The Brave Don't Cry
The Brave Don't Cry is a 1952 British drama film directed by Philip Leacock and starring John Gregson, Meg Buchanan and John Rae. The film depicts the events of September 1950 at the Knockshinnoch Castle colliery in Scotland, where 129 men were trapped by a landslide, it was shot at Southall Studios and was known by the alternative title Knockshinnoch Story. The filmmakers used actors from the Glasgow Citizen's Theatre. John Gregson... John Cameron Meg Buchanan... Margaret Wishart John Rae... Donald Sloan Fulton Mackay... Dan Wishart Andrew Keir... Charlie Ross Wendy Noel... Jean Knox Russell Waters... Hughie Aitken Jameson Clark... Doctor Andrew Kerr Eric Woodburn... Rab Elliott Archie Duncan... Walter Hardie Jack Stewart... Willie Duncan Anne Butchart... Biddy Ross Mac Picton... Jim Knox Jean Anderson... Mrs. Sloan John Singer... Tam Stewart In a contemporary review, The Monthly Film Bulletin wrote, "in its semi-documentary, semi-impersonal way The Brave Don't Cry is an estimable achievement sustaining the dramatic tension and sketching its characters with directness and a refreshing absence of mannerisms.
Its limitations are the limitations of its genre - dramatic reportage rather than personal statement, observation without passion. The method works well for many of the scenes, but the more emotional moments tend to seem either theatrical or conventionally understated. In its genre, the film stands quite high, it gains from the use of unfamiliar players. There are good performances from Fulton Mackay, Jameson Clark, Jean Anderson and John Rae. Harper, Sue & Porter, Vincent. British Cinema of the 1950s: The Decline of Deference. Oxford University Press, 2007; the Brave Don't Cry on IMDb
Reach for Glory
Reach for Glory is a 1962 British film adaptation of John Rae's 1961 novel, The Custard Boys, directed by Philip Leacock. It received a United Nations Award. A group of boys, evacuated during World War II from London to a coastal town, form a gang and play war games. Too young to fight in the war and afraid it will be over by the time they come of age, the group members, who are in the school's Army Cadet Force initiate a battle with the local teenagers. Curlew, a local youth, invites an Austrian Jewish refugee with whom he has formed a close relationship to take part in the shenanigans. At first the Jewish boy, Stein, is scorned because of his "Germanic" heritage but is allowed to join; when Stein runs off during a fight, the youths decide to give him a fake court-martial and execution, but real bullets are used by a freak mistake and Stein is killed. Harry Andrews - Capt. Curlew Kay Walsh - Mrs. Curlew Michael Anderson Jr - Lewis Craig Oliver Grimm - Mark Stein Martin Tomlinson - John Curlew Freddie Eldrett - Willy Aldrich James Luck - Michael Freen John Coker - Peter Joy Michael Trubshawe - Maj. Burton Arthur Hewlett - Vicar Cameron Hall - Headmaster Allan Jeayes - Crabtree Richard Vernon - Dr. Aldrich Russell Waters - Mr. Freeman Patricia Hayes - Mrs. Freeman George Pravda - Mr. Stein John Rae - Lance Freeman Alexis Kanner - Steven Peter Furnell - Arthur Chettle John Pike - Felix Melvin Baker - Chettle's Lieutenant DirectorPhilip LeacockProducersJud Kinberg John KohnMusic byBob RussellCinematographyRobert HukeFilm editingFrederick WilsonArt directionJohn BlezardProduction ManagementTimothy Burrill Fred Gunn Assistant DirectorDavid TomblinSound DepartmentMaurice Askew Cyril Collick Don Sharpe Camera operatorRonnie MaaszMusic DepartmentRaymond Premru Bob Russell MiscMaurice Binder Eileen Head Reach for Glory on IMDb
Thriller film known as suspense film or suspense thriller, is a broad film genre that involves excitement and suspense in the audience. The suspense element, found in most films' plots, is exploited by the filmmaker in this genre. Tension is created by delaying what the audience sees as inevitable, is built through situations that are menacing or where escape seems impossible; the cover-up of important information from the viewer, fight and chase scenes are common methods. Life is threatened in thriller film, such as when the protagonist does not realize that they are entering a dangerous situation. Thriller films' characters conflict with each other or with an outside force, which can sometimes be abstract; the protagonist is set against a problem, such as an escape, a mission, or a mystery. Thriller films are hybridized with other genres. Thriller films share a close relationship with horror films, both eliciting tension. In plots about crime, thriller films focus less on the criminal or the detective and more on generating suspense.
