Eleanor Bron Movies

This arty British effort attempts to pay homage to distinguished and fanciful French author Antoine de Saint-Exupery via a sort of tone poem. Those familiar with the writer's work will get the most from this film as it does not contain any excerpts from the writer's work. The film, though not a documentary, does contain interviews from those who knew and loved Saint-Exupery. ~ Sandra Brennan, All Movie Guide

The ghost of a dead child preoccupies a woman in this British made-for-television supernatural thriller. Emma Thompson stars as Marie, a woman trapped in an unhappy marriage to philandering husband Joe (Adrian Dunbar). When the couple goes on holiday, Marie gets obsessed with the ghost of a little boy who drowned in a nearby lake. ~ Bernadette McCallion, All Movie Guide

The third series of French & Saunders, which originally aired on the BBC in 1990, produced the various clips assembled as French & Saunders: Gentlemen Prefer French & Saunders. Gone With the Wind, Whatever Happened to Baby Jane?, The Exorcist, and Dangerous Liaisons provide fodder for Hollywood parodies, but much of the material focuses on original characters. Chat show hosts and pundits, cleaning ladies with attitude, women in prison -- Dawn French and Jennifer Saunders embody them all. Elsewhere, the duo aim their satiric sights at both the publishing and PR industries. Ladies' magazines and late-in-life hangers-on of Andy Warhol also get their due. There's also an opera documentary in which dueling divas belt out Kylie Minogue's "I Should Be So Lucky" and a feminine twist on the dirty-old-men characters who have been one of the show's staples from the beginning. "Modern Mother and Daughter," the sketch that provided the basis for Absolutely Fabulous, is included, with French originating the role that would be played by Julia Sawalha in the actual series. Sharp-eared viewers will catch a snippet of Inner City's Detroit techno classic "Good Life" in "Modern Mother"; sharp-eyed audiences, meanwhile, will notice that Eleanor Bron, who would go on to play Patsy's poetess mother in Absolutely Fabulous: Birth, appears as an over-the-top academic commentator in the Warhol segment. ~ Brian J. Dillard, All Movie Guide

This made-for-TV thriller stars Robert Loggia as a onetime CIA agent who defected to the Soviet Union to join the KGB. Discovering he has just months to live, the agent wants to return home to America; Scott Glenn plays the U.S. agent assigned to retrieve him. ~ Jason Ankeny, All Movie Guide

Little Dorrit was intended as the cinematic equivalent to the mammoth, eight hour Royal Shakespeare Company's staging of Dickens' Nicholas Nickelby. The film was released to theatres in two parts, each running approximately three hours. The first part, subtitled "Nobody's Fault," introduced us to the seamstress title character (Sarah Pickering), who chooses to live in debtor's prison with her father (Alec Guinness). Good samaritan Derek Jacobi endeavors to help both father and daughter. The second part, also known as "Little Dorrit's Story," details Dorrit's escape from penury to lasting happiness. Eschewing the usual 19th century-style British music often heard in Dickensian adaptations, director Christine Edzard creatively-and effectively--opts for the strains of Giuseppe Verdi. Edzard's eye for period detail is also deserving of unbounded praise. Unfortunately, Part Two of Little Dorrit spends nearly half of its running time recapping Part One, utilizing much of the same footage. For those familiar with "Nobody's Fault," "Little Dorrit's Story" is more a redundancy than a continuation. Still, taken together, parts one and two all fully deserving of the enthusiastic critical commentary that greeted them upon their original release-not to mention the multiple Academy Award nominations bestowed upon the project and its participants. ~ Hal Erickson, All Movie Guide

In the conclusion of the Doctor Who adventure "Revelation of the Daleks," the Doctor discovers that Tranquil Repose, a colony of cryogenics on the planet Necros, houses the supposedly dormant body of Davros (Terry Malloy), creator of the Doctor's perennial adversaries, the Daleks. It is thus up to the hero to "neutralize" Davros before he can foment a full-scale Dalek resurrection. Complicating matters are the entrepreneurial Kara (Eleanor Bron), who uses the bodies of cryogenically frozen people as fuel for her protein factory, and a mercenary bounty hunter named Orcini (William Gaunt). Written by Eric Saward, the two-part "Revelation of the Daleks" was originally telecast on March 23 and 30, 1985. This final adventure of Doctor Who's 22nd season was later re-edited as a four-chapter cliffhanger for American TV. ~ Hal Erickson, All Movie Guide

In this classic mystery story, Sherlock Holmes (Ian Richardson) is requested to investigate deaths around the Baskerville mansion because Henry (Martin Shaw), the last direct heir to the Baskerville fortune is worried that he may die by their unique curse; a ghost hound has eliminated his ancestors and is now wreaking havoc in the woods again. The crafty Holmes sends faithful Dr. Watson (Donald Churchill) ahead to check things out, while unknown to Watson, Holmes assumes the disguise of a local gypsy to observe the mansion and anyone connected with it. As the mist of Grimpen Moor and the howling hound lend an eerie atmosphere to the tale, false leads take the protagonists into dead ends, and the real culprit waits in the wings for his chance. ~ Eleanor Mannikka, All Movie Guide

