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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
A privileged girl and a charismatic boy's instant desire sparks a love affair made only more reckless by parents trying to keep them apart.
A serial killer named The Shark is terrorizing London by killing his victims with a speargun and then, dressed in a scruba-diver's wetsuit, using the city's sewer tunnels to make his getaway.
Linus and David Larrabee are the two sons of a very wealthy family. Linus is all work – busily running the family corporate empire, he has no time for a wife and family. David is all play – technically he is employed by the family business, but never shows up for work, spends all his time entertaining, and has been married and divorced three times. Meanwhile, Sabrina Fairchild is the young, shy, and awkward daughter of the household chauffeur, who goes away to Paris for two years, and returns to capture David's attention, while falling in love with Linus.
Benjamin Franklin Gates and Abigail Chase re-team with Riley Poole and, now armed with a stack of long-lost pages from John Wilkes Booth's diary, Ben must follow a clue left there to prove his ancestor's innocence in the assassination of Abraham Lincoln.
In Colombia just after the Great War, an old man falls from a ladder; dying, he professes great love for his wife. After the funeral, a man calls on the widow - she dismisses him angrily. Flash back more than 50 years to the day Florentino Ariza, a telegraph boy, falls in love with Fermina Daza, the daughter of a mule trader.
The neighbors of a frontier family turn on them when it is suspected that their beloved adopted daughter was stolen from the Kiowa tribe.
Both Scotland Yard and an amateur American sleuth are tracking a master criminal known as The Frog. This moniker refers to the bulging-eyed mask worn by the evildoer, and is reflected by the frog icons painfully tatooed onto the forearms of his henchmen. The trail leads to the country manor of an enigmatic, steely-eyed nabob, whose repressed son has eyes for the artistes at the Lolita cabaret, and whose lovely daughter captures the fancy of both the American playboy and the villain himself. Murder, kidnapping and seduction ensue.
Several people start receiving voice-mails from their future selves - messages which include the date, time, and some of the details of their deaths.
Erlend is bullied by his homophobic peers for having a gay brother. His teacher is not aware of the situation and Erlend doesn't seek his help. After a game of 'Shark bait' (Tag), he is subjected to a humiliating attack. Erlend's brother has suffered from prejudice and he physically fought back. He thinks Erlend needs to resolve the situation by using violence and taking revenge. One day he catches one of the bullies in the act and holds him up, encouraging Erlend to hit him. In the end, Erlend rejects his brother's solution and shows the importance of standing up for your own values.