Marjie Lawrence
The pupils of the Dora Jackson School of Dancing compete in the 1960 Classical Dance Festival in Scarborough. Fifties rock 'n' roll meets classical ballet with the arrival of Dora's ex-boyfriend Clifford and a mysterious ghost.
A group of Devonport-based Royal Navy ratings, due to sail to America for a six-month NATO exercise, go out on the town on their last night in port, hitting Plymouth's notorious Union Street district, with violent results.
Cheeky 1970s British sex comedy. Barry Andrews stars as virginal nerd Jon Pigeon, who manages to secure a job in a sex research institute where the patients run about the corridors naked, nude aerobics are encouraged and no man is safe from the crotch-grabbing tea lady. In his attempts to seduce pretty office secretary Cheryl (Sally Faulkner), Pigeon invents a machine called Agnes that emits a 'sonic aphrodisiac' guaranteed to turn any man or woman into an slathering sex maniac. Although his attempts to zap Cheryl are singularly unsuccessful, Pigeon gets some interesting results when he accidentally turns the 'sex ray' on his bullying boss Nutbrown (James Booth) and the prudish Mary Watchtower (Geraldine Hart).
Christopher Lee stars in this Amicus production of “Dr. Jekyll & Mr. Hyde” where the names have been changed to Dr. Marlowe and Mr. Blake. Lee as Dr. Marlowe experiments with intravenous drugs that are suppose to release inner inhibitions. So comes forth Mr. Blake (also Lee) who gets more monstrous with each transformation. Peter Cushing plays his friend and colleague, Dr. Utterson.
A series of murders occur that mirror those committed by the Whitechapel Ripper. Through his experiments with psychoanalysis Dr Pritchard discovers a deadly violence in one of his young female patients. As he delves into the recesses of her mind he uncovers that Anna is possessed by her dead father's spirit, willing her to commit acts of gruesome savagery over which she has no control. But the most chilling revelation of all is the identity of her father: Jack the Ripper himself.
Adapted and directed by Peter Brook from the Royal Shakespeare Company’s ‘production-in-progress US’, this long-unseen agitprop drama-doc – shot in London in 1967 and released only briefly in the UK and New York at the height of the Vietnam War – remains both thought-provoking and disturbing. A theatrical and cinematic social comment on US intervention in Vietnam, Brook’s film also reveals a 1960s London where art, theatre and political protest actively collude and where a young Glenda Jackson and RSC icons such as Peggy Ashcroft and Paul Scofield feature prominently on the front line. Multi-layered scenarios staged by Brook combine with newsreel footage, demonstrations, satirical songs and skits to illustrate the intensity of anti-war opinion within London’s artistic and intellectual community.
A skiving bin gang are on high alert when their new inspector takes an interest.
Charlie returns to the East End after two years at sea to find his house demolished and wife Maggie gone. Everyone else knows she is now shacked up with married bus driver Bert and a toddler, and they all watch with more than a little interest at the trail of mayhem Charlie leaves as he goes about sorting things out.
Set in contemporary Bethnal Green in east London, A Place to Go charts the dramatic changes that were happening in the lives of the British working-class at the time.
John Lewis is bored by his librarian's job and henpecked at home. Then Liz, wife of a local councillor, sets her sights on him. But this is risky stuff in a Welsh valleys town - if he and Liz ever manage to consummate their affair, that is.
