Davey Haggart is quite certain of his paternity (even if nobody else is) and determined to emulate his father, a notorious rogue and highwayman. This includes breaking a man out of Stirling... See full summary »
China Valdes joins the Cuban underground after her brother is killed by the chief of the secret police, Ariete. She meets and falls in love with American expatriate Tony Fenner. Tony ... See full summary »
Drifter Chance Wayne returns to his hometown after many years of trying to make it in the movies. Arriving with him is a faded film star he picked up along the way, Alexandra Del Lago. ... See full summary »
Townsend Harris is sent by President Pierce to Japan to serve as the first U.S. Consul-General to that country. Harris discovers enormous hostility to foreigners, as well as the love of a ... See full summary »
This pseudo-biographical movie depicts 5 years from 1885 on in the life of the Viennan psychologist Freud (1856-1939). At this time, most of his colleagues refuse to cure hysteric patients,... See full summary »
The Rev. T. Lawrence Shannon has been living in Mexico for two years, working as a tourist guide for a cut-rate travel agency. Shannon lost his church and was defrocked after taking liberties with one of his parishioners. He's now accompanying a group of middle-aged ladies from Texas whose leader, Judith Fellowes, is keeping a close eye on her teenage ward, Charlotte Goodall, who definitely has an interest in the former priest. After Charlotte and Shannon spend the night together, Fellowes is out to have him fired and to keep her from communicating with his employer, Shannon strands them at a remote hotel run by his good friend Maxine Faulk. It's the arrival of Hannah Jelkes and her elderly grandfather that has the greatest impact however. Her approach to life and love forces Shannon to deal with his demons and re-evaluate his life. Written by
Cyril Delevanti was either 75 or 77 at the time of filming in 1962, according to different sources on his birth year. His character the Poet is 98. See more »
The Church schedules Morning Prayer and Holy Communion as a single early service, with "Sermon" as a separate service later. In 1964 the Episcopal Church used the 1928 Prayer Book, which had Morning Prayer as one service and Holy Communion as another service. A sermon wouldn't be a stand-alone event, either service could include one. See more »
Director John Huston took an all-star cast to a remote Mexican location to film this adaptation of Tennessee Williams' play. The location atmosphere lends a lot to the production and gives it a realistic atmosphere. Burton plays a shamed priest, shut out of his church and reduced to giving bus tours of Mexico for grotesque ladies of religion. (The breakdown which led to his dismissal is shown in a hilariously overwrought prologue.) One young passenger, Lyon, falls for him in a big way which does not sit well with her uptight (and repressed lesbian) chaperone (Hall.) The tour winds up at Gardner's hilltop hacienda where she has been mourning the recent death of her husband by getting it on regularly with two silent, maraca-shaking cabana boys. They are soon joined by a sketch artist (Kerr) and her ailing grandfather, a famous poet. Having originated as a Williams' play, it is given that there will be lots of turmoil and sniping among the characters and the film presents these moments well. There are also more than a few quiet moments of reflection and connection which also come across very nicely. Burton is in all his glory as a boozy, washed up man barely hanging on to what little dignity he has left. Gardner gives a credible performance with many zingers sprinkled throughout. She goes a little over the edge at times, but remains strong. Kerr has the most sensitive, thoughtful role and plays it brilliantly as always. Lyon was at the height of her stardom and shows the moves and the bod that made her a sensation, albeit briefly. Especially arresting is Hall. Her stick legs poking out uncomfortably from her linear skirt, her banshee-like voice screeching out the name "Charlotte!" as she frantically searches for nymphet Lyon, she is an exceedingly memorable person. Her final showdown with Burton is magnetic and when she exits the film, it loses a little bit of it's vitality. There is much to enjoy in the film, though sometimes the melodramatics get a bit ripe and the symbolism a touch heavy. The cinematography is incredible. Burton's eyes never gleamed so brightly. (Also, astonishingly, he has a scene emerging from the beach in wet white briefs which show a bit of outline of Rich, jr.! Not exactly expected in a 1964 film...)
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