Eleanor Bron Movies

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

Two of Britain's most brilliant comic talents, Eleanor Bron and John Fortune, joined forces for the weekly sketch series Where Was Spring. Bron and Fortune not only wrote all the material, but starred in all the segments. Ned Sherrin of That Was the Week That Was fame served as producer, while incidental music was provided by no less than the Kinks. Five 30-minute and seven 25-minute episodes of Where Was Spring were telecast from January 27 to February 24, 1969, and from July 12 to August 23, 1970. ~ 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