musical talents. ~ All Movie Guide