Displaying items by tag: Donald Pleasance

SUSPECT/THE RISK

UK, 1960, 81 minutes, Black-and-white.

Tony Britton, Virginia Maskell, Peter Cushing, Ian Bannen, Raymond Huntley, Thorley Walters, Donald Pleasence, Spike Milligan, Kenneth Griffith, Robert Bruce, Anthony Booth, Basil Dignam, Sam Kydd, Murray Melvin.

Directed by John Boulting, Roy Boulting.

British Nigel Balchin wrote thrillers and wrote the screenplay for this brief film. The Boulting brothers had a strong presence in British cinema from the 1940s. Their intention with this film was to enhance the quality of British supporting features, small budget, filmed in 17 days, brief running time. Critics at the time were harsh on the film, American critics more sympathetic.

With the writing, the Boulting Brothers’ direction, and the considerable quality of the supporting cast, serious issues of scientific experimentation, wartime security, espionage and stealing secrets, there is quite a lot of material in 81 minutes. The locations are confined, home, laboratory, restaurants, espionage. With the supporting cast so articulate, the dialogue makes a strong impression.

In fact, Tony Britton and Virginia Maskell as the stars are not as strong as the character actors, some veterans like Raymond Huntley as the politician, Peter Cushing as the professor, Kenneth Griffith as his assistant, Donald Pleasence, always sinister, Thorley Walters as an eccentric investigator, Ian Bannen as the cynical war invalid, all bring quality to the performances. And there are quite a number of interesting cameos from actors like Spike Milligan, serious and comic at the end, Sam Kydd, Murray Melvin, Anthony Booth.

A curiosity item of the period but an interesting and entertaining 80 minutes.

1. Small-budget supporting feature, a television filming style?
2. Nigel Balchin thriller, his writing the screenplay, nation, science, politics, espionage, romance? Popular ingredients?
3. The cast, the range of British character actors, the focus on dialogue, interactions, intensity, themes articulated in the British style?
4. The focus on scientific experimentation, the professor, years of experience, Peter Cushing’s style, the staff, summoned by the government, closure on his experiments, his reactions, the staff, the situation with the dedication of the statue? His discovery of Marriott with the documents, his reaction, the police, covering for Marriott?
5. Bob Marriott and Lucy Byrne, colleagues, skills, the date to the pictures, Lucy and her reticence, the situation with Alan, losing his arms in war, her caring for him, past fiancee, his manner, cynical? His meeting with Marriott, charming exterior, undermining him, the connection with Brown, the situation about the government ban, the documents, saving the experiments, handing them over?
6. Lucy, her work, with Marriott, the attraction, her helping with Alan, the meeting with Brown, her ignorance, her being interrogated?
7. Marriott, his character, dedicated to his work, the experiment with his arm, his reaction to the ban, led on by Alan, the meeting with Brown, taking the documents, the meeting with the spies?
8. Dr Shole, collaboration, personality, Mr Prince making the contact, with his assistant, the suspicions, summoning him, the information? The scenes with the professor?
9. Mr Prince, his role in the investigations, sometimes doddery, absent-minded, his office a mess, the meetings with Dr Shole, relying on his assistant, the interviews, his hypotheses?
10. Brown, his background, sinister, Donald Pleasence’s style, his eyes, the arrangements, the meeting, being the documents, the person in charge, the police, gunshots?
11. The politics, the Minister, calling in the professor, good mannered but intense, forbidding the experiments, danger for enemies getting hold of them, the dedication of the statue, his assistant, his visit to the laboratory in meeting the staff?
12. The assistant at the office, Spike Milligan, more serious – the final comedy with the monkey?
13. British politics in world politics in the late 1950s? This film seen in retrospect?

BARNACLE BILL/ALL AT SEA

UK, 1957, 87 minutes, Black-and-white.

Alec Guinness, Irene Brown, Percy Herbert, Maurice Denham, Victor Maddern, Donald Pleasance, Warren Mitchell, Lionel Jeffries, Jackie Collins, Miles Malleson, Allan Cuthbertson, Charles Lloyd Pack, George Rose, Richard Wattis, Eric Pohlmann, Joan Hickson.

