John Junkin Movies

An A.P. Dearsley stage play was the basis for the seven-reel British comedy And the Same to You. Brian Rix stars as the pugnacious nephew of clergyman Sydney Mullett. Stuck with the name "Dickie Dreadnought," Rix feels he has no choice but to pursue a career as a boxer. To mollify his uncle, Rix pretends to be the soul of religiosity, while his tough-talking manager William Hartnell poses as a Man of the Cloth. The script for And the Same to You was penned by melodrama specialist John Paddy Carstairs and veteran comic actor John Junkin (the too-tall road manager in A Hard Day's Night). ~ Hal Erickson, Rovi

Dirk Bogarde plays one of those "reluctant spies" so common to adventure films of the 1960s. A poverty-stricken author, Bogarde is sent to Czechoslovakia by the British government as an unofficial "goodwill ambassador" to an industrial firm. It soon dawns upon him that his real assignment is to gather facts for his government's secret service; unfortunately, neither Bogarde's bosses nor his adversaries let him in on just how much danger is involved. After an excellent--and quite funny--opening, the film bogs down into an uninspired James Bond parody (we should have been warned what was coming by the very first scene, in which Agent 007's file is marked "Deceased"). Also known as Agent 008 3/4, Agent 8 3/4 was originally screened in England as Hot Enough for June; the British version ran nearly twenty minutes longer than the American release. ~ Hal Erickson, Rovi

First telecast in England on December 28, 1963, this episode begins with a missile attack on England, which fortunately proves to be a fake. Wondering why only one of the country's radar stations failed to report the attack, Steed purchases some valuable property bordering that station. Shortly afterward, he and his new neighbors are invited to a New Year's Eve celebration on board a train. When the guests begin dying at an alarming rate, Cathy Gale races to the rescue -- fetchingly disguised as a belly dancer. Celebrated comic actors Leonard Rossiter and John Junkin appear in supporting roles. Written by Brian Clemens, "Dressed to Kill" remained unseen in America until March 21, 1991. ~ Hal Erickson, Rovi

During the first worldwide flush of Beatlemania in 1964, United Artists wanted to ship out a movie with The Beatles before their vogue was over. Working within a tight $500,000 budget, director Richard Lester turned out A Hard Day's Night in a fast 6 1/2 weeks; the picture was in the theatres three months after shooting commenced. Using a variety of techniques cribbed from Hollywood slapstick comedies, the French "new wave" movement, and his own experiences as a TV-commercial director, Lester, with screenwriter Alun Owen, fashioned an exhilarating study of a "typical" 36 hours in the lives of the Fab Four. Onto a plot about getting to the Big Show on time are hung a series of instant-reaction gags, character vignettes, and musical setpieces. Much of the humor arises from Paul McCartney's efforts to keep his grandfather (Wilfred Brambell), a "clean old man," from getting into mischief. Also good for several laughs is the hookey-playing Ringo Starr, whose mistimed declaration of independence lands him in jail. We are also treated to a war of nerves between the unflappable John Lennon and an uptight TV director (Victor Spinelli), who worries that, should the Beatles not show up at broadcast time, he'll be demoted to "News In Welsh." George Harrison stars in a sequence in which he is mistaken for an auditionee by the producer (Kenneth Haigh) of a superficially trendy, teen-oriented TV weekly. Then there's Norman Rossington and John Junkin as The Beatles' managers, who carry on a battle royale simply because one man is taller than the other. The supporting cast includes comedienne Anna Quayle, cartoonist Bob Godfrey, TV host Robin Ray, dancer Lionel Blair, Harrison's future wife Patti Boyd, and director Lester himself. The songs include "I Should Have Known Better," "And I Love Her," "Tell Me Why," "If I Fell," "Can't Buy Me Love," and the title song. ~ Hal Erickson, Rovi

Years before the story proper in The Wrong Box gets under way, a "tontine" is drawn up on behalf several young British boys. Each of the boys' parents had placed 1000 pounds in a pool, to be invested and expanded upon. The resultant fortune will go to the last surving member of the tontine. A series of montages depicts the various demises of the heirs (our favorite occurs when one of them is inadvertently beheaded while being knighted by Queen Victoria). Finally, only two of the tontine participants are left: aged brothers Ralph Richardson and John Mills. On his last legs, Mills is determined that Richardson will not outlive him, and to that end attempts to kill his brother; each attempt fails spectacularly, with the doddering Richardson none the wiser. Standing to benefit from the tontine are Mills' dimwitted med-student son Michael Caine and Richardson's greedy nephews Peter Cook and Dudley Moore. When Richardson is supposedly killed in a train wreck, Cook and Moore don't want the authorities to find out, so they appropriate what they think is their uncle's corpse and ship it home in a box. Thus it is that Caine finds the body of a perfect stranger on his doorstep. The farcical complications begin flying about thick and fast from this point onward. Among the participants in this wacky gigglefest are such formidable talents as Peter Sellers, Tony Hancock, Wilfred Lawson, Thorley Walters, Norman Rossington, Irene Handl and Cicely Courtenedge. Based on a novel by Robert Louis Stevenson, The Wrong Box is a delightful harkback to the glory days of Britain's Ealing comedies. We were so wrapped up in the story that we didn't even notice all those TV antennae sprouting up on the rooftops of Victorian London. ~ Hal Erickson, Rovi

