Ronald Harwood Movies

An opera company filled with retired performers reunite once a year to stage a fund-raiser for their theater in Dustin Hoffman's directorial debut. Maggie Smith, Michael Gambon, and Billy Connolly star. ~ Jeremy Wheeler, Rovi

The astonishing true-life story of Jean-Dominic Bauby -- a man who held the world in his palm, lost everything to sudden paralysis at 43 years old, and somehow found the strength to rebound -- first touched the world in Bauby's best-selling autobiography The Diving Bell and the Butterfly (aka La Scaphandre et la Papillon), then in Jean-Jacques Beineix's half-hour 1997 documentary of Bauby at work, released under the same title, and, ten years after that, in this Cannes-selected docudrama, helmed by Julian Schnabel (Basquiat) and adapted from the memoir by Ronald Harwood (Cromwell). The Schnabel/Harwood picture follows Bauby's story to the letter -- his instantaneous descent from a wealthy and congenial playboy and the editor of French Elle, to a bed-bound, hospitalized stroke victim with an inactive brain stem that made it impossible for him to speak or move a muscle of his body. This prison, as it were, became a kind of "diving bell" for Bauby -- one with no means of escape. With the editor's mind unaffected, his only solace lay in the "butterfly" of his seemingly depthless fantasies and memories. Because of Bauby's physical restriction, he only possessed one channel for communication with the outside world: ocular activity. By moving his eyes and blinking, he not only began to interact again with the world around him, but -- astonishingly -- authored the said memoir via a code used to signify specific letters of the alphabet. In Schnabel's picture, Mathieu Amalric tackles the difficult role of Bauby; the film co-stars Emmanuelle Seigner, Marie-Josée Croze, Anne Consigny, and Patrick Chesnais. ~ Nathan Southern, Rovi

Director Roman Polanski gives one of Charles Dickens' best-loved stories a new and dynamic interpretation in this period drama. Oliver Twist (Barney Clark) is a young orphan in Victorian England who has been sent to a dank workhouse run by the miserly Mr. Bumble (Jeremy Swift) when it is learned there is no one to care for him. When Oliver dares to ask for more gruel, he is sent away to live with an undertaker, who treats him poorly. Preferring life on the streets to the treatment he's been receiving, Oliver runs away to London, where he falls in with the Artful Dodger (Harry Eden), a youthful pickpocket. The Artful Dodger is one of a gang of young thieves overseen by Fagin (Ben Kingsley), a paternal but sinister criminal mastermind. While Oliver finds a home of sorts with Fagin and his young cohorts, he also falls into a dangerous life made all the more threatening by the presence of Fagin's menacing overlord, Bill Sykes (Jamie Foreman). Oliver Twist was Polanski's first feature film after enjoying a major career resurgence following the international success of his Oscar-winning World War II drama The Pianist. ~ Mark Deming, Rovi

A man who has been able to avoid the consequences of his actions for nearly 50 years suddenly finds he must answer pursuers on both sides of the law in this drama, based on the novel by Brian Moore and inspired by a true story. After France fell to German occupation during World War II, the Nazi-controlled Vichy government established a law-enforcement group known as the Milice, who were under the direct control of Nazi authorities. In 1944, Pierre Brossard (George Williams) is one of a handful of Milice officers who round up and execute seven Jewish resistance members in the village of Dombey. After the liberation of France, Brossard is tried and convicted for his crimes, but he manages to escape capture, and years later is pardoned. In 1992, Brossard (now played by Michael Caine) is an elderly man living a quiet life in Provence and modestly supported by fellow veterans of the Vichy regime when he's ambushed and nearly killed by a man whom he learns was a hired killer. Brossard discovers this is hardly his only problem; new legislation will allow Vichy-era war criminals who escaped punishment to be charged and tried again, and Anne Marie Livi (Tilda Swinton), a bright and aggressive French prosecutor, has joined forces with Col. Roux (Jeremy Northam) to bring Brossard, among others, to justice. While Brossard is still being clandestinely assisted by church officials and Vichy sympathizers, he must go on the run to avoid capture, and finds himself hiding from the French police as well as a cadre of underground assassins, whose alliances and purposes are frustratingly unclear. The Statement also stars Charlotte Rampling, Alan Bates, and Frank Finlay. ~ Mark Deming, Rovi

