Film Four & Film Four +1 03-07-08.
Astra 2D at 28.2E 10729 V SYM:22000 FEC 5/6
Film Four SID8335 VPID2312 APID2313 Eng
Film Four +1 SID8330 VPID2332 APID2333 Eng
(1955)Sterling Hayden and David Brian compete for Vera Ralston and a valuable patch of Montana forestry in Joseph Kane's strapping period action melodrama
Paramount used to promote Sterling Hayden as 'The Most Beautiful Man In The Movies', but you wouldn't offer him quiche. The part time movie star was also a renowned sea captain, a decorated war hero, a tax evader, the sire of six children and the owner of a liver as tough as his jaw. He hated acting, only taking roles to pay for his next ocean-going vessel. Of his own films he would write, "Bastards, most of them, conceived in contempt of life and spewn out... with noxious ballyhoo; saying nothing, contemptuous of the truth, sullen and lecherous."
(1950)An appalling woman expresses more love for her home than her patient family. Drama starring Joan Crawford
She was a strange one, Joan Crawford. Actually, strange doesn't really cut it. Married five times, the erstwhile Lucille Fay LeSueur suffered from acute Obsessive Compulsive Disorder which meant she spent most of her day cleaning her house. And when she wasn't buffing up her door knobs, Crawford was bashing about her adopted daughter Christina who documented the horrific abuse in the autobiography 'Mommie Dearest'.
(1977) Based on Pentimento, the memoirs of playwright Lillian Hellman, Zinneman's film is in the grand tradition of epic movie-making, a sweeping, breath-takingly filmed saga which won Oscars for Redgrave (as the title character), Robards (for Supporting Actor as writer Dashiell Hammett) and screenwriter Sargent. The film focuses on Hellman's relationship with lifelong friend Julia, who became a member of the European Resistance during World War II and drew Hellman into her cause. The individual lives of Julia and Hellman are well handled, but it's the relationship between the two women which makes this such great cinema.
Doctor at Large
(1957) Dirk Bogarde, Donald Sinden and James Robertson Justice star in this 1957 entry in the medical comedy series
Doctor At Large was the third of the 'Doctor' films, the first of which, Doctor In The House, had been a huge hit in 1954. Based on the novels of real-life practitioner Richard Gordon, the series follows the adventures of Dr Simon Sparrow (Bogarde), a dashing doctor who often finds himself entangled in bizarre comical situations.
My Big Fat Greek Wedding
(2002) A Greek-American girl finds happiness with a non-Greek man, overcoming the objections of her traditional - but highly amusing - family in this romantic-comedy. A surprise hit in the US
My Big Fat Greek Wedding Where have all the decent romantic comedies gone? Even the biggest UK hit of 2002 was about Hugh Grant's friendship with a schoolboy. Evidently audiences in the States were wondering the same thing, so when a low-budget film about an inter-ethnic relationship with no major stars (Corbett is better known from his roles in 'Northern Exposure' and 'Sex And The City') came along, word of mouth made it into the surprise hit of the summer.
(1968) The star power of Steve McQueen lends this gritty, San Francisco cop movie iconic status
Bullitt Bullitt is one those films that's so iconic you may feel you've already seen it, even if you haven't. That's largely because the image of Steve McQueen driving his car over the hilly streets of San Francisco has been referenced or parodied thousands of times.
(1999) Terence Stamp is Dave Wilson, fresh out of jail and setting off to LA to seek retribution for the murder of his daughter.Stylish, fractured neo-noir from Steven Soderbergh. Tough-as-nails, murderous ex-con Terrence Stamp journeys to LA in search of the people he believes killed his daughter
The Limey Steven Soderbergh's chic, tantalising revenge thriller is ample evidence of his adventurous and stylish instincts. The Limey is a conventional, noirish revenge story. But Soderbergh has shaped what might have been standard genre fare into an elliptical quasi-dreamscape, peopled with almost cipher characters and told via an arse-about-face structure reminiscent of New Wave auteurs like Bresson and Resnais. It's pleasingly at odds with the efficient but sometimes predictable Hollywood three-act model. David Wilson (Stamp) is an ageing Cockney ex-con, a fish out of water in LA. He's here on the trail of an ageing smoothie record producer, Valentine (Fonda), who he believes has killed his daughter, Jenny, in a drug-deal cover-up. Once Valentine realises he's a target, he hires hit men to take out Wilson. What follows is a chaotic progress through the tripped-out LA streets, and then onto the post-hippy, moneyed paradise of Big Sur, with Wilson increasingly bent on implacable, murderous revenge.