Directed by Charles Frend.

Barnacle Bill/All at Sea was Alec Guinness’ last comedy film, immediately after his Oscar win in The Bridge on the River Kwai, 1957. And, it was the last of his Ealing comedies, his moving into more serious films into the 60s and 70s.

The film was written by T.E.B.Clark, author of many of the Ealing studios films, Passport to Pimlico, Lavender Hill Mob, films about individuals and their defying the authorities. It is the same here, Captain Ambrose, played by Guinness, has seafaring ancestors, even from the Stone Age, and/or visualised with Guinness playing each of them, but all suffering from seasickness and disasters. During World War II, in Ambrose tested vessels rather than going to see!

After the war, very seriously, he buys a pier on the coast, the ship Arabella, and turns it into the equivalent of the tourist ship. But, he runs foul of the local Council, leading to scenes of tourists enjoying the comforts of a sea voyage and some sabotage from the Council members.

It is brief, rather low-key, British comedy of the time, social commentary. And, looking at the cast, it is filled with quite a number of well-known British character actors of the period or who were to emerge successfully in coming decades in television series – Warren Mitchell, Donald Pleasance, Joan Hickson… And, yes, that is the Jackie Collins in the cast!

Direction was by Charles Frend, who directed many of the significant British films, especially the 1940s and 50s, including Scott of the Antarctic and The Cruel Sea.

1. From Ealing studios in the 1950s? An Alec Guinness vehicle and his Ealing Studios films? The individual against the corporations?
2. Ealing Studios comedy, the writer, the directors, British humour, situations, character actors? Musical score?
3. The title, given the alternate All at Sea?
4. The introduction to Captain Ambrose, a celebrity, the honours, his manner, perfectly straightforward sometimes mischievous humour? The interviews, his reputation, at the pub, the rum cask, going to the bank, his money account, the staff, listening to his story, at the end, the celebrity mood?
5. Captain Ambrose’s story? His ancestors, from the Stone Age, Francis Drake, the Later Sea Captain, World War I – and Alec Guinness playing all roles? Seasickness and the way that it was manifested, the comic tragedies?
6. Captain Ambrose and his war career, seasick, the audience thinking he was at dea, but his career in demonstrating seasickness in various vessels?
7. His decision to buy the Arabella, the pier? Very serious, spending his money? The initial encounter with Mrs Barrington and her accusations? Going to the pier, the staff, seriously setting up the ship and the crew? The first officer and reliance on him? The performance, the Houdini -like character, the Captain tying him up in a bag, unable to get out?
8. Captain Ambrose vision for the pier, looking at the slot machines, the police, getting the young expert, his knowing how to win with skill? The machines being allowed? The youngsters, the rock ‘n’ roll atmosphere, taunting Captain Ambrose, coming to the concert, the talent not turning up? Playing the piano, dancing, the ripping up of the seats, providing the dance area, the youngsters enjoying it?
9. The plan to turn the Arabella into a cruise ship, holidays, yet at the pier? The work, the volunteers, the transformation? The dining area, the pool, all the luxuries?
10. The Mayor, his visits and discussions, the Council meetings, his henchmen, legal advice, Mrs Barrington? Corruption? The decision to improve the seafront, threatening Mrs Barrington’s dressing cabins, upset, the encounter with Captain Ambrose, his taking them, installing, her supporting him, her transformation, drinking the rum?
11. The crowds, coming aboard, the atmosphere of the luxury ship? The staff? Captain happily moving amongst his guests? The young lovers always hiding in boats et cetera?
12. The Council, their plans, the confrontations, the turncoat, swimming underwater engaging the depths, seen by the drinking Captain? Looking at the radar? Reality, his being Captain, interrogated?
13. The Council and the plan, sending out the boat, underwater, the Captain, facing his seasickness, Mrs Barrington’s cure, corset and earplugs? Going out, the confrontation, the four in the cage, trying to escape, Captain Ambrose and the machinery, capturing the Council?
14. The legal issues, the cruise ship and the foreign government and the permits? Sawing the connection so as not to pay shore taxes?
15. Small British comedies of the 1950s, the humour, still entertaining even if they look dated?