An egocentric artillery captain and his venomous wife engage in savage unremitting battles in their isolated island fortress of the coast of Sweden at the turn of the century. Alice, a ... See full summary »
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Antonio's friend Bassanio is in love and needs money to go courting. Using Antonio as his collateral, he borrows money from Shylock. But when the debt comes due, Shylock demands repayment ... See full summary »
Olga, Masha, and Irina Prozoroff lead lonely and purposeless lives following the death of their father who has commanded the local army post. Olga attempts to find satisfaction in teaching ... See full summary »
Before creating the beloved courtroom drama Rumpole of the Bailey, writer John Mortimer found inspiration in his own life for this portrait of a difficult but enduring love between father ... See full summary »
Robert Bolt won two Oscars back to back, (for "Doctor Zhivago" and "A Man for All Seasons"), as well as penning that most literate of epics "Lawrence of Arabia". Indeed for a time he seemed to be David Lean's writer of choice until his script for Lean's elephantine "Ryan's Daughter" and that films critical failure, severed those ties. In 1972 Bolt not only wrote, but also directed, "Lady Caroline Lamb". It wasn't really a success and, as may be expected, is a very literate-minded costumer but also, as may be expected, is highly intelligent and very nicely played.
It is, of course, an account, for the most part, of the title character's scandalous and disastrous affair with the mad, bad and dangerous to know Lord Byron, seen here as some kind of 19th century rock star. As Lady Caroline, Sarah Miles is quite splendid, (she was, of course, Mrs Bolt), I've always felt Miles was a much better actress than she was ever given credit for, though her tremulous style wasn't to everyone's taste. As Byron, a somewhat surprising Richard Chamberlain acquits himself somewhat surprisingly well, while Jon Finch is more than adequate as Lady Caroline's husband. The supporting cast are made up mostly of the great and the good of the British acting establishment, (a superb Margaret Leighton, John Mills, Laurence Olivier as Wellington, Ralph Richardson in an excellent cameo as King George IV, Michael Wilding), and the production overall is extremely handsome to look at. (It's obvious, on the whole, no expense was spared). Indeed, as historical dramas go, this one is a cut above the rest with Bolt displaying a keen sense of the cinematic in several scenes. Hardly ever revived, it's worth seeking out.
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