Common themes include, political conspiracy and romantic triangles leading to murder. In 2001, the American Film Institute made its selection of the top 100 greatest American "heart-pounding" and "adrenaline-inducing" films of all time; the 400 nominated films had to be American-made films whose thrills have "enlivened and enriched America's film heritage". AFI asked jurors to consider "the total adrenaline-inducing impact of a film's artistry and craft". One of the earliest thriller films was Harold Lloyd's comedy Safety Last!, with a character performing a daredevil stunt on the side of a skyscraper. Alfred Hitchcock's first thriller was his third silent film, The Lodger: A Story of the London Fog, a suspenseful Jack the Ripper story, his next thriller was Blackmail and Britain's first sound film. His notable 1930s thrillers include The Man Who Knew Too Much, The 39 Steps and The Lady Vanishes, the latter two ranked among the greatest British films of the 20th century. One of the earliest spy films was Fritz Lang's Spies, the director's first independent production, with an anarchist international conspirator and criminal spy character named Haghi, pursued by good-guy Agent No. 326 —this film would be an inspiration for the future James Bond films.
The German film M, directed by Fritz Lang, starred Peter Lorre as a criminal deviant who preys on children. Hitchcock continued his suspense-thrillers, directing Foreign Correspondent, the Oscar-winning Rebecca, Suspicion and Shadow of a Doubt, Hitchcock's own personal favorite. Notable non-Hitchcock films of the 1940s include The Spiral Sorry, Wrong Number. In the late 1940s, Hitchcock added Technicolor to his thrillers, now with exotic locales. Hitchcock's first Technicolor film was Rope, he reached the zenith of his career with a succession of classic films such as, Strangers on a Train, Dial M For Murder with Ray Milland, Rear Window and Vertigo. Non-Hitchcock thrillers of the 1950s include The Night of the Hunter —Charles Laughton's only film as director—and Orson Welles's crime thriller Touch of Evil. Director Michael Powell's Peeping Tom featured Carl Boehm as a psychopathic cameraman. After Hitchcock's classic films of the 1950s, he produced Psycho about a lonely, mother-fixated motel owner and taxidermist.
J. Lee Thompson's Cape Fear, with Robert Mitchum, had a menacing ex-con seeking revenge. A famous thriller at the time of its release was Wait Until Dark by director Terence Young, with Audrey Hepburn as a victimized blind woman in her Manhattan apartment; the 1970s saw an increase of violence in the thriller genre, beginning with Canadian director Ted Kotcheff's Wake in Fright, which completely overlapped with the horror genre, Frenzy, Hitchcock's first British film in two decades, given an R rating for its vicious and explicit strangulation scene. One of the first films about a fan's being disturbingly obsessed with their idol was Clint Eastwood's directorial debut, Play Misty for Me, about a California disc jockey pursued by a disturbed female listener. John Boorman's Deliverance followed the perilous fate of four Southern businessmen during a weekend's trip. In Francis Ford Coppola's The Conversation, a bugging-device expert systematically uncovered a covert murder while he himself was being spied upon.