In this slapstick comedy two bumbling workmen attempt to take a long wooden plank through a London suburb to a building site. Mayhem ensues. ~ Sandra Brennan, Rovi

Among the first of the late 60s anti-war films that reflected growing concern over the Vietnam War, How I Won the War takes a cold, dark look at the Good War, World War II. In adapting Patrick Ryan's 1963 novel, screenwriter Charles Wood and director Richard Lester offered a narrative fractured by characters making side comments to the camera, stylized cinematography, inserts of newsreel war footage, and plenty of absurdist humor and slapstick. Ernest Goodbody (Michael Crawford) is a bumbling British officer who manages to get most of his small company of musketeers killed while on a mission in North Africa to set up a cricket pitch behind enemy lines for officers of the advancing British army. The rest of the company dies in an ensuing campaign in Europe near the war's end, but all of the men continue to march along, appearing as monochromatic ghosts. (Original prints of the film intercut real battle footage tinted to match the color of the soon-to-be ghost soldier. Some prints of the film, including one shown on Turner Classic Movies, present the newsreel shots in black and white, undercutting the stylized touch.) The story is framed as a flashback, with Goodbody relating his version of events to a German officer (Karl Michael Vogler), while the real version of events, demonstrating Goodbody's ineptitude, plays out on screen. Among the supporting players are John Lennon, who had worked with Lester on A Hard Day's Night and Help; Roy Kinnear, a Lester regular, as a fat soldier who is certain his wife is cheating on him; Jack MacGowran as the troop's designated fool, and Michael Hordern as a general almost as oblivious to his suffering men as Goodbody. ~ Tom Wiener, Rovi

Man at the Top was a theatrical-film spin-off of a popular British TV series, inspired by the earlier movies Room at the Top and Life at the Top. Kenneth Haigh starred in the series as Joe Lampton, the successful but emotionally empty business executive portrayed in the earlier films by Laurence Harvey. In Man at the Top, Lampton (Haigh again) endures a crisis of conscience. He knows that his pharmaceutical firm is about to market an untested and possibly dangerous drug. He is also bound by ties of familial loyalty: His boss (Harry Andrews) happens to be his father-in-law. Nanette Newman, a busy doe-eyed ingenue of the 1960s, is quietly effective as the middle-aged Mrs. Lampton. ~ Hal Erickson, Rovi

This comedy was the final episode in the "Confessions of.." trio. This time the characters from the previous films are cast as dreadfully untalented entertainers working in a resort. Slapstick ensues. ~ Sandra Brennan, Rovi

What if General George S. Patton didn't die in a car accident, as history tells us, but at the hands of a paid assassin? That's the premise of Brass Target, another in a series of espionage thrillers, like The Eagle Has Landed, that speculates on the fates of real-life figures from World War II. Robert Vaughn, Ed Bishop, and Edward Herrmann are three Allied officers in occupied Germany who steal Nazi gold with the help of OSS officer Patrick McGoohan. Patton (George Kennedy) personally supervises the investigation of the theft, assisted by Major Joe DeLuca (John Cassavetes). Soon, however, a professional assassin (Max Von Sydow) is on their trail, Patton is killed on the orders of his own staff, and only DeLuca and his lover (Sophia Loren), who is also involved with the assassin, are left alive for the finale. ~ Don Kaye, Rovi

Based on a novel by Evelyn Waugh, Handful of Dust is set amongst Britain's aristocracy of the 1930s. At sumptuous Hetton Abbey, tradition-bound country squire James Wilby and his wife Kristin Scott Thomas open their doors to well-connected but impoverished Rupert Graves. Graves returns Wilby's hospitality by having an affair with Scott Thomas, while Wilby gamboles about his estate without a clue of what is going on. Wilby's cloistered world comes tumbling down when Scott Thomas coolly demands a divorce, shortly after the accidental death of their young son. Wilby discovers that his divorce settlement will cost him Hetton Abbey; he faces this circumstance by not facing it at all, preferring to escape to South America, stiff upper lip intact, in the company of a dotty explorer. ~ Hal Erickson, Rovi