Showing posts with label Sidney Gilliat. Show all posts
Showing posts with label Sidney Gilliat. Show all posts

Tuesday, July 6, 2010

Sidney Gilliat - Endless Night (1972)

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IMDb Review

Gripping, unusual Agatha Christie mystery. Splendid on all counts.

One of the rare, gratifying occasions when a mediocre book is transformed by experts into a first-rate, memorable movie. "Endless Night" was one of Agatha Christie's last novels--also one of her least satisfying. A macabre romance about a wealthy young American heiress (the glorious Hayley Mills in a mesmerizing, haunting performance) who falls in love with and impulsively marries her sexy albeit mysterious chauffeur (the wonderfully versatile Hywell Bennett who teamed with Ms. Mills in two previous films, the tender comedic drama "The Family Way" and the still-shocking psychosexual thriller "The Twisted Nerve").

The happy lovebirds build their dreamhouse (still an architectural wonder) in England's remote Lake District (lusciously photographed in stunning Technicolor), away from the prying eyes of her avaricious relatives, and their tenderly rendered love story seems headed for a deserved happy ending--until the final reel suddenly reveals a totally unexpected twist that I guarantee will astound even the most astute mystery buff, and leave the hapless viewer in a state of shaken anxiety and sadness. Such an unusual denoument didn't work on the printed page; on film it's a bona fide shocker, thanks to the mastery of its two leads, a knockout turn by the stunning Britt Ekland (as one of Ms. Mills' parasitic relatives), the expert direction by Sidney Gilliatt, and the magificently eerie soundtrack by Bernard Herrmann, no less. "Endless Night" was never released theatrically in the U.S. Properly promoted, it would have made a boxoffice killing. I caught its American premiere on a pay-cable station, expecting nothing (the book was hopeless) and, much to my amazement, finding myself enthralled by this classy artistic treat. Psychological thrillers don't come any better than "Endless Night," which lulls the viewer into a state of bliss not unlike its romantic leads--until the startlingly savage twist ends the film with a disturbing (and heartbreaking) resonance. Hywell Bennett and the grown-up Hayley Mills were two of the finest (not to mention comeliest) young British actors of the late '60s and early '70s, and "Endless Night" might well be their most memorable hour-and-a-half. A must-see for mystery buffs; highly recommended for everyone else.











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http://rapidshare.com/files/178257776/Sidney_Gilliat__Endless_Night_1972.part7.rar
http://rapidshare.com/files/178263038/Sidney_Gilliat__Endless_Night_1972.part8.rar

Subtitles (.idx /.sub): Danish, Finnish, Norwegian, Swedish, Italian, Dutch, Portuguese
Rar Password: westinghouse

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no pass

Wednesday, May 5, 2010

Sidney Gilliat - Green for Danger (1946)

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When a bomb victim is admitted to an emergency ward for civilians during the Second World War, he leaves in a far worse state: dead. In the seemingly serene environs of a Tudor mansion with its wood beams and manicured gardens, suspicions rise as to whether the unfortunate patient died accidentally or was killed, leaving the surgeon, anesthetist and three attendant nurses under suspicion of murder.

Enter Inspector Cockrill (Sim) from Scotland Yard ready to unravel the mystery, which is further complicated by the sudden death of one of the nurses, who had her own suspicions but didn't live to tell the tale. So the cross-examination ensues, with Cockrill raking over his suspects' dirty secrets while the city suffers constant doodlebug bombardment.




















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pw: snoozer

Sidney Gilliat - Only Two Can Play (1962)

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Review from Variety

British Lion. Director Sidney Gilliat; Producer Leslie Gilliat; Screenplay Bryan Forbes; Camera John Wilcox; Editor Thelma Connell; Music Richard Rodney Bennett; Art Director Albert Witherick

Peter Sellers
Mai Zetterling
Virginia Maskell
Richard Attenborough
Kenneth Griffiths

Kingsley Amis' novel, That Uncertain Feeling, has had some of its cool sting extracted for the film version, but the result is a lively, middle-class variation along the lines of The Seven Year Itch.

Some of the humor is over-earthy and slightly lavatory, and the film never fully decides whether it is supposed to be light comedy, farce or satire. But it remains a cheerful piece of nonsense with some saucy dialog and situations capably exploited by Sellers and his colleagues.

He is a member of the staff of a Welsh public library. A white collar job. He is fed up and frustrated with the eternal prospect of living in a shabby apartment with a dispirited wife, two awful kids, peeling wallpaper, erratic plumbing and a dragon of a landlady. Into his drab life floats the bored, sexy young wife of a local bigwig and she makes a play for Sellers.

The fact that she can influence her spouse to get Sellers promotion is hardly in Sellers' mind. But what is in his mind never gets a chance of jelling. Their attempts at mutual-seduction are thwarted by babysitting problem, sudden return of the husband, intrusion of a herd of inquisitive cows when attempting a nocturnal roll.

Sellers adds another wily characterization to his gallery. His problems as frustrated lover carry greater weight because, from the beginning, he does not exaggerate or distort the role of the humble little librarian with aspirations. Mai Zetterling and Virginia Maskell provided effective contrasts as the two women in his life.







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pw: snoozer
 
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