Alan Pakula's The Parallax View told of a conspiracy, led by the Parallax Corporation, surrounding the assassination of a presidential-candidate US Senator, witnessed by investigative reporter Joseph Frady. Peter Hyam's science fiction thriller Capricorn One proposed a government conspiracy to fake the first mission to Mars. Brian De Palma had themes of guilt, voyeurism and obsession in his films, as well as such plot elements as killing off a main character early on, switching points of view, dream-like sequences, his notable films include Sisters. In the early 1990s, thrillers had recurring elements of obsession and trapped protagonists who must find a way to escape the clutches of the villain—these devices influenced a number of thrillers in the following years. Rob Reiner's Misery, based on a book by Stephen King, featured Kath
Rachel Roberts (actress)
Rachel Roberts was a Welsh actress. She is best remembered for her forthright screen performances as the older mistress of the central male character in two key films of the 1960s, Saturday Night and Sunday Morning and This Sporting Life. For both films, she won the BAFTA Award for Best British Actress, she was nominated for the Academy Award for Best Actress for This Sporting Life. Her other notable film appearances included Murder on the Orient Express, Picnic at Hanging Rock and Yanks. Roberts' theatre credits included the original production of the musical Maggie May in 1964, she was nominated for the 1974 Tony Award for Best Actress in a Play for the plays, Chemin de Fer and The Visit, won a Drama Desk Award in 1976 for Habeas Corpus. Roberts was born in Llanelli, Wales. After a Baptist upbringing, followed by study at the University of Wales and the Royal Academy of Dramatic Art, she began working with a repertory company in Swansea in 1950, she made her film debut in the Welsh-set comedy Valley of Song, directed by Gilbert Gunn.
Her portrayal of Brenda in Karel Reisz's Saturday Night and Sunday Morning won her a British Academy Film Award. Lindsay Anderson cast her as the suffering Mrs Hammond in This Sporting Life, earning another BAFTA and an Oscar nomination. Both films were significant examples of the British New Wave of film-making. In theatre, she performed at the Royal Court and played the title role as the life-enhancing tart in Lionel Bart's musical Maggie May. In films, she continued to play women with lusty appetites as in Lindsay Anderson's O Lucky Man!, although the haunting Australian-made Picnic at Hanging Rock, directed by Peter Weir, provided her with a different kind of role, as the authoritarian head teacher of a Victorian girls' school. After relocating to Los Angeles in the early 1970s, she appeared in supporting roles in several American films such as Foul Play, her final British film was Yanks, directed by John Schlesinger, for which she received a Supporting Actress BAFTA. In 1976, she won a Drama Desk Award for her performance in Alan Bennett's play Habeas Corpus.
In 1979, Roberts co-starred with Jill Bennett in the London Weekend Television production of Alan Bennett's The Old Crowd, directed by Lindsay Anderson and Stephen Frears. Roberts had no children, she first married actor Alan Dobie in 1955. They divorced in 1960; the following year, Roberts married actor Rex Harrison in Italy. The marriage was tumultuous. Harrison left Roberts and they divorced in 1971; that year, Harrison married British socialite Elizabeth Rees-Williams, Roberts's former best friend. Roberts was known in the entertainment industry as a legendary alcoholic, with a history of eccentric behaviour, she had a habit of imitating a Welsh Corgi when intoxicated and once, at a party thrown by Richard Harris, attacked actor Robert Mitchum on all fours, chewing his trousers and champing on his bare skin, while he patted her on the head, saying "there, there". Devastated by her divorce from Rex Harrison, Roberts' alcoholism and depression worsened, she tried to forget the relationship. In 1980, Roberts attempted to win Harrison back.
The attempt proved futile as Harrison was married to his sixth and final wife, Mercia Tinker. On 26 November 1980, Roberts died at her home in Los Angeles at the age of 53, her cause of death was attributed to a heart attack. Her gardener found her body on her kitchen floor. An autopsy determined that her death was a result of swallowing lye, alkali, or another unidentified caustic substance, as well as barbiturates and alcohol, as detailed in her posthumously published journals; the corrosive effect of the poisonous agent was an immediate cause of death. The coroner documented the cause of death as "swallowing a caustic substance" and "acute barbiturate intoxication." Her death was ruled a suicide. Roberts was cremated at the Chapel of the Pines Crematory in Los Angeles, her journals became the basis for No Bells on Sunday: The Memoirs of Rachel Roberts. In 1992, Roberts's ashes, along with those of her good friend Jill Bennett, were scattered on the River Thames in London by director Lindsay Anderson during a boat trip, with several of the two actresses' professional colleagues and friends aboard.