Set in Germany in 1946, Taking Sides tells the story of the investigation of Wilhelm Furtwängler (Stellan Skarsgård), the renowned conductor of the Berlin Philharmonic and Vienna Philharmonic orchestras, by the American occupying army. Major Steve Arnold (Harvey Keitel) has been told by his superiors that they want Furtwängler convicted of being a willing participant in the crimes of the Hitler regime, by virtue of his supposed support for and support from the Hitler government. They haven't got the time or resources to go after every ex-Nazi, so they want Furtwängler, as the biggest cultural target they can hit. Arnold does his loud, boorish best to first humiliate and then attack the conductor over the supposed favoritism that he was shown by Hitler, Goering, Himmler, et al. and his conducting of a concert at the 1934 Nuremberg rally and at Hitler's 53rd birthday. Arnold finds, to his eventual distress but not dissuasion, that nothing is as simple as he would like to make it. His civilian secretary, Emmi Straube (Birgit Minichmayr), a concentration camp survivor whose father was part of the German Army plot to kill Hitler, and Lt. David Wills (Moritz Bleibtreu), a German-born Jew representing the War Crimes Tribunal, keep trying to remind Arnold that life and politics in Germany only deteriorated gradually after 1933, and in ways that couldn't always be anticipated by those who were there. Germans who chose not to leave weren't necessarily casting their lot with Hitler, but with protecting what was decent or even great about Germany, including her orchestras and music. Arnold knows nothing about music and even less about Germany and her people, and won't be deterred from his goal. Wills and Straube wish to resign from working with him, until they realize that they're facing the same choice that Furtwängler faced -- to leave a horrendous situation and have no way of affecting its conduct or outcome, or remain and do their best to stand up for decency and truth. In the process of doing that, they find out that Furtwängler is not only a great artist -- which they knew already -- but a great and brave man, who also has his flaws. The latter include an outsized ego that may have caused him to participate a little too willingly at times in the dangerous game he played of maintaining the excellence of Germany's musical institutions while protecting them (and also many musicians) from the worst ravages of the Nazi regime, at the same time also keeping lesser, more compliant figures from usurping his control. ~ Bruce Eder, Rovi

Forty-three years after the first screen treatment of Terence Rattigan's play about a teacher facing the end of his career, Albert Finney takes on the role of Mr. Crocker-Harris, the Latin teacher forced into early retirement by a heart condition. After teaching in a public school for twenty years, Crocker-Harris is being put out to pasture in a less stressful job teaching English to foreigners. Meanwhile, his home life is also falling apart: his wife (Greta Scacchi) is having an affair with the American chemistry teacher (Matthew Modine), who nevertheless admires Crocker-Harris for his dignity and decency. Through it all, Crocker-Harris hides his pain behind his stiff British reserve. ~ Don Kaye, Rovi

Countdown to War is a unique docudrama featuring actual private papers and diaries of the major players of World War II. Actor Ian McKellen portrays Hitler using recreated dialogue taken from the man himself. Behind-the-scenes events that predated the war are presented. Authentic meetings and debates give a sense of realism to the program. Alex Norton stars as Stalin, Michael Aldridge as Neville Chamberlain, Peter Vaughan as Hermann Göring, and Barrie Rutter enacts Mussolini. As the war looms, the decision-makers struggle to position themselves among the powerful. The result is a never-before-seen viewpoint that tells the real reasons behind the global confrontation. ~ Sarah Ing, Rovi

