James Fox Movies

The rise of teen culture in 1950s Britain provides the backdrop for Julien Temple's unconventional rock musical Absolute Beginners. The film centers on Colin, an 18-year-old with a talent for photography and a fondness for the neon nightlife of British jazz clubs. He also is in love with Crepe Suzette, an impulsive, ambitious young beauty who abandons him after attracting the attention of a powerful fashion designer. Depressed and aimless, Colin turns for help to a flashy ad executive (David Bowie) who promises to make him a star photographer. The former lovers take parallel paths to success, capitalizing on the youth mania gripping the nation. The film's nostalgic yet gently satirical look at teen culture is tempered by a recognition of the era's social tension, particularly a disturbing rise in racism. Despite these serious undertones, however, the film tells its story with a colorful vibrancy reminiscent of both MTV and old Hollywood musicals, filled with such show-stopping numbers as a memorable sequence in which Bowie dances on a giant typewriter. Critical reception was mixed, with some hailing the film's spectacular cinematography and ambitious scope, while others found the mixture of tones and style too inconsistent. The film also drew lukewarm response at the box office, with the memorable soundtrack receiving more attention than the film itself. ~ Judd Blaise, All Movie Guide

Superpatriotic Briton Michael Caine learns from his son Nigel Havers, a Russian translator with Government Communications Headquarters, that the CIA might have ordered the deaths of some GCH employees to avoid any security leaks. When Havers mentions that he's thinking about blowing the whistle on the sordid goings-on, Caine, convinced that whatever the CIA is doing is for the greatest good, implores his son to keep quiet. Soon afterward, Havers is found murdered. Even after this, Caine refuses to think ill of his government and its allies. It takes the death of investigative reporter James Fox to shake Caine out of his self-denial and to confront the persons responsible for the killings within the GCH. The venerable John Gielgud offers a surprising characterization in this complex conspiracy thriller. ~ Hal Erickson, All Movie Guide

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, All Movie Guide

This biographical film -- a bit long for most viewers, even in its cut version -- is made especially for ballet aficionados. Focusing on the short life of the remarkable Russian ballerina Anna Pavlova (1882?-1931), it features several dance sequences and provides a backdrop of the historical events in the Soviet Union and Europe during her life. Pavlova (Galina Belyayeva, better as a dancer than an actress) was born in Saint Petersburg and her interest in the ballet began early. As a little girl (Lina Boultakova), Pavlova would watch the ballet students in training, and she eventually entered the Imperial Ballet company, quickly rising to the position of prima ballerina. Before long, she perfected a style especially evident in her dancing of Giselle and Swan Lake. In her brief tenure at the Ballets Russes established in Paris in 1909 by the famed Russian expatriate impresario Sergei Diaghilev, Pavlova was inspired by dancers like Vaslav Nijinsky and obtained further training under a master, traveling extensively with the company. But the famous ballerina was not without personal problems, and at one point had to take a two-year advance on her salary in order to pay off her husband's debts so he would not go to jail. There are several intriguing aspects of this biography that would recommend it to general viewers: varied locations from Mexico to Cuba to Europe and the USA, good ballet performances, some noted bit players (Martin Scorcese as Gatti Cassaza) and a critically recognized Michael Powell, the director of Red Shoes in his last professional role, as an editor. ~ Eleanor Mannikka, All Movie Guide

The life and times of Britain's first female Member of Parliament are dramatically chronicled in this British miniseries. Lisa Harrow stars as Virginia-born Nancy Langhorne, who married into American aristocracy when she became the wife of the wealthy, influential, and chronically unfaithful Robert Gould Shaw (Pierce Brosnan). Although this union, and her later marriage to William Waldorf Astor (James Fox), could have easily permitted her to live the life of a pampered dowager, Nancy chose instead to follow her second husband's lead by entering politics, championing causes that were "unpopular" with her own social set, but which endeared her to the poor, downtrodden, and disenfranchised. Highlights of this nine-part miniseries included Lady Astor's ongoing prickly relationships with such political foes as Winston Churchill, her personal travails with her bibulous son, Bobby (Nigel Havers), and her famous query to Soviet dictator Joseph Stalin: "When are you going to stop killing people?" First broadcast by BBC2 from February 10 to April 7, 1982, Nancy Astor subsequently aired in America (this time as an eight-parter) as a component of the PBS anthology Masterpiece Theatre beginning April 15, 1984. ~ Hal Erickson, All Movie Guide

Even in an era of cinematic experimentation, Performance stands out as a visually daring major-studio film that deals with questions of sanity and identity rarely touched on in mainstream filmmaking. The elements of Performance certainly looked attractive to studio executives at Warner Bros. -- a gangster on the lam hides out in the home of a reclusive rock star -- especially since that musician was being played by Mick Jagger of the Rolling Stones. But co-directors Nicolas Roeg (who also photographed) and Donald Cammell (who wrote the screenplay) had much more in mind than a walk on the wild side of swinging London. Chas (James Fox) is a sadistic thug who gains our sympathies only because men even crueler than he are out to kill him. After Chas arrives at the mansion occupied by Turner (Jagger) and his female companions Pherber (Anita Pallenberg) and Lucy (Michele Breton), what looks like a decadent idyll fueled by drugs and group sex turns into a series of mind games in which Turner challenges Chas' sexual preference and core identity. Even the film's one musical number, "Memo From Turner," is a William Burroughs-like monologue in which Turner fantasizes taking over Chas' role as a mobster, spewing insults to his colleagues. The film's cult status has been fueled by subsequent films of its co-directors (for Roeg, Walkabout, The Man Who Fell to Earth, and Don't Look Now; for Cammell, White of the Eye), which explored similar themes employing the same kind of jagged editing and striking visuals. ~ Tom Wiener, All Movie Guide