The event was included as a segment in Anderson's BBC documentary film titled Is That All There Is? Rachel Roberts on IMDb Rachel Roberts at the TCM Movie Database Rachel Roberts at the Internet Broadway Database Rachel Roberts born in Llanelli Llanelli Community Heritage
A psychic is a person who claims to use extrasensory perception to identify information hidden from the normal senses involving telepathy or clairvoyance, or who performs acts that are inexplicable by natural laws. Although many people believe in psychic abilities, the scientific consensus is that there is no proof of the existence of such powers, describe the practice as pseudoscience; the word "psychic" is used as an adjective to describe such abilities. In this meaning, this word has two synonyms, which are metapsychic. Psychics encompass people in a variety of roles; some are theatrical performers, such as stage magicians, who use various techniques, e.g. prestidigitation, cold reading, hot reading, to produce the appearance of such abilities for entertainment purposes. A large industry and network exists whereby people advertised as psychics provide advice and counsel to clients; some famous psychics include Edgar Cayce, Ingo Swann, Peter Hurkos, Janet Lee, Jose Ortiz El Samaritano, Miss Cleo, John Edward, Sylvia Browne, Tyler Henry.
Psychic powers are asserted by psychic detectives and in practices such as psychic archaeology and psychic surgery. Critics attribute psychic powers to self-delusion. In 1988 the U. S. National Academy of Sciences gave a report on the subject and concluded there is "no scientific justification from research conducted over a period of 130 years for the existence of parapsychological phenomena". A study attempted to repeat reported parapsychological experiments that appeared to support the existence of precognition. Attempts to repeat the results, which involved performance on a memory test to ascertain if post-test information would affect it, "failed to produce significant effects", thus "do not support the existence of psychic ability", is thus categorized as a pseudoscience. Psychics are featured in science fiction; the Star Wars franchise, for example, features "Force-sensitive" beings that can see into the future and move objects telepathically. People with psychic powers appear in fantasy fiction, such as in some of the works of Stephen King or Dungeons & Dragons, amongst many others.
The word "psychic" is derived from the Greek word psychikos, refers in part to the human mind or psyche. The Greek word means "soul". In Greek mythology, the maiden Psyche was the deification of the human soul; the word derivation of the Latin psȳchē is from the Greek psȳchḗ "breath", derivative of psȳ́chein, to breathe or to blow. French astronomer and spiritualist Camille Flammarion is credited as having first used the word psychic, while it was introduced to the English language by Edward William Cox in the 1870s. Elaborate systems of divination and fortune-telling date back to ancient times; the most known system of early civilization fortune-telling was astrology, where practitioners believed the relative positions of celestial bodies could lend insight into people's lives and predict their future circumstances. Some fortune-tellers were said to be able to make predictions without the use of these elaborate systems, through some sort of direct apprehension or vision of the future; these people were known as seers or prophets, in times as clairvoyants and psychics.
Seers formed a functionary role in early civilization serving as advisors and judges. A number of examples are included in biblical accounts; the book of 1 Samuel illustrates one such functionary task when Samuel is asked to find the donkeys of the future king Saul. The role of prophet appeared perennially in ancient cultures. In Egypt, the priests of the sun deity Ra at Memphis acted as seers. In ancient Assyria seers were referred to as nabu, meaning "to call" or "announce"; the Delphic Oracle is one of the earliest stories in classical antiquity of prophetic abilities. The Pythia, the priestess presiding over the Oracle of Apollo at Delphi, was believed to be able to deliver prophecies inspired by Apollo during rituals beginning in the 8th century BC, it is said that the Pythia delivered oracles in a frenzied state induced by vapors rising from the ground, that she spoke gibberish, believed to be the voice of Apollo, which priests reshaped into the enigmatic prophecies preserved in Greek literature.
