A fifteen year marriage dissolves, leaving both the husband and wife, and their four children, devastated. He's preoccupied with a career and a mistress, she with a career and caring for ... See full summary »
In the late nineteenth century Paris, Briton Charles Swann, a man of wealth and culture, runs among the social set. That life is threatened when he falls in love with Odette de Crécy, a ... See full summary »
In a small village on the border of Northern Ireland and The Republic of Ireland, the relationship between a short tempered policeman and his rebellious son becomes even more strenuous when the young man falls for a "wrong" girl.
Nick is a writer in New York when he gets posted to a bureau in Greece. He has waited 30 years for this. He wants to know why his mother was killed in the civil war years earlier. In a ... See full summary »
In a touring Shakespearean theater group, a backstage hand, the dresser, Norman (Sir Tom Courtenay), is devoted to the brilliant but tyrannical head of the company. He struggles to support deteriorating star Sir (Albert Finney) as the company struggles to carry on during the London blitz. The pathos of his backstage efforts rival the pathos in the story of Lear and the Fool that is being presented on-stage, as the situation comes to a crisis.Written by
After Sir and Norman leave the marketplace, they're passed by a Routemaster bus. These buses were first used in London in 1954, and weren't used outside London until the 1970's. See more »
There are thousands of children all over this beloved land of ours, scavenging the larders for something sweet. If only they came to me, I could tell them of the one person in England who has an inexhaustible supply of chocolate. It is I who have to carry her on, dead, as Cordelia. It is I who have to lift her up in my arms. Thank Christ, I thought, for rationing. But no, she'd find sugar in a sand dune!
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Albert Finney and Tom Courtenay are brilliant as Sir and his Dresser. Of course the play is brilliant to begin with and nothing can compare with the immediacy and collegiality of theatre, and I think you listen better in theatre; but on the screen we become more intimate, we're 'up-close' more than we are in the theatre, we witness subtle changes in expression, we "see" better as well as listen. Both the play and the movie are wondrous: moving, intelligent, illuminating--of the backstage story of the company, of historical context, of the two main characters, and of the parallel characters in "Lear" itself. If you cannot get to see it in a theatre (I don't imagine it's produced much these days) then, please, do yourself a favor, and get the video.
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