John Gielgud

John Gielgud

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Chariots Of Fire Trailer

We all know the soundtrack, those simple few chords that have backed many great sporting moment have become synonymous in the sporting world. Now, after 31 years since it's initial release, the true story of two very different runners in the 1924 Paris Olympics will be released once again, this time in full digitalised glory, as Chariots of Fire is set to be released once more as part of the London 2012 Festival.

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Julius Caesar Review

"Caesar! Beware of Brutus. Take heed of Cassius. Come not near Casca. Have an eye to Cinna. Trust not Trebonius. Mark not well Metellus Cimber. Decius Brutus loves thee not. Thou hast wronged Caius Ligarius. There is but one mind in all these men and it is bent against Caesar. If thou beest not immortal, look about you. Security gives way to conspiracy."

Artemidorus's warnings to Julius Caesar, soon to be given dictatorial powers in Rome, falls upon Caesar's deaf -- and soon dead -- ears and the Roman conqueror trundles off to the Senate to be stabbed to death by his best friends. In Shakespeare's play, the rejection of the warning by Artemidorus is more fodder for Caesar's ballooning ego. In Joseph Mankeiwicz's 1953 film version of Shakespeare's classic, Artemidorus's warning is like a howl in the wilderness. For Mankiewicz, adapting and directing during the height of the period of the blacklist, the warning takes on a different context of a McCarthyesque conspiracy to bring down society, a mass madness so potent that even honorable men become embroiled in the hothouse hysteria.

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The Formula Review

Cynical paranoia was a big cash cow for best-selling thrillers in the 1970s, and one of the biggest of those bestsellers was Steven Shagan's The Formula. Reacting to the oil crisis of the mid-'70s, when the OPEC nations banded together to manufacture oil shortages, push up gas prices, and create anguish, grief, and gas lines throughout a gas-guzzling United States, Shagan hatched a conspiracy plot involving a non-polluting, synthetic fuel formula. Developed by the Nazis during World War II, the formula fell into the hands of the Allies and was suppressed by the American oil conglomerates to prevent the destruction of the oil industry. (After all, if the economic power of the U.S. is in free fall, it must have something to do with the Nazis). Brought to the screen by Shagan (as writer and producer) and enlisting the services of director John G. Avildsen (then a hot few years after his smash Rocky), the film version of The Formula features the casting coup of the decade with George C. Scott and Marlon Brando in the lead roles (an earlier version of Righteous Kill's teaming of past-their-primes De Niro and Pacino, only more fun).

The film begins disconcertingly in the middle of a hellish battle during the final days of World War II, a chaotic prologue featuring gargantuan explosions, fleeing Nazis, and stampeding elephants. Then in a whiplash inducing segue, the film settles in to Los Angeles in the late 1970s, where Scott plays loner LAPD detective Barney Caine ("There's only two things that matter to me -- my son and my work. The rest of my life is a complete zero."), investigating the killing of his old pal Tom Neeley (Robin Clarke). The crime scene is laid out like the opening scene of a Charlie Chan movie with mysterious clues all about -- a voodoo doll, a map with the name "Oberman" scrawled on it, a folded newspaper with the letter G-E-N-E written in blood -- and Caine falls for the setup to avenge the death of his friend.

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The Loved One Review

Decades before Six Feet Under, The Loved One skewered the paradox of the funeral business in appearance-obsessed L.A. Wildly and unpredictably funny, The Loved One careens from scene to scene so quickly you may not be able to keep up with the jokes.

And what jokes they are! The very American Robert Morse stars as a British visitor to L.A., a wannabe poet who gets caught up in the machinations of a cemetary owner (Jonathan Winters) and his top mortician (Rod Steiger in the role of a lifetime). It's more cult than cemetary, and Morse soon becomes enchanted with one the cemetary's guide/beautician/chanteuse (a dippy Anajette Comer). The film haphazardly careens from subplot to subplot, eventually settling into a set piece about a kid obsessed with rockets, which Winters sees as the solution to the problem of running out of space for "loved ones" in the cemetary (aka corpses).

