John McGrath Movies

Set in Norway and Scotland, Aberdeen is a road movie that is as concerned with the geography of the heart as that of a topographical map. Kaisa (Lena Headey) is an ambitious lawyer who has just celebrated her recent promotion by having dominant sex with a man whose name she has no interest in learning. When her estranged mother, Helen (Charlotte Rampling), whom she hasn't been in contact with for a decade, calls her up to tell her that she is dying of cancer, Kaisa is faced with her mother's request to track down her divorced husband, Tomas (Stellan Skarsgard). A raging drunk, Tomas has been frequenting the pubs of Norway for a number of years, and Kaisa, after some initial hesitation, sets out for Oslo to find him. When she is finally reunited with Tomas, his drunkenness prevents them from being allowed on the flight back to Aberdeen, where her mother is hospitalized. Kaisa and Tomas embark on an overland journey that takes them across Norway and on a ferry to England, with Tomas drinking constantly and Kaisa discovering something that may be love with a self-effacing truck driver (Ian Hart). ~ Rebecca Flint Marx, Rovi

This tuneful British film, performed in Gaelic, follows the life of 19th-century Scottish songstress and political activist Mairi Mhor. After Mairi was wrongfully jailed for stealing, she began a 25 year career of writing political songs protesting Britain's domination of her people. She also was a leading activist in the Highland Land League. ~ Sandra Brennan, Rovi

The brilliant young British actress Jane Horrocks made her film debut in The Dressmaker. She plays Rita, the 17-year-old niece of two Liverpool sisters, who are united only by a common hatred. Older sister Nellie (Joan Plowright) is an emotionally repressed dressmaker, while Margo (Billie Whitelaw) is her brash, libertine younger sibling. Caught in the middle, Rita spends most of her time snivelling over her fate. Though it is clear that no love is lost in this household, the aunts betray a nasty jealous streak when the niece falls in love with American Wesley (Tim Ransom). This quietly turbulent domestic drama was based on The Secret Glass, a novel by Beryl Bainbridge. ~ Hal Erickson, Rovi

Nicol Williamson stars as a Liverpool/Irish layabout who inherits a business from his father. Even in his executive togs, Williamson remains out of step with society. Already a surly sort, Williamson becomes even less likeable as the film progresses, especially when seeking to avenge a long-ago slight against his father. The film is a belated but still compelling entry in Britain's "Angry Young Man" cinematic cycle, with the "protagonist" remaining on top at the expense of his soul. Reckoning was based on The Harp That Once, a novel by Patrick Hall. ~ Hal Erickson, Rovi

John McGrath's television play The Bofors Gun was expanded (if not improved) by this film adaptation. The time is 1954: a weak-willed British corporal (David Warner) desperately wants to improve his lot in the National Service by taking the officer's entrance course. A rebellious, sociopathic Irish private (Nicol Williamson) takes a dislike to the corporal. He hopes to humiliate the would-be officer and to this end commits suicide while the corporal is guarding him. The character motivations in The Bofors Gun might be lost on anyone who lacks intimate knowledge of the turbulent Irish/British relationships of the era, but the characters themselves are easily recognizable types. One problem: Who is there to root for in this squalid tale? ~ Hal Erickson, Rovi

Actually there were two young men in this BBC1 miniseries, played by Victor Henry and Richard Moore. A pair of Northern lads, our heroes head down to London to start life anew, and in the process endure a liberal education in the School of Hard Knocks. The six 45-minute episodes of Diary of a Young Man originally aired in England from August 8 to September 12, 1964. ~ Hal Erickson, Rovi

He may be called "The Lone Prospector" in The Gold Rush, but the character played by Charlie Chaplin is the same wistful, resourceful Little Tramp that had been entertaining the world and its brother since 1914. A most unlikely participant in the 1898 Yukon gold rush, Charlie finds himself sharing a remote cabin with two much larger and more menacing-looking prospectors: Big Jim McKay (Mack Swain) and Black Larsen (Tom Murray). Big Jim isn't really a bad sort, but Larsen is a murderer and thief. When the food supply runs out, Larsen heads out in the snowy wastes to hunt, leaving Charlie to prepare a delicious Thanksgiving dinner for Big Jim, consisting of roasted shoe. The days pass: in a delirium, Big Jim imagines that Charlie is a huge chicken, and voraciously takes after him with an axe; Charlie saves himself by inadvertently shooting a bear, thereby providing enough food for ten men (Chaplin's inspiration for this episode was the cannibalistic activities of the Donner Party). When the winds subside, Charlie and Big Jim part company. Charlie heads off to seek his fortune in a nearby gold-rush community, while Big Jim lucks upon a "mountain of gold" -- just before he is ambushed and knocked unconscious by Black Larsen. Larsen himself is then killed by an avalanche, leaving Big Jim to wander aimlessly, his memory gone. Meanwhile, Charlie has fallen in love, from afar, with self-reliant saloon girl Georgia (Georgia Hale) who doesn't know that he exists. By a fluke, Charlie and Georgia meet, whereupon Charlie invites the girl to New Year's Eve dinner in the cabin that he is tending for a local prospector. While preparing for dinner, Charlie imagines that Georgia has arrived with her friends; he entertains the girls by jabbing two forks in two rolls, then performing a captivating little "dance" with the pastries. Awakening from his dream, Charlie disconsolately realizes that Georgia has forgotten all about his little party, and isn't going to show up. The next day, Big Jim arrives in town and is shaken out of his amnesia when he spots Charlie. Hoping that the little prospector will help him find his mountain of gold, Big Jim heads back to the mountains with Charlie in tow. The two men nearly come to grief when their cabin, blown by the wind to a mountain precipice, leans precariously over the edge--a peril intensified when Charlie, clinging to the floor, develops a sudden case of hiccups! Luck of luck, the cabin slides safely down the side of the mountain, landing directly upon Big Jim's gold strike. Now fabulously wealthy, Charlie and Big Jim head back to the States on a freighter. Also on board is Georgia, who is unaware that Charlie has struck it rich and thinks that he's a stowaway. She offers to hide him from the authorities, and it is at this point that Charlie and Georgia discover that they're truly in love with one another. The Gold Rush was the longest (it ran nine reels, cut down from its ten-reel preview length) and most elaborately produced of Chaplin's silent comedies (it took him fourteen months to complete). Even so, critics of the era chastised Chaplin for permitting the Little Tramp to win the girl at the end, arguing that the character's "integrity" was damaged by so happy an ending. Evidently, Chaplin took this criticism to heart: in his 1942 reissue of The Gold Rush, for which he wrote a narration and musical score, Chaplin removed the final embrace between the Lone Prospector and Georgia, fading out on a wealthy -- but still unattached -- Charlie strolling about the deck. ~ Hal Erickson, Rovi