In this caper comedy, Duffy (James Coburn) is a shaggy bohemian living in Tangiers who is approached for a less-than-legal business proposition by two half-brothers, carefree Stephane Calvert (James Fox) and stuffy businessman Antony Calvert (John Alderton). Though Stephane and Antony had different mothers, they share the same father, and they both hate him; Charles Calvert (James Mason) is a mean-spirited multi-millionaire who shows his sons little affection and isn't very interested in cutting them in for the family fortune. Charles plans to transport several million dollars in banknotes by ship from Tangiers to Marseilles, and the brothers want Duffy to help them liberate the money from the ship. While the Calvert Brothers are persuasive, Stephane's beautiful girlfriend Segolene (Suzannah York) is even more so, and Duffy finds that he not only wants to steal the cash from Charles, but the girl away from Stephane. Duffy was scripted by Donald Cammell, who gained a cult reputation for his first directorial effort, the Mick Jagger vehicle Performance. ~ Mark Deming, All Movie Guide

Apparently in the Italy of the 1920s, the only way to keep your home out of the maws of the tax collector was to steal and cheat from everyone in sight -- and the dupes you'd swindle wouldn't know the difference since all their attentions would be focused upon cheating you. That little bit of homespun philosophy is the only conclusion to be drawn from Arabella, a broad sex-farce enlivened with British comic Terry-Thomas appearing in a quartet of roles, and the sexy Virna Lisi as the title character, who is compelled into chicanery in order to prevent her mother's home from being taken away by the tax man. To raise funds, Arabella rooks money from Terry-Thomas, in various fake beard incarnations as a general, a duke, a hotel manger, and an insurance agent. But while she is busy conning the four Thomases, she steps on the toes of an equally tricky burglar (James Fox) and two young lovers -- Giancarlo Giannini and Melina Vukotic. Arabella ultimately becomes attracted to the burglar. Now she must hold her base animal urges in abeyance and concentrate on squeezing more cash out of the Terry-Thomases. ~ Paul Brenner, All Movie Guide

All hell breaks loose in a Texas town when an escaped convict heads home in Arthur Penn's Southern gothic melodrama. Appointed by local kingpin Val Rogers (E. G. Marshall), benevolent Sheriff Calder (Marlon Brando) manages to keep the peace in Tarl, but the situation starts to fester one Saturday when news filters in that wild child Bubber Reeves (Robert Redford) has jumped prison. Bubber's impending arrival arouses hostility among Tarl's citizens, such as Edwin Stewart (Robert Duvall), who believes that Bubber will come after him to settle an old score, and Damon Puller (Richard Bradford), who, between grope sessions with Edwin's wife Emily (Janice Rule), uses Bubber as an excuse to terrorize black residents. As the atmosphere heats up, Calder wants to keep Bubber alive, and he convinces Bubber's wife Anna (Jane Fonda) and her lover, Val's son Jake (James Fox), to find Bubber and coax him into surrender. Val's fear that Bubber will kill his son, however, sparks a long confrontation that leaves rational law and order pummeled into the ground by the town's ignorant cruelty. ~ Lucia Bozzola, All Movie Guide

James Clavell incorporated a few of his own experiences as a British POW in his novel King Rat. Bryan Forbes' film version stars George Segal as the mastermind of all black market operations in a Japanese prison camp. He is called "King Rat" because of his breeding of rodents to serve as food for his emaciated fellow prisoners; the nickname also alludes to Segal's shifty personality. British officer James Fox helps Segal expand his operation to include trading with the Japanese officers. Though on surface level a thoroughly selfish sort, Segal saves the ailing Fox's life by wangling precious antibiotics from the guards. ~ Hal Erickson, All Movie Guide

Wealthy wastrel James Fox hires insouciant cockney Dirk Bogarde as a valet. No sooner has he donned his working clothes than Bogarde begins exercising a subtle but insidious control over his master. Suggesting that the house could use a little fixing up, Bogarde convinces Fox to spend a whopping amount of money on it. But this is just a warm-up session for Bogarde, who by mid-film is calling all the shots in the Fox household, all the while pretending to keep his place. Fox's fiance Wendy Craig sees through Bogarde's game. Bogarde then brings his own lady friend Sarah Miles into the house. At Bogarde's insistence, Miles seduces Fox, thereby loosening Craig's hold on the confused young man. And so it goes. The homosexual subtext of The Servant disturbed some of the more hidebound critics of 1963; Harold Pinter based his cryptic screenplay on a novel by Robin Maugham. ~ Hal Erickson, All Movie Guide

This clumsily titled British sex farce comes to us courtesy of the prolific Danzinger brothers. A young vamp sets her sights on a wealthy gent. The girl's roommates decide it's time for her to lose out for a change. They hire a ham actor to pose as Mr. Moneybags, thereby rescuing the real millionaire from a costly mistake. If there was any more substance to this little meringue, we'd tell you. ~ Hal Erickson, All Movie Guide