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Marlon Brando's Homosexual Celebrity Affairs Revealed

Marlon Brando James Dean Cary Grant Montgomery Clift John Gielgud

Marlon Brando's new biography paints 'The Godfather' actor in a new light, as it reveals how he slept his way around Hollywood. The biography also claims that he slept with some of his male directors and co-stars. The biography, 'Brandon Unzipped', by Darwin Porter claims that the bisexual Academy Award winner engaged in a sexual relationship with James Dean, Cary Grant, Montgomery Clift and Sir John Gielgud.  

Related: 'The Godfather' House Is Up For Sale

In the book, Porter says: "James Dean was one of Brando's most lasting yet troubled gay relationships. They had a relationship for a number of years but it was always turbulent. At one point they had a big stand-up fight at a party in Santa Monica, California, witnessed by dozens of people. His affair with Montgomery Clift was a long and enduring relationship."

Continue reading: Marlon Brando's Homosexual Celebrity Affairs Revealed

Shine Review

In Hollywood, you just can't make a movie like Shine. Put simply, it is just not allowed.

This is our loss and Australia's gain, because Shine comes off as one of the upper-echelon films of the year, an ambitious and unflinching look at that country's David Helfgott, a prodigy of a pianist driven insane by his father, only to emerge again after 20 years of institutionalization.

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The Whistle Blower Review

If you're going to build a Cold War thriller an implicate a massive government conspiracy along the way, try not to set your movie entirely in police stations and hotel rooms. This tepid Michael Caine drama doesn't get much past the excitement level of your usual county fair (Caine doesn't believe his son committed suicide! It's a cover-up!). Still, some fine performances from Caine, James Fox, John Gielgud, and others make this less painful than a poke to the eye.

Richard III Review

Laurence Olivier's Richard III is one of the stagiest versions of Shakespeare you'll find on film, and it's also his least faithful work, chopping and editing the Bard's play willy-nilly. I'm no Shakespeare expert, but even I can spot the hatchet work here. (For the uninitated, Richard III follows the waning days of the War of the Roses, with Richard III (Olivier) taking on big brother Edward (Cedric Hardwicke) in a bid for the throne. Deception, murder, and betrayal rule the day until the outcome is decided.)

The undortunate side effect of the faithfulness is that Richard III has a real Masterpiece Theatre quality that you just can't shake. Olivier plops the camera down at one end of the room and lets scenes take place in wide shots, unmolested. Long scenes are certainly forgivable, but the end result is that this rendition of the story looks far more like a play than a movie. It isn't until the second half of the film when we really get out of the castle, and thank God we do. But unfortunately, even these scenes aren't exactly thrill rides. The landscapes chosen are barren and void of majesty. Sword fights are genteel affairs with no distinguishable choreography. Why ride an army out to battle if you're not going to use them?

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Shining Through Review

Shining Through, the 1992 Melanie Griffith WWII espionage vehicle, scares me. If the U.S. government really behaved in any way as it does here, then "Tomorrow Belongs to Me" would be our national anthem. Shining Through is not a documentary or a Stephen Ambrose adaptation, but director/writer David Seltzer (Lucas) is presenting this as historical drama.

The movie revolves around baby-voiced Griffith posing as a domestic (from Düsseldorf, no less) for a high-ranking Nazi (Liam Neeson), tending to his kids while picking up information on the sly. That's not a bad idea, but it becomes a terrible idea since Griffith makes no attempt at a German accent. You keep wondering how the Nazis were able to make a sandwich. They maintained a military juggernaut? Thank God they were so oblivious.

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The Portrait Of A Lady Review

Very Good
Jesus, I didn't realize when I went to the movies this morning I was going to have to think!

But seriously, that's what you're going to be doing if you see The Portrait of a Lady -- Jane Campion's follow-up to The Piano, based on Henry James's "classic" novel that you've probably never read. Now, I'm wishing that I had, though, because Portrait is a fantastic movie to watch, exquisitely crafted and painstakingly detailed, gorgeously photographed and full of style -- but it is just plain impossible to follow.

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John Gielgud Movies

Chariots Of Fire Trailer

Chariots Of Fire Trailer

We all know the soundtrack, those simple few chords that have backed many great sporting...

Shine Movie Review

Shine Movie Review

In Hollywood, you just can't make a movie like Shine. Put simply, it is...

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