A movie version of the stage play The Doctor and the Devils, written in the 1950s by Welsh poet/playwright Dylan Thomas, had been planned and shelved by several filmmakers before producer Mel Brooks and director Freddie Francis finally brought the project to fruition in 1985. Essentially, the story is the old one about grave robbers Burke and Hare and Scottish surgeon Dr. Robert Knox (which also yielded the 1945 Val Lewton classic The Body Snatcher). Timothy Dalton plays 18th century doctor Thomas Rock, who must rely upon the disreputable Robert Fallon (Jonathan Pryce) and Timothy Broom (Stephen Rea) to provide fresh cadavers for Dr. Rock's teaching hospital. When they can't dig up corpses fast enough to suit Dr. Rock, Fallon and Broom decide to streamline their methods via murder. ~ Hal Erickson, Rovi

Faye Dunaway portrays the Argentinian title character in this four-hour TV biopic. The story traces Evita's rise to power from humble origins; she establishes herself as a radio and film actress, then meets and marries powerful politico Juan Peron (played by James Farentino, a last minute replacement for Robert Mitchum). Peron's iron-fisted rule of Argentina allows Evita to become a political power in her own right. At first she is widely beloved as a "woman of the people", but gradually many of her followers are disillusioned by her use -- and misuse -- of her authority and her influence over Peron. After Evita dies, she is all but canonized by the Faithful, and it becomes more difficult than ever to separate fact from legend. Evita Peron was clearly produced to capitalize on the Broadway musical hit Evita, though the script takes great pains not to copy its theatrical inspiration. ~ Hal Erickson, Rovi

Alexander Solzhenitsyn's novel about brutal individual survival in a Russian labor camp in the 1950s is brought to the screen in this stark and spare adaptation by director Caspar Wrede, writer Ronald Harwood, and cinematographer Sven Nykvist. Tom Courtenay is Ivan, who is a prisoner in the eighth year of a ten-year sentence at a Siberian labor camp. Ivan's day consists of small accomplishments that enable Ivan to retain his humanity during conditions of extreme oppression -- he does not get sick, he grabs an extra smoke, he discovers a saw, and he helps to work on a concrete wall. When he prepares for sleep, Ivan is contented that the guards have not beaten him and that he has gotten through the day in one piece. And tomorrow morning, Ivan must start all over again. ~ Paul Brenner, Rovi

This biography of Oliver Cromwell recalls the political and religious struggles of 17th century England. Cromwell (Richard Harris) is the Anglican religious fanatic who fights corruption and Catholicism with equal zeal, while King Charles (Alec Guinness) is the vacillating monarch who believes his crown gives him a direct pipeline to the wisdom of God. Also starring Robert Morley and Timothy Dalton, Cromwell won an Academy Award for Best Costume Design and was nominated for Best Original Score. ~ Dan Pavlides, Rovi

Marcello Mastroianni marks his English language film debut in this featherweight caper film directed by first-time director Christopher Morahan. Mastroianni plays the owner of a London boutique who also happens to be the fourth in line to succeed the Russian throne. Mastroianni, feeling that the collection of Russian imperial jewels actually belongs to him, determines to steal them and return them to their rightful owner -- himself. To carry out his plan, he puts together a cadre of pulchritudinous female crooks and arranges for his gal gang to model the imperial jewels at a fashion show. But, as usual, complications set in to mess up his plans. ~ Paul Brenner, Rovi

This conventional military drama is meant to showcase the conflict between an individual's right to religious belief (and experiences) and the army's right to punish what it sees as a violation of direct orders, especially when the violation leads to a fatality. Private Potter (Tom Courtenay in another of his early roles) is a new recruit, wet behind the ears and now one of the men on patrol on a Mediterranean island, looking for a terrorist. The commanding officer orders complete silence while the patrol carefully makes its way through unknown territory. Suddenly, Private Potter screams loudly -- it is obvious he is terrified -- and the entire mission has to be abandoned. Worse yet, one of the soldiers is killed. Facing the possibility of a court-martial for his actions, Potter maintains he saw a vision of God. Several others maintain he is lying. Involved in the final decision are army brass, a psychiatrist, a priest, and a doctor. ~ Eleanor Mannikka, Rovi