Tom Kempinski Movies

Julie Andrews delivers a virtuoso dramatic performance in Duet for One. Based on a play by Tom Kempinski, the story concerns brilliant concert violinist Stephanie Anderson (Andrews) who is slowly succumbing to the ravages of multiple sclerosis. Stephanie's problems are compounded by her cheating husband David Cornwallis (Alan Bates), and her protégé Constantine Kassanis (Rupert Everett), who shows signs of "selling out" to popular entertainment. Max von Sydow, who previously co-starred with Andrews in Hawaii, plays psychiatrist Dr. Louis Feldman, who tries to help Stephanie cope with her debilitations, but who ends up as much an albatross around her neck as David and Constantine. Critics are still divided over whether or not the mystical sequences between Andrews and the ghost of her violin teacher (Sigfrit Steiner) truly work within the context of the plotline. Duet for One was the third English-language production for Russian filmmaker Andrei Konchalovsky. ~ Hal Erickson, Rovi

This offbeat comedy begins when Doctor Burke (Leslie Phillips) chases the beautiful Ophelia (Angela Scoular) on board an ocean liner and is trapped. He masquerades as a female photographer to avoid detection, hoping to propose marriage to Ophelia. Burke tries to avoids the suspicion of pompous Captain Spratt (Robert Morley), who plays the stuffy skipper with his usual comic flair. James Robert Justice plays the captain's blue-blooded brother Sir Lancelott Spratt. ~ Dan Pavlides, Rovi

Dom (John Thaw) is the 30-year-old pseudo revolutionary whose main goals are to sleep with women and spout Marxist and Leninist slogans. He is kidnapped by party members and, in a warehouse, is subjected to a trial by his peers. They believe he is only paying lip service to the movement and is not a true revolutionary. The trial is interrupted when word of an impending police raid reaches the gathering. Stock footage of the 1968 Paris riots is used judiciously to enhance the spirit of revolutionary fervor ~ Dan Pavlides, Rovi

A spaceman -- with a raygun -- for hire takes on a crooked land baron in this drama that moves Western themes into outer space. In the year 2021, Bill Kemp (James Olson), the first man to walk on Mars, is an astronaut for hire, renting his services to the highest bidder. J.J. Hubbard (Warren Mitchell) is a multi-millionaire who pays Kemp to help blast an oncoming asteroid out of its orbit so that it will avoid the Earth and crash into the moon. However, Hubbard's goal is hardly benevolent. The moon is being excavated for mineral resources, and since fragments of the asteroid in question resemble jewels, it will allow Hubbard to fraudulently jack up land prices on the lunar surface. Kemp also learns that Hubbard was responsible for the death of the brother of Clementine Taplin (Catherine Schell), the woman he loves. Kemp realizes that he can no longer do business with Hubbard, and he sets out to foil Hubbard's schemes before it's too late. Moon Zero Two was directed by Roy Thomas Baker, who also made a number of pictures for Hammer Films, including the respected sci-fi cult film Quatermass and the Pit. ~ Mark Deming, Rovi

This short experimental feature follows a young man (Paul Jones, vocalist for the band Manfred Mann) who is picked up by a successful but self-satisfied businessman (Tom Kempinski) while hitchhiking. Bored and exasperated with the businessman's prattle, the young man succumbs to temptation while the mogul checks the engine of his Mercedes Benz, bringing the car's hood crashing down on the man's head. Feeling remorse later on, he sews the businessman's head back onto his body, with the victim seeming no worse for wear. Years later, the young man is working with an architectural firm when he's called upon to join a committee led by a powerful government official (Robert Lloyd). It soon becomes obvious that along with his other duties, the man is asked to account for his actions, which could easily have led to another man's death. The Committee was shot on location at the London School of Economics, and features a musical score by Pink Floyd, which was composed and recorded shortly after Syd Barrett left the group. Influential theatrical rock combo The Crazy World of Arthur Brown also performs in the film. ~ Mark Deming, Rovi

Cop-Out is a distressingly "mod" remake of the 1941 French film Strangers in the House. Taking over the role originally played by Raimu, James Mason stars as a retired, scotch-swilling attorney residing in France. Mason disapproves of his daughter's (Geraldine Chaplin) new boy friend (Bobby Darin), but rises to the young man's defense in court when the boy is arrested on a suspicious murder charge. The casting of Chaplin and Darin was meant to "reach" the youth market, but both are way too old for their characters. Cop-Out would have worked better (especially with audiences of the 1990s) without its trendy camerawork and wearisome generation-gap propaganda. ~ Hal Erickson, Rovi

Joseph Losey directed this unusual science fiction effort, which has won a small but fervent cult following. Simon Wells (MacDonald Carey) is an American visiting England, where he meets a woman named Joan (Shirley Ann Field). Simon is immediately attracted to Joan, but there's a considerable obstacle in their budding romance: Joan's brother King (Oliver Reed), the leader of a violent pack of motorcycle rockers. King has a barely concealed incestuous attachment to his sister, and he sometimes uses her to lure victims into his gang's clutches. King and his cronies attack Simon, take his money, and leave him stranded, where he's eventually found by a pair of military security men. Simon is brought to the home of Bernard (Alexander Knox), a scientist working on a secret project for the government, and his girlfriend Freya (Viveca Lindfors), a sculptor. Joan eventually tracks Simon down in hopes of winning his forgiveness, but another run-in with King causes Simon and Joan to discover a cave that holds a terrible secret: a group of strange, cold-blooded children who were the products of one of Bernard's experiments gone wrong. The children were genetically engineered to survive a nuclear war, and, as a result, they are radioactive enough to kill anyone who comes in close contact with them. Controversial in its day, The Damned was produced in England in 1961 but was not released until 1963, when Hammer Films booked it as the second-half of a double bill with Maniac. It did not reach American screens until 1965, when it was shown under the title These Are the Damned. ~ Mark Deming, Rovi