Other scholars believe records from the time indicate that the Pythia spoke intelligibly, gave prophecies in her own voice. The Pythia was a position served by a succession of women selected from amongst a guild of priestesses of the temple; the last recorded response was given in 393 AD, when the emperor Theodosius I ordered pagan temples to cease operation. Recent geological investigations raise the possibility that ethylene gas caused the Pythia's state of inspiration. One of the most enduring historical references to what some consider to be psychic ability is the prophecies of Michel de Nostredame Latinized to Nostradamus, published during the French Renaissance period. Nostradamus was a French apothecary and seer who wrote collections of prophecies that have since become famous worldwide and have been out of print since his death, he is best known for his book Les Propheties, the first edition of which appeared in 1555. Taken together, his written works are known to have contained at least 6,338 quatrains or prophecies, as well as at least eleven annual calendars.
Most of the quatrains deal with disasters, such as plagues, wars, invasions, murders and battles – all undated. Nostradamus is a controversial figure, his many enthusiasts, as well as the popul
The Rabbit Trap
The Rabbit Trap is a 1959 American drama film directed by Philip Leacock based on a 1955 Goodyear Television Playhouse teleplay by JP Miller Since leaving the army ten years ago, Eddie has been working hard without any promotion, never missing a day of work and having only three weeks holiday in his ten years with his construction firm. The day after and his wife Abby and son Duncan are granted a two-week holiday, they spend it in a mountain cabin. On the first day and Duncan place a rabbit trap out in the countryside for the sheer joy of feeding and releasing him. Eddie is called back to work the next day, leading to arguments with Abby who insists that Eddie should remain on holiday. Eddie fears being left behind in promotion. Upon returning home, Duncan realizes they left a rabbit could be trapped inside. Duncan breaks his piggy bank and returns to the mountains by himself to save the rabbit and tries to take the bus to Deep Springs to save the rabbit. In the midst of this, his Dad gets a promotion and Judy kisses the owner of the construction firm and gives her one-week notice.
Eddie decided that it is more important to bring his son back to check the rabbit trap than his promotion and quits. Ernest Borgnine: Eddie Colt David Brian: Everett Spellman Bethel Leslie: Abby Colt Kevin Corcoran: Duncan Colt June Blair: Judy Colt Christopher Dark: Gerry Jeanette Nolan: Mrs. Colt Russell Collins: Hughie Colt Don Rickles: Mike O'Halloran The Rabbit Trap on IMDb The Rabbit Trap at Rotten Tomatoes The Rabbit Trap at TCMDB The Rabbit Trap at New York Times
The Spanish Gardener (film)
The Spanish Gardener is a 1956 VistaVision and Technicolor film based on the novel of the same name by A. J. Cronin, first published in 1950; the film stars Dirk Bogarde and Jon Whiteley, was directed by Philip Leacock. The adaptation was filmed both at Pinewood Studios, near London, in Palamós, nearby Mas Juny estate, in S'Agaro, on the Costa Brava, Catalonia. Nicholas and O Jardineiro Espanhol, are adaptations of the story for Brazilian television; the film was entered into the 7th Berlin International Film Festival. Dirk Bogarde as Jose Jon Whiteley as Nicholas Brande Michael Hordern as Harrington Brande Cyril Cusack as Garcia Maureen Swanson as Maria Lyndon Brook as Robert Burton Josephine Griffin as Carol Burton Bernard Lee as Leighton Bailey Rosalie Crutchley as Magdalena Ina De La Haye as Jose's Mother Geoffrey Keen as Dr. Harvey Harold Scott as Pedro Jack Stewart as a police escort Richard Molinas as a police escort Susan Lyall Grant as the maid John Adderley as the taxi driver David Lander as the policeman The film was one of the most popular at the British box office in 1957.
The Spanish Gardener at Turner Classic Movies Variety review Nicholas Brazilian telenovela O Jardineiro Espanhol Brazilian telenovela Webpage about O Jardineiro Espanhol The Spanish Gardener on IMDb