In the conclusion of the four-part story "City of Death," Count Scarlioni (Julian Glover) -- aka the notorious art thief Scaroth -- has vanished into the past, with the Doctor (Tom Baker), Romana (Lalla Ward), and detective Duggan (Tom Chadbon) in hot pursuit. Unless the Doctor can stop Scaroth, the entire Time Continuum will be cataclysmically disrupted. Catherine Schell appears as Countess Scarlioni, while comic actors John Cleese and Eleanor Bron make uncredited cameo appearances as a pair of looney art dealers. First telecast October 20, 1979, "City of Death, Episode 4" was written by Douglas Adams and Graham Williams. ~ Hal Erickson, All Movie Guide

Six Days of Justice was the modest title applied to this weekly British anthology series, which ultimately tallied up 24 50-minute episodes. Each of these illustrated the workings of British jurisprudence by dramatizing actual cases from various Magistrates' courts. Individual episode titles included "A Private Nuisance," "Intent to Deceive," "A Clear-Cut Case," "Case for Committal," and "Angelica," the last-named episode written by and starring comic actress Eleanor Bron. Six Days of Justice was carried by Thames Television over a three-year period, beginning April 10, 1972 and ending May 19, 1975. ~ Hal Erickson, All Movie Guide

Falling somewhere between the Beyond the Fringe school and the Monty Python league, Bedazzled is an irreverent Faust take-off, written by and starring Peter Cook and Dudley Moore (Moore also composed the music). Moore plays a short-order cook at a London Wimpyburger restaurant, who falls hopelessly in love with waitress Eleanor Bron. About to commit suicide, the broken-hearted Moore is approached by Satan (Peter Cook). The Fallen Angel offers to purchase Moore's soul in exchange for seven wishes--the first of which is squandered when Satan buys Moore an ice cream bar (something over which the two stars quarrel throughout the film). Enticed by living personifications of the Deadly Sins--Raquel Welch, wearing next to nothing, is "Lillian Lust"--Moore allows Satan to grant him his heart's desire, utilizing the magic words, "Julie Andrews!" But with each wish, Satan, being Satan, can't help but gum up the works with a double-cross. The desperate Moore ultimately wishes to be allowed to spend the rest of his life with Eleanor in an environment with no other men--whereupon Satan transforms both Eleanor and Moore into nuns! Finally Satan has a change of heart, allowing Moore and Eleanor to fall in love in more orthodox surroundings and permitting Moore to regain his soul. Satan hopes that God will appreciate this good deed and allow him to re-enter Heaven. But God doesn't buy this; He's satisfied with Satan remaining mankind's "necessary evil". ~ Hal Erickson, All Movie Guide

In preparing his romantic comedy Two For the Road, director Stanley Donen decided to utilize many of the cinematic techniques popularized by the French "nouvelle vague" filmmakers. Jump cutting back and forth in time with seeming abandon, Donen and scriptwriter Frederic Raphael chronicle the 12-year relationship between architect Wallace (Albert Finney) and his wife (Audrey Hepburn). While backpacking through Europe, student Finney falls for lovely music student Jacqueline Bisset, but later settles for Hepburn, another aspiring musician (this vignette served as the launching pad for the film-within-a-film in Francois Truffaut's 1973 classic Day for Night). Once married, Finney and Hepburn go on a desultory honeymoon, travelling in the company of insufferable American tourists William Daniels and Eleanor Bron and their equally odious daughter Gabrielle Middleton. Later on, during yet another road trip, Finney is offered an irresistible job opportunity by Claude Dauphin, which ultimately distances Finney from his now-pregnant wife. Still remaining on the road, the film then details Finney and Hepburn's separate infidelities. The film ends where it begins, with Finney and Hepburn taking still another road vacation, hoping to sew up their unraveling marriage. While critics did nip-ups over Stanley Donen's "revolutionary" nonlinear story-telling techniques, audiences responded to the chemistry between Audrey Hepburn and Albert Finney, not to mention the unforgettable musical score by Henry Mancini. Note: many TV prints of Two for the Road are edited for content, robbing the viewer of Finney and Hepburn's delightful "Bitch/Bastard" closing endearments. ~ Hal Erickson, All Movie Guide

In their second feature with director Richard Lester, who oversaw the massive hit A Hard Day's Night, the Beatles again aim for a mix of goofy comedy and sterling pop music. There is slightly more of a plot this time, though it is a patently ridiculous one: a sacred ruby ring comes into Ringo's possession, attracting the unwelcome attention of an exotic religious cult and forcing the boys to go on the run. This chase narrative is thankfully never taken too seriously, serving mainly as an excuse for colorful excursions to international locations from Europe to the Bahamas. The musical numbers include such classic tunes as "Ticket to Ride," "You've Got to Hide Your Love Away," and, of course, "Help!". ~ Judd Blaise, All Movie Guide