Norman Priggen Movies

A steamer trunk full of the voices of British acting greats (Ben Kingsley, Billie Whitelaw, Michael Hordern, Brian Blessed, and Jonathan Pryce) enliven this absurd pop-cartoon parody of the James Bond films. In a prologue taking place in a faraway time, a widowed magician-king (voice of Michael Hordern) and his son, Prince Freddie (voice of Ben Kingsley) live in their lonely castle. Freddie's mean aunt Messina (voice of Billie Whitelaw), dead-set against Freddie becoming king, kills his father and transforms Freddie into a frog. Freddie escapes the wrath of Messina by jumping into the sea. Several hundred years later, Freddie is now living in modern day Paris -- a six-foot-tall amphibian with the moniker Secret Agent F.R.O.7. Messina, too, is still around causing mischief, joining forces with an arch-villain named El Supremo (voice of Brian Blessed) in a scheme to shrink Big Ben. Freddie, alerted to Messina's nefarious plans, gathers his fellow agents Daffers (voice of Jenny Agutter) and Scottie (voice of John Sessions) together, planning to hide out in Big Ben and surprise the evil doers when they are set to strike at the much-loved British landmark. ~ Paul Brenner, All Movie Guide

Essentially a reworking of their earlier omnibus Asylum, this is another anthology of pulp horror tales from Amicus, this one helmed by the ever-reliable Freddie Francis. It features a quartet of eerie vignettes involving four patients in the care of psychiatrist Dr. Tremayne (Donald Pleasence), who is attempting to justify his strange theories to a colleague (Jack Hawkins, who died shortly after his scenes were filmed) by explaining the horrific events that drove the patients to their current state. The first tale centers on a young boy (Russell Lewis), whose parents' constant squabbling prompts him to conjure an imaginary tiger to devour them. The second involves a Victorian-era bicycle which allows its finder (Peter McEnery) to travel back in time and live as his own ancestor. The goofy third chapter pits a jealous wife (Joan Collins) against a strange rival for her husband's attention: a tree possessed by a human soul. The final segment stars Kim Novak (a last-minute replacement for Rita Hayworth) as a literary agent who must sacrifice her own daughter (Mary Tamm) to appease the restless spirit of her client's mother. Although certainly not the studio's best effort, this is still an amusing diversion, featuring the standard twist ending and a flamboyant approach suggestive of EC horror comics. ~ Cavett Binion, All Movie Guide

This violent blaxploitation film stars Jim Brown as the owner of a Los Angeles nightclub. When his brother, a Vietnam veteran, is murdered by gangsters, Brown gathers some of his brother's fellow veterans and an assortment of ex-convicts to get brutal revenge. Martin Landau, Luciana Paluzzi, and Jeannie Bell head the cast, along with genre regulars Bruce Glover, Bernie Casey, and Gary Conway. Director Robert Hartford-Davis is best known for horror films like Incense of the Damned and Corruption, while Brown went on to more successful genre fare in Slaughter and Slaughter's Big Rip-Off. ~ Robert Firsching, All Movie Guide

The third collaboration between director Joseph Losey and writer Harold Pinter, following The Servant and Accident, continues their exploration of class rituals and the darker recesses of desire. Pinter's script adapts the 1953 L.P. Hartley novel about Leo Colston, a middle-aged man (Michael Redgrave), recalling a summer of his early adolescence at a country estate. Young Leo (Dominic Guard) observes the machinations of the adults in the household, all but two of whom conveniently ignore his presence. Marion Maudsley (Julie Christie) is promised in marriage to another aristocrat, but she is secretly in love with farm worker Ted Burgess (Alan Bates). They enlist Leo as their messenger, with tragic consequences for all concerned. The older Leo has never married, and as the story winds on, it becomes clear that his own infatuation with Marion irrevocably altered his life. The Go-Between won several British Academy Awards, including one for Pinter's screenplay, and was one of four films awarded a grand prize at the 1971 Cannes Film Festival. ~ Tom Wiener, All Movie Guide

Boom is taken from the Tennessee Williams play The Milk Train Doesn't Stop Here Anymore. Flora Goforth (Elizabeth Taylor) is a foul-mouthed, booze-swilling, pill-popping, middle-aged woman near death. She spends her time swearing at the servants and looks forward to the end of it all, until poet Chris Flanders (Richard Burton) comes to her island home. Known in literary circles as the "angel of death," the poet gives the dying woman some measure of comfort in his presence -- while he takes comfort in her liquor cabinet and her jewelry. Often she is visited by the Witch of Capri (Noel Coward), a gossip-minded homosexual who appears to be Flora's only friend. Williams wrote the screenplay, which unfortunately proved ineffectual, as Taylor and Burton were seemingly caught up in their own world of wallowing in self-importance. The feature did little to boost the sagging careers of Burton and Taylor or to alter the public's negative opinions of their personal lives. ~ Dan Pavlides, All Movie Guide

King and Country was adapted by Evan Jones from John Wilson's play Hamp. Misfit World War I British soldier Tom Courtenay, on trial for desertion, is defended by martinet officer Dirk Bogarde. Disgusted by the assignment, Bogarde wearily asks the dullwitted Courtenay the reasons for his actions. Courtenay replies that, after being the sole survivor of a battle and discovering that his wife had been cheating on him while he was serving his country, he didn't see any purpose in going on; thus, he "went for a little walk". Bogarde's dislike of his client melts into sympathy, which in turn leads to temporary indignation over the manner in which the average enlisted man is treated by his aristocratic superiors. Despite his pleas for leniency, Bogarde's client is sentenced to be shot; after all, an example must be made. On the day of the execution, the men on the firing squad are so drunk that they're unable to carry out the sentence. Once more incensed by the "rabble" that he's forced to deal with, Bogarde takes the law into his own hands. ~ Hal Erickson, All Movie Guide

Billie Whitelaw dominates this crime melodrama, not as a criminal but as vengeful bystander Jackie Parker. Parker's husband, an armored car driver, is killed during a carefully orchestrated robbery. The police have an idea of who's responsible, but they lack proof. On her own, Parker goes after the suspects one by one, using psychological torture (phone calls, poison pen letters) to break them down. She reduces inside man Pearson (William Lucas) to a quivering mass of gelatin, and indirectly sends Monty (Kenneth Griffith) to a sticky end in a mire of quicksand. The film's climax is a showdown between Parker and gang boss Mellors (Michael Craig). Payroll was based on a novel by Derek Bickerton. ~ Hal Erickson, All Movie Guide

Released in Britain as Crash of Silence, Mandy is a straightforward story about a handicapped child's efforts to adapt to a normal world. Born deaf, Mandy is mute for most of her childhood. Her desperate parents enroll her in special education classes. It's a slow, uphill climb, but by film's end Mandy is talking and playing happily with non-impaired children. A well-intentioned effort, Mandy unfortunately falls prey to corniness, save for the thoroughly convincing performance by child actress Mandy Miller (who was not deaf). ~ Hal Erickson, All Movie Guide

Alec Guinness gets to die eight times, playing a line of successors to a dukedom, in the Ealing black comedy Kind Hearts and Coronets. Louis Mazzini (Dennis Price) is ninth in line to inherit the dukedom from the aristocratic D'Ascoyne family. Louis vows to kill all eight people who stand between him and the duke's title. Aside from two cases of natural causes, Louis works through the list, eliminating rivals (all played by Guinness). Along the way he romances Sibella (Joan Greenwood), a childhood friend who ends up marrying a dullard, and Edith (Valerie Hobson), the beautiful widow of one of his victims with whom he plans to share his title. But just when Louis is ready to assume the D'Ascoyne mantle, a bizarre irony strikes. ~ Paul Brenner, All Movie Guide