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Go Away, Go Away, Go Away! Our Mother’s House is directed by Jack Clayton and adapted to screenplay by Jeremy Brooks and Haya Harareet from the novel of the same name written by Julian Gloag. It stars Dirk Bogarde, Margaret Brooks, Pamela Franklin, Louis Sheldon Williams, John Gugolka, Mark Lester and Yootha Joyce. Music is by Georges Delerue and cinematography by Larry Pizer. When seven youngsters are left orphaned by the death of their bedridden mother, they decide to keep her passing quiet case they get split up and sent into orphanages. The youngsters prove to be quite resourceful and tick along nicely, that is until one of the boys brings a friend home to live with them; just as the children’s estranged father appears on the doorstep. At first glance it seems material ripe for an Ealing Studios piece, a whimsical fable of adorable youngsters taking on the world in trying circumstances, Our Mother’s House is a far cry from such a thing! It’s a creepy off-kilter film of some considerable class, containing psychological insights into seven children adapting and improvising in life by creating their own new order. The results are both enlightening and frightening. They have a weekly séance type of set-up where they believe they are talking to their dead mother, they administer their own punishments and forge their own cheques! But of course this self sufficient life can’t possibly last… Children of the beguiled. Once their supposed father Charlie (Bogarde brilliant) arrives on the scene, the applecart is well and truly upset. He evokes a number of different passions in the children, good and bad, but he seems a genuine guy, however, both Charlie and the children have new colours yet to be revealed, and once out in the open all will form the potent and dramatic last quarter. The child actors are excellent, well guided by Clayton (The Innocents), who manages to bring out the various states of emotional confusion upon the death of the mother. Joyce in a rare serious role is good “Cougar” foil for Bogarde, Delerue’s music is very much in tune with the weird feel to the plotting, and Pizer’s photography really hits the psychological assistance markers, being particularly striking in the finale as the door to Hades is opened. Clayton and Bogarde were never happy with the finished film, but that's no marker to the quality on show here. It’s all a bit implausible of course, but very rarely does the pic disappoint. 8/10
Continuing the story of Aurora Greenway in her latter years. After the death of her daughter, Aurora struggled to keep her family together, but has one grandson in jail, a rebellious granddaughter, and another grandson living just above the poverty line.
Sandra Carpenter is a London-based dancer who is distraught to learn that her friend has disappeared. Soon after the disappearance, she's approached by Harley Temple, a police investigator who believes her friend has been murdered by a serial killer who uses personal ads to find his victims. Temple hatches a plan to catch the killer using Sandra as bait, and Sandra agrees to help.
This is the story of three brothers - a priest, a soldier, and an outlaw - that are raised separately by their godfathers once their mother dies. They cross their paths again when the soldier and the priest move into two towns near the town the outlaw lives in. The drama will unfold once the three brothers meet each other.
In 1970s London, Scotland Yard orchestrates the downfall of mob boss Vic Dakin after he crosses the line by blackmailing Members of Parliament.
1930s Korea, in the period of Japanese occupation, a new girl, Sookee, is hired as a handmaiden to a Japanese heiress, Hideko, who lives a secluded life on a large countryside estate with her domineering Uncle Kouzuki. But the maid has a secret. She is a pickpocket recruited by a swindler posing as a Japanese Count to help him seduce the Lady to elope with him, rob her of her fortune, and lock her up in a madhouse. The plan seems to proceed according to plan until Sookee and Hideko discover some unexpected emotions.
A broadly drawn ideological epic set in the summer of 1947 in the borderlands of northern Bohemia: reactionary elements plot to undermine postwar social change while committed local communists struggle to organize workers and defend the emerging order. The narrative follows several archetypal figures—steadfast party activists, wary peasants, and obstructive reactionaries—whose clashes illustrate the claimed inevitability of working-class victory under communist leadership.
A former actress trying to break into directing tests her skills with a town’s annual Christmas Eve courtroom production in which the true authorship of the famous poem “A Visit from St. Nick” is debated.
Twenty-year-old Karel is expelled from Bata's school of work and has no choice but to make his way in his uncle Kubát's publishing business at any cost. A very drastic adaptation of the draft has fundamentally changed the whole story, which is also set in a completely different historical context. The result was a schematic and tepidly propagandistic poster.
A British agent's son is kidnapped and held for a ransom of diamonds. The agent finds out that he can't even count on the people he thought were on his side to help him, so he decides to track down the